Because of the Blagojevich stupidy-for-sale scandal, many in Illinois politics may be thinking about taking a quick trip out of the U.S., PERMANENTLY, so, I thought I might republish the link for you this easy wikiHow guide for How To Avoid Looking Like An American Tourist.
In these days when Americans are not always seen as popular overseas, though President-Elect Obama may be helping that image a bit now, fitting in is likely to be more important than before. So this could be timely whether you intend to escape to, er, visit, Argentina, Guatemala, Ireland, Blagoland, West-Ciceonia, or other places in the world you might like to visit. Notice I did not even hint at Sicily. Eh, Tony?
Here's one tip I didn't know. In other countries, ignore what Mom pounded into your head and use your left hand to use your fork. That's right, do what always felt natural all those years! Yes!
But, in general, to travel in other countries is going to mean more dressing up, giving up gym shoes and logos, wearing more black socks, and avoiding logos. Yup, looking like, THEM.
Well, that's the price of fitting in. But, as they say, when in Rome... That's the point isn't it? Learning about another culture by fitting in a bit. Learning a bit of the local patois, the lingo, and about the money, figuring out where you want to go first? That kind of stuff.
It's a pretty good article.
WikiHow's are Fun. Anyone can start one. I considered starting one called "HOW NOT TO APPOINT A REPLACEMENT UNITED STATES SENATOR" but I think between them Rob Blagojevech and Pat Fitzgerald have that material covered.
Wikiguides, are not always perfect, since anyone can start and edit them, but, they can be informative, with things you might not think of.
Ok, the Wiki-how link was supposed to transport the article to this blog in toto: here's what came:
Clearly something went wrong. Now it might be my fault. I have not updated to the new customized, easier to use "widget driven" version of blogger. I just have my own clunky code driven version that I have edited by hand over the years, so it's mine, but not perfect.
So, I've pasted the text in myself. Here goes. Since Wiki's are changed, you have to go to that site to get the updates. So do that. OK?
How to Avoid Looking Like an American Tourist
As an American traveling in a foreign country, the last thing you want to do is stand out like a sore thumb. Not only do you have a greater chance of getting sucked into tourist traps, but you're also a more obvious target for getting mugged or even kidnapped. So, are you aware of the things you do, say, and wear that make you look like the stereotypical tourist?
Steps Clothing Ditch the athletic shoes. White athletic shoes (otherwise referred to as tennis shoes, or sneakers) are stereotypically American. Any shoes that don't look like they were meant for exercise will suffice. If you do wear socks, make sure they're dark. Flip-flops are also very noticeable as American attire, unless you're in a country like Brazil where Havaianas reign, or Australia or New Zealand where the Brazilian flip-flops are also ubiquitous. Buy accessories at local stores, especially ones that you see the locals wearing, like scarves. Sometimes not wearing something could signal that you are a tourist. For example, in some countries, hats or scarves are worn by the majority, or, in winter, most people might wear neck scarves. Also, head scarves in some religious establishments. It would be wise to research this in advance and be prepared to take something with you if you plan to visit religious places. Avoid US brand name clothing with easily readable names (eg. Nike, Gap, Abercrombie, Patriotic, Texas A&M, etc.). In fact, don't wear any slogans (like "Virginia is for lovers") that will tie you to a specific place. Notoriously American brands are becoming more popular outside of the US due to globalisation, however, it's still a good idea to stick to non-slogan clothing.
Dress a little nicer than usual. Casual dress (wearing sneakers, sweatshirts, t-shirts, jeans, or shorts (especially athletic shorts) instead of slacks or skirts with shirts or blouses) is not as common outside the US. Jeans are not universally accepted as appropriate in all social situations. Take some pairs of trousers or slacks in lieu of jeans. And don't wear shorts, especially if you are a woman. Look around and see whether people tuck their shirts in, or leave them hanging out--sometimes this differs for men and women in the same country. Dress appropriately for the local weather. Shorts and a t-shirt in cool climates (or winter time) are a clear sign that you are not in touch with the local weather. Camouflage. What colors do the locals wear? Mostly black and other neutral shades, like in London, or bright, bold colors like in the Caribbean? Wear colors that you see the locals wearing. Your hot pink sweater vest or bright blue collared shirt might be fashionable in Minneapolis, but it won't fly in Budapest. Leave your baseball hats, backpack and water bottles at home
Food Take whatever condiments they give you. Requesting typical US condiments (ketchup, salt, pepper, etc.) is a sure giveaway that you are an American tourist. Use the typical condiments in your host country, and if you don't like them or can't bear to eat without your American condiments, bring your own. Take small packets with you to use rather than insisting that the restaurant supply you with it. Give up the ice. In many parts of the world, you will be served your drinks with little or no ice - much less than you're accustomed to in the US. Of course, if you want ice in your drink because that's how you prefer it and you're paying for it, you're perfectly entitled to ask for it...but the point of this article is to help you avoid being labeled as an American, and requesting ice is a definite giveaway, and be warned, the drinking water of some other countries aren't as safe as the water back at home... the water in the glass might be filtered, but the ice sometimes isn't, and with that you can get a bad case of food poisoning.
Eat local food. Many American tourists visit US chain restaurants for every meal, afraid to dabble in the local cuisine, but becoming a regular at the local McDonald's and Pizza Hut will tip everyone off that you're an American really quickly. Use local table manners. For example, in Europe, a fork and knife are used differently than in the US. In some Southeast Asian nations chopsticks might be more appropriate. Order like a local. In some countries, for instance, a salad is the last item served, not the first. In others, people don't eat what we in the US think of as a "salad". Don't request decaf unless you can see in the menu that it is offered. Don't ask for a seat in the "non-smoking" section, unless you already know there is one. Don't insist on drinking “Coke” with every meal.
Behavior Keep the map out of sight. Pulling out and looking at your map in a public space is a no-no. Study it before you leave your hotel, and if you do need to consult your map, step into a store or any other less public place. Have the maps pre-folded so they may be easily accessed and read. Same goes for other items:
If you must use a dictionary to translate a sign or menu, be discrete. For example, copy down the words of the sign and move aside to a less public place to work out the translation. Don't carry US newspapers, magazines or books in plain view.
Be quiet! Many Americans are recognized for being louder than is customary in other parts of the world. Large arm and hand movements and boisterous behavior should be avoided until you know how the locals act. Adults in many non-American cultures use lower voices in public places. Either way, you're always better off being a little more reserved and quiet, at least for starters, than blasting onto a foreign scene with your vitality and making the wrong impression.
Don't brag or be showy. When you pull things out of your bag in public to show your friends or family what you purchased, you might as well yell "I have money and I'm ready to spend it, unless you want to take it from me against my will!"
Avoid talking about the local people and culture. Something as seemingly harmless as "Oh, I just love the scarves here!" will mark you as a tourist. And don't assume people can't understand what you're saying, just because you said it in English. In many parts of the world, people are taught to speak English along with their native language.
Mind your personal space. Not every country is as "spacious" as the US (unless you're in New York City, where space is at a premium). When you're at a counter, for example, don't spread out your arms; when you're sitting down on the bus or train, don't stretch out your legs in a way that might get in someone's way.
(Don't put your) Hands in Pockets. If you are touring a religious place or a place of great national pride, it can be considered very disrespectful to have your hands in your pockets.
Don't chew a lot of gum. It's just not very common outside of the US, and even within the US, it's a breach of etiquette under some circumstances. Don't wear your camera around your neck. When traveling to a foreign country, you are bound to take pictures. However, having a camera strap and wearing it around your neck for easy access is a sure way to look like a tourist. If you can, keep it in a pocket or in a purse and pull it out when needed.
Try to speak the language. Why not try to make an effort to speak the local language? It's a sign of respect and appreciation of the local culture. Learn a few basic words like "Hello", "Please" and "Thank you". Nobody will mind if your accent is not perfect; the fact that you've been willing to speak their language, even when you could well have spoken yours, is a thing that many people appreciate in tourists.
Tips These are only guidelines. You can do whatever you want as a tourist, but this article outlines some things you might want to avoid doing if fitting in and avoiding unwarranted attention is a concern.
In the UK, most men wear closely-fitted, dark clothing. If you are visiting during winter months, a snugly-fitted jacket will help you blend in with the local crowd. Avoid baseball caps if possible.
If you are travelling alone, especially a woman, buy the local newspaper and keep it under your arm when walking, or open it if on a bus or train. Always buy a pair of local shoes - especially what people wear for comfort.
Warnings Don't wear a fanny pack. They make you a ridiculously easy target for pickpockets. A pickpocket could unzip the fanny pack and effortlessly take out the contents without you being aware.
If you look different (like if you have different color skin, or are more overweight or underweight than everyone else) people are going to think you're a tourist, or at least a foreigner, no matter what. But if you follow the steps above, hopefully they won't think you're a stereotypical American tourist, and they won't treat you as such.
It is best to wear your personal items such as money, ID, passport, credit card, etc. close to your body. You may not feel someone pulling objects out of your pocket. Inner pockets, or pockets on the front are easier to guard.
Don't hold your fork in your right hand. It makes Americans stand out from a distance no matter what they wear or which language they are speaking.
Related wikiHows How to Be Safe in a Foreign Country How to Travel Beyond the Tour Bus How to Travel With One Bag How to Get Cash when Traveling in Europe How to Travel to India—Native Style How to Travel Around the World
I hope you find this and other articles interesting. I know the last two months I have had less humor and more commentary and theater notices. There is a reason for that. My sense of humor is returning. Remember, with more than 650 posts, just hit the archives for lots of jokes on all kinds of topics, use the blue search box to find them.
Also, please support this blog by using the Amazon search box to do your Amazon holiday shopping!
I got an audition notice for the Opening Night Art Group summer camp program that is auditioning Annie Jr. this Monday and Tuesday, January 8th and 9th for those between 4th and 8th grade. Sorry for the late notice, but I just saw it myself.
There is a fee for taking part in this program, and if you are cast you will be assigned to one of two casts, as described below. I assume the fees go to costumes, make-up, sets, and training fees for the instructors.
This may be the equivalent of a paid day camp but with a play production at the end. While payment is due on January 1st, they seem to have a refund policy. You may want to ask others at the auditions about their experiences at the group.
As a former Daddy Warbucks, I can say that Annie is a GREAT show. Don't think that the only good parts are for girls too.
But I don't think I know this group so I can't endorse them. I can only pass along their information. Don't hold that against them though, just check them out when you get there. I don't think they could ask for money if they were not doing something good. The show is also a fundraiser for St. Jude's you could give them a call and see how much they got last year.
Their website looks pretty professional though - check it out. The links below to other parts of their website worked when I tested them.
Auditions for Opening Night Youth Productions' Presentation of
Under the direction of Ms. Dee Hamilton
Opening Night Arts Group will be holding auditions for our Opening Night Youth Productions' presentation of Annie Jr. on December 8 and 9, 2008. These auditions are for a spot in the theatre program which will present Annie, Jr. during summer 2009. These auditions are not for specific roles at this time but are for a spot in the program. Specific roles will be cast next summer during the first few days of the program. This program is primarily intended for children with some prior acting, singing, and/or dancing experience. If you love to perform come on out and audtion - we want to see you!
Proceeds from these performances of Annie, Jr. will benefit St. Jude's Children's Hospital.
Auditions will take place as follows:
You must register for an audition date. We have a limit of 60 children per audition day. Auditions are for children who are entering the 5th grade through entering 9th grade in the summer of 2009.
Auditions are on the following days:
Monday, December 8, 2008: 5 p.m.-8 p.m.
Tuesday, December 9, 2008: 5 p.m.-8 p.m.
Trinity Christian College Ozinga Chapel Building Choir Room and Recital Hall
When you register you will pick your preferred date for the audition. We will make every effort to accomodate your choice, however since there are only 60 slots per day you may need to audition on the other day. You will be notified via email of your audition date. Please be sure to provide a valid email address that you check regularly. You may register for an audition time here.
Please be prepared to perform as follows:
DANCE AUDITION:
Come prepared in comfortable clothes. You will learn a routine at the audition.
SINGING AUDITION:
Girls: Come prepared to sing “Tomorrow”.
Please click this link for music: http://www.broadwayjr.com/audition/auditionlist.asp?ID=1Choose “Score” under “Annie” and scroll down. Accompaniment will be provided at the audition. Boys: Come prepared to sing “Easy Street”
ACTING AUDITION: Come prepared with an age appropriate 1 minute monologue. The selection may or may not be memorized, actor’s choice. Monologues may be checked out at the library or found online.
AUDITION RESULTS:
Once auditions are complete, the director and producer will choose the program participants. You will be notified via email as to whether or not you have been accepted into the program. Please note that the director and staff will make the decisions they feel will be best for the production and their decisions are final.
We are looking forward to seeing the many talented children we have in our area. The Opening Night Youth Production's Summer Theatre Program promises to be an exciting and rewarding experience for all involved.
PROGRAM FEES:
There is no cost to audition. Once a child has been notified that they will be in the Opening Night Youth Production's program, fees will be as follows:
$300 for Opening Night Arts Group Members $325 for Non-members
Fee payment will be due in full by January 1, 2009. Payment plans are available.
The refund policy for this program is as follows: Registration cancelled by March 31, 2009 - Receive a full refund of registration fees Registration cancelled by June 29, 2009 - Receive a 50 percent refund of registration fees After June 29, 2009 - No refund will be given
June 29-July 23, 2009 Mondays-Thursdays 9 a.m.-noon Trinity Christian College Ozinga Chapel building Choir room and Recital Hall
Monday, July 27 - Monday, August 3, 2009 Weekdays 9 a.m.-noon (including Friday) Trinity Christian College Communications Building Marg Kallemeyn Theatre
PERFORMANCES: Trinity Christian College Communications Building Marg Kallemeyn Theatre
WHITE CAST:Tuesday, August 4, 2009 7:30 p.m. Thursday, August 6, 2009 7:30 p.m. Saturday, August 8, 2009 7:30 p.m. RED CAST: Wednesday, August 5, 2009 7:30 p.m. Friday, August 7, 2009 7:30 p.m. Saturday, August 8, 2009 3:00 p.m.
More information will be provided during auditions and in future emails. If you need assistance now, you may contact us here.
So that's the story. Since there are quite a few parts for boys, especially 7th and 8th grade boys, so don't feel that boys would not have a chance here. In fact, I think you would be at an advantage percentage wise in getting a good part. Since many of the "Adult" roles in Annie are men's roles. FDR, etc. However, this is Annie, Jr. and I don't know how it is different.
A Night of Variety I just noticed that the group is going to do "A Night of Variety" on January 23rd and 24th
Join us for a night of singing, dancing, and comedy as members of the Opening Night Performance Group and Take A Bow Performers entertain you!
Andy Avalos of WMAQ-TV Channel 5 is the Master of Ceremonies
This performance will assist Opening Night Arts Group in continuing our mission to provide contributions to charities throughout the year.
Two Nights Only!
January 23rd and 24th at 8 p.m.
Marg Kallemeyn Theater Trinity Christian College 6601 W. College Drive Palos Heights, Illinois
Tickets $17 for members / $20 for non-members Tickets purchased online will be available at will call at the theatre on the evening of the performance.
Split-the-Pot Raffle! Entertainment galore! Refreshments!
This is a family friendly show so bring the kids along for a great night of entertainment.
We are asking that everyone who attends bring at least one item to be donated to Operation Support Our Troops. These items will be delivered in care packages to the men and women on active duty in Iraq and Afghanistan. This is a great way to show your support to the troops and provide them with much needed and appreciated supplies. The organization has requested the following supplies:
Wheaton Drama, Inc. (WDI), located at Playhouse 111, 111 N. Hale Street in downtown Wheaton, prepares to open its second show of the 2008-2009 season, with the Tony Award-nominated family musical, A Year With Frog and Toad. (Map Link)
Steve Schroeder (left) as Frog and Chris Bruzzini as Toad in A Year With Frog and Toad.
Photo courtesy of Jo-Ann Ledger
A Year With Frog and Toad will be performed from November 21 – December 14. Shows are Fridays at 8pm, Saturdays at 3pm and 7pm, and Sundays at 3pm. Tickets are $21 each, or a Family Four Pack is available for $76. Visit www.wheatondrama.org for more information. The cast includes: Chris Bruzzini (Toad), Geri Larson (Bird, et al), Carrie Pyykkonen (Squirrel, et al), Margo Raube (Squirrel, et al), Amy Royle (Bird, et al), Steve Schroeder (Frog), Lori Skubich (Snail, et al), and Stuart Vance (Bird, et al).
The show is directed by Carla Mutone, assisted by Tony Farruggio. Production management is by Mary Beth deBolt and Dawn Herbst. Ginger Stephens Terlep is the music director. Choreography is by Carla Mutone and Tracy Adams, and Becky Poole will stage manage.
Director: Carla Mutone Publicity: Polly Ludena at publicity@wheatondrama.org Tickets: www.wheatondrama.org or call 630-260-1820
Other shows in WDI’s exciting 2008-2009 season include;Deathtrapby Ira Levin,A Streetcar Named Desireby Tennessee Williams, and the season finale, City of Angels*, with music by Cy Coleman, lyrics by David Zippel, and book by Larry Gelbart.
*Note: I've been inCity of Angelsand it is an amazing film noir musical and not to be missed when done well. Come to think of it, the only play in Wheaton Drama's season I've not been in is Frog and Toad and if it matches up to the likes of the others, it should be a no-miss for any potential theater goers. Deathtrap is a spine-tingling murder thriller that is the definitive word on the murder thriller, while A Streetcar Named Desire remains Tennessee Williams greatest work on man's heated passions, anger, regret and madness all rolled up in the faded hopes and dreams of New Orleans misty past where it might only take a bit or red paper to create a bit of magic, and an old record to create the romance of the past.
So while I am not familiar with the group, per say, I think it's worth a look-see. Their play reading and selection committee has certainly done an admirable job in picking shows that are entertaining and worth the trek. That is usually the sign of a group worth patronizing. If you do go, let me know what you thought, in case I don't get to go and review it myself.
Sometimes I write commentary and this is the time for commentary. I have been taking a little break, except for a brief review, and a joke or two, but now that the election is so close, I think it's time for me to say something definitive.
I've mostly just made fun of Bush. As comic, that's been fun. As the worst President in US history he's given me a lot of material. I hope not to have so much material with the next US president.
I am so upset, myself about the situation in this country, it's made it hard to write comedy lately, especially, given how hard things have been for Americans. Making fun of bear markets, foreclosures, students who can't pay for school have left a bad taste in my mouth.
The increasing rancor in this election has been even worse. I think if nothing else, that would have pushed me over the edge. Not since Nixon have we seen the kind of dirty tricks politics that I have been seeing in this election. Calling Obama a terrorist, allowing calls for his death. What decade is this, 1960? These kinds of things are unforgivable. I lived through the riots of the 1960's. The national guard was posted in a park one block away from my apartment when I was eight. I don't want to see a generation of the kids who are in high school right now, girls and boys now, drafted and sent to Iraq, Iran, Afghanistan, Korea and Russia to die under McCain and that is the future I see.
I also see enormous hypocrisy on some of his key issues, the pro-life agenda for one. With all the years of Republican administrations there have been no effective pro-life programs funded that would really make a difference in creating wide-scale options to reduce the number of abortions because they were anti-Republican in nature. If they really cared about the issue the way they say they do, there could have been programs beyond abstinence. Programs for funding education for single mothers of children without husbands, programs for paying for hospital and day-care costs, programs for helping to expand adoptions services. Making abortion illegal was not the only way to go. Did they try to do anything like that. No. Not through Reagan, Bush Sr., Bush Jr. and we can darn well expect nothing of the like to happen with McCain either. Anyone who expects anything different is fooling themselves.
Why? Because the Republican Party is all about taking away options and not giving anything back. That's how I feel about it. Taking away scholarship options, taking away funding of transit, taking away anything that helps individuals.
I don't know what is going to happen in this election. I don't know what Obama is going to do. But I think he is our best chance for a recovering economy. Our best chance for peace. Our best chance for education and a hundred other issues. And yes, if you are a pro-life person who wants alternatives to abortion, I think he is your best chance to get them funded too. In fact, I think its now, or NEVER.
So, listen to what Retired General Colin Powell has to say. I was very impressed. He summarizes a lot of what I felt. I was very surprised that he bought into the Weapons of Mass Destruction debacle. I was pleased to hear him admit his mistake later. He's one of the few Republicans I would vote for, for President, because of his integrity and his clear sense of personal honor. I hope he gets Sec Def back.
And don't be offended by my political opinions. I respect yours. You have a right to them. Just don't expect me to approve any comments with hate in them. And to the military. I support you. I just wish you were home with your families. Tomorrow.
Powell Interview on Meet the Press, Part II Troubled by the "Muslim" issue when Obama is a Christian. The commitment and death of Muslim-American Soldiers in Iraq. His Endorsement for President, who he will vote for in the election. The William Ayers issue. Connecting Obama to Ayers is a "terrible stretch its demagogory".
Powell Interview on Meet the Press, Part III "It is not easy for me to disappoint Senator McCain in the way that I have this morning...I think we need a transformational figure, a transformational Change, and that's why I am supporting Senator Barrack Obama."
As my regular readers know, in order to support the art, every so often I will promote the arts by running ads for Chicago Area Productions, and when I can, and a show runs long enough to merit it, or I can see it before it opens in a short run, I write a review. I attended the performance of Up and Coming Theater's The Producers on Saturday, October 11. 2008.
Short Review: This production of The Producers is a triumph of comedy, satire, song and dance that will leave you longing for more as you laugh and sing your way home.
Change your plans for this weekend and see Up & Coming Theatre’s The Producers on October 16, 17, 18 and 19th or you’ll regret it and your smarter friends will make fun of you. I am tempted to come a second and or third time, myself.
Forest View Theater 2121 S. Goebbert Rd Arlington Heights, IL 60005
Remaining Performances: • Thursday, October 16 - 7:30 pm • Friday, October 17 - 7:30 pm • Saturday, October 18 - 7:30 pm • Sunday, October 19 - 2:30 pm
Tickets: • Call 847-718-7702 Mon - Fri 9 am to 4 pm • Advance - $15 ($12 with Gold Card) • Door - $18
Up & Coming Theatre’s current production of The Producers is nothing less than a triumph and I don’t use that term lightly. This production is a hysterical romp, a madcap express train riot and one of the most fun and exciting shows I’ve seen in a long, long time. The cast, full orchestra and crew provided a synthesis of acting, singing, dancing, directing, choreography, orchestra, crew, sets, lighting, and fantastic costuming that left me longing for more.
Director Susan Hamel kept this rollicking farce moving at lightning speed and seemed to never leave an opportunity for an actor or dancer to let a laugh pass by while somehow increasing the pace as the number onstage grew. Choreographer Jennifer Cupani’s marvelous work was not only breathlessly pleasing, but breathtakingly funny as well, and provided everyone in the show, from walker tapping grannies, to Max. Leo, Ulla and the “Springtime” water ballet dancers, a chance to shine as they danced, rolled, shaked, shimmied, Ullalated, Scotterized, or DeBris’d the audience into ecstascy, laughter, or hysteria, whatever the case may have been.
The Music Direction by Thomas Stirling was masterful. The Producers, Jorge Bermudez, Rich McMillan and Mario Manno are to be praised for allowing Stirling the resources to put together a 16-piece orchestra, and what an orchestra, not overpowering, note perfect, and perfectly nuanced, the orchestra provided the track on which this express hurtled so directly towards our hearts. His work with the singers and dancers was superb. While you can never tell what part of a performance’s success is due to the Director and Musical Director, when this many people get so much so perfectly right, you know that their hands must have been strong at the helm of this titan of a musical. I’d call it a Titanic success but this ship did not flounder!
The lighting and scenery by Chelsea Lynn and Robert Hamel respectively added to the fun. While Max’s office seems unremarkable, it is in other areas that the true creativity comes out, and boy does it come out! That’s all I can really say, some things have to be seen in person to be appreciated.
Getting back to Director Susan Hamel, her major triumph was in creating a cohesive whole out of what could have been an unconnected morass of individual bits and “here I am” performances, focusing them, drawing the best out of each performer, until the show had assumed a life of its own, a synergistic cohesion of magic, where a miracle has occurred beyond your wildest expectations. That’s The Producers I saw this weekend. More than worth the 35-mile round-trip I took (twice, I got lost the first time) to get there. It was worth the trip, and more.
This seemingly effortless cohesion of talent ran through the whole show, this cast knew what they could do, and they did it. They knocked the audiences socks off one toe at a time, and then slipped the socks back on so they could do it again.
Now I have to try to write about nearly 30 performers, each of whom in other shows I would probably single out. Oh the tragedy of it, oh the horror! I’m going to leave someone out! And that will be a tragedy, for The Producers, like many shows of its kind, depends upon the company as a whole to keep the show going in so many places, and in this production in particular, it is the company that is the star, from It’s Opening Night, through Along Came Bially, the mammoth, eye-bending, Springtime for Hitler, Prisoners of Love, and Goodbye, the company showcases the stars, but is itself the star, as each member is given their own moments to shine, time after time, after time, after time.
Certainly it helps that the singers can dance and the dancers can sing, the tappers can count, and sing, and dance all at the same time, and all can be funny when they are supposed to be too.
There is a lot of physical comedy in this show and something you just can’t get from a concert, though the music was certainly top quality. From Spidale’s death grip on his blankey, Hamel’s entreaty’s to God, Ulla’s well, Ullaating, Anthony Berg’s incredible antics as the crazed Franz Liebkind, John Boss’s continual antics from the first seconds of his entrance as DeBris to his last moments on stage, and most especially, Dan Naylor’s counter to type dramatic, flouncing, prancing, saucy, bouncy, leaping entrance as DeBris’ Choreographer Scott, complete with saucy belly moves that had young girls there to see him swooning (I saw them Dan, don’t let them deny it, there was swooning); the show’s physical comedy was brilliantly done and helped make the show such a smash hit.
I guess the lead actors helped too. What? Them too?
When meek and mild Leo Bloom (Bob Spidale) mentions off-handedly that a crooked Broadway producer could make more money from a flop than a hit; cynical has-been Max Bialystock (Nicholas Hamel) jumps on the idea – and Bloom – like a crazed mountain lion, starting the two on an misbegotten search for a play “so bad it has to fail”, that has a brilliance, talent and fervor that is a delight for the heart and ears.
Essential to the success of the show is that Hamel and Spidale gel nearly perfectly as comic foils and masters of physical comedy with their own unique talents having many surprises to give. Though both bear some resemblance to the originals, especially Spidale, you soon forget that and get lost in this company’s magical trek towards disaster.
Hamel is nothing less than fantastic as Bialystock, less knowing and cynical than Nathan Lane’s version of the role, his Max sings richer, dances with more grace and with moves that Mr. Lane could only fondly remember. Hamel’s Betrayed, the test of tests for any to attempt this role, is superbly and artfully performed with a deftness and mimicry of the others in the cast that brought roars from the audience. His comic timing and sense of the absurd delight the audience as he pushes Bloom along in Der Gutan Tag Hop-Clop and Keep it Gay. It seems clear that one day, you will remember that you saw Nicholas Hamel in person in a break-through performance for only $18, fondly, if you are clever enough to come.
Bob Spidale is also someone you may well remember seeing first here. His Max Bloom has a golden voice that makes all his songs a delight, but his emotive skills shine though especially in That Face, I Wanna Be A Producer, and that homage to friendship, ‘Til Him. I’d compare him too, but who care about "that guy" when you can see Spidale this weekend?
Like Hamel, Spidale is a great physical comic. Spidale’s sense of the vaudevillian hilarity is never so spot on as when he dives for his “blanky” or fights with Bialystock after the first night of their show. Spidale makes the audience laugh, roar and sigh, as he, Hamel and Malloy triangulate the movements of the audience’s funny bones all night long.
Sarah Malloy’s Ulla literally leaves male audience member’s jaws dropping* when “Ulla dance” and “Ulla dance again”. I turned around to look when I finally was able to wrench my eyes away; the things a critic must do for the art. My eyes are still annoyed at me for taking them off Ms. Malloy. Her husband is not.
Yet, Malloy’s acting and singing chops go far beyond Ulla’s bewitching belly blenderizing as she brings a joyous esprit to Ulla that makes her a joy to watch throughout the show.
Sarah Malloy’s voice as “Ulla Sings” is also quite splendiciously fine, and if her belting is not as loud as Ethel Merman’s, quite frankly, nobody minded, the sound was beautiful and so was she. Malloy’s singing in That Face is particularly beautiful and her performance in the last quarter of the show, as “Ulla acts” brings an almost insane excitement to the part. More importantly, Malloy played a funny, determined, intelligent Ulla, and I continually wondered who was pulling the strings as soon as she entered the story. This was a plot element missing from the modern version, and I liked it.
Well, you’ll have to see the show to see what else she delivered. It was a joy to watch her magnificent performance as Ulla the dancer. Here Malloy, surrounded by all the other dancers in the company not only held her own, but shone showing just how talented Malloy is, and how much more of her than “Ulla” we may see of her some day.*(I am told that the murmurs during intermission that photos N____e and S______a took of husbands with their jaws gaping open were available for sale at a small fee, is just a rumor. Surely participation in theatre could not lead our young youths astray?)
I am afraid it will be difficult to talk about John B. Boss’ performance as the untalented director DeBris with a straight face, he was so outrageously funny, it was only the cast’s rehearsal schedule that saved them from Tim Conway-it is, if you get it? Got it? Good.
John Boss’ DeBris goes beyond staggering in this unforgettably flamboyant performance that had the audience rolling each and every time he made his unique way onto the stage.
Boss’ acting, singing and dancing would have completely stolen any other show had not this cast; from curly tops and producer hats to baby blue tap dancing bottoms and storm trooper boots, not been so finely polished. Boss is a consummate actor, and in what could have been a two-note character part, he produces a symphony, with all the trills and flourishes that his comic imagination could provide, each moment building on the one before it, until that glorious moment when all is revealed and he tops himself once again. And amazingly, the company marches right along with him to glory.
I’ve seen Boss in any number of productions over the years; he’s entertained audiences in all kinds of roles from romantic but unmarried Bobby in Company to geriatric curmudgeon Scrooge in The Christmas Carol, but in this performance, he has outdone himself, going beyond all expectations, superceding all imagination and anything the movie has to offer. If for no other reason, you should see this production just to see John Boss’ DeBris. You will never, ever see anything like it again.
DeBris is the perfect vehicle for Boss who is a magnificent performer in his own right. Tall and bald, his DeBris is a queenly force to be reckoned with, yet played with all the fawning insecurity the part requires. His, um, how should I put it in a family blog, posse, I’ll use that spelling, Will Loftus as Carmen Ghia, Barry Blodgett as Brian, Michael DeFrang as Kevin (and the Soloist Storm Trooper in Springtime for Hitler), Dan Naylor as Scott, and Katy Smith as Shirley, were perfectly cast and perfectly funny. Frankly, I enjoyed this scene far more than I enjoyed it in the movie due to the combined efforts of the cast. Granted, the tension brought to the scene by Spidale and Hamel pushed the laugh index through the roof and Boss’s take no prisoners physical comedy approach made the audience scream. That was before Gary Peterson’s memorable entrance.
Later in the show, DeFrang’s solo in Springtime for Hitler was a showstopper. Superb. No other word for it. Then of course, John Boss entered as “you know who”. From that point on the laughter never seemed to end.
The most difficult part of this review is that there is so much to praise in this production and so little to criticize. I found nothing of note to criticize, and worse, there was something wonderful to point out about every actor on stage. In a cast this large, this makes the review start to take on the length of War and Peace, yet in this case, it might be worth it.
For example, while Will Loftus was amazingly funny and sincerely pathetic as Carmen Ghia, providing Boss a perfect counter-point all the way through the show, yet his deep bass solo near the top of the show in I Wanna Be A Producer is so rich and beautiful that it, in and of itself is worthy of a mention.
Anthony Berg’s startlingly amazing performance and dancing as Fritz Liebkind (and his birds) caught me completely by surprise. Berg brought just the right amount of madness and camp to his portrayal, yet when the time called for tension and drama, he was able to bring it within the lines of the character he had drawn. I doubt anyone who saw his hilarious singing and dancing performance as Fritz, will ever be able to forget it. He should go far.
So who do I leave out?
How about the beautiful and beautifully choreographed tap girls who steal the audiences hearts in I Wanna Be A Producer: it’s easy to single out the tall and beautiful Laura Berger and not-as-tall but beautiful Samantha Giovannetti, since they double as usherettes. At the same time, the gorgeous Nicole Giannelli, Erika Bradbury, Jodi Buczek and Katy Smith, blended perfectly with the others, making the tap girls a unified, funny and sexy unit throughout the show.
Or should I forget to mention the comic genius of “Not her!” Elaine Castor whose frenetic and persistent antics reminded me of the Ingénue in the Royal Shakespeare Company’s “The Critic” from the Chicago International Theatre Festival of the 1980’s? Both women decades apart gave me belly laughs and a near coronary. This company can’t be faulted for not swinging Castro in on a wire, it’s not in the script, but she tries to get back in the chorus line nearly every other way with fierce aplomb, yet in her other dancing characters, could not be a more graceful beauty or refined, if called for.
Speaking of costumes, follies girls Shannon Langland, Erika Bradbury, Mia Hirschel, and Toni Higgins-Thrash deserve special marks for bravery for wearing their staggeringly skimpy and ludicrously perfect costumes during Springtime for Hitler. Come to think of it, I really should have worked tech on this show. It’s only 70 miles round trip, quite reasonable really…
Don’t let me let this tiny bit of wit give the chorus girls short shrift. Their voices were heavenly and did much to make the Busby Berkeley meets Esther Williams choreography near the end of the show work its magic and their voices were as gracefully heavenly as they were. Yep, I really blew it on this one. I bet I could have been the pigeon wrangler…
Double casting was well hidden. There sure were a lot of Bialy girls. Who would suspect that Mr. Marks, The Indian, Donald Dinsmore, and a variety of walk-on storm troopers, theatergoers and prisoners were all played by the excellent, quick changing character actor Gary Peterson? Or that Barry Blodgett covered Bryan, Jason and Cop O’Brien? So, I’m not even going to go there.
Which brings us to the music overall. Stunning, enchanting, surprising, thrilling, powerful, balanced, audible, even, all parts heard, in short everything you want and expect from a show of this caliber. I heard every note and every note seemed to be wonderfully sung from virtually every cast member with a surprising virtuosity of singing from the dancers and dancing from the singers.
The full orchestra was a wonderful surprise, they were an asset to the show, never overpowering, and the actors never struggled to be heard over them, their voices floating easily above them. Tempo was never an issue as the show sailed along in perfect time.
Had this been merely a concert of the show, I doubt that the music could have been better, but it was so much more than that, with a richness of humor and surprises at every turn that made this Mel Brooks comedy, written in the old style of theatrical comedy fly by.
This is perhaps an excellent moment to talk about the virtually perfect tech and the amusing and clever scene changes all guided under the magnificent prowess of Stage Manager Dani Klosowskiwho kept the show running like a fine tuned Swiss watch. Since the back stage area of the show was undoubtedly busier than O'Hare at Thanksgiving, Klosowski and her crew deserve immense credit for brining off the amazing number of cast movements, sound and lighting cues, scene changes, prop and actor maneuverings and the thousands of little backstage details and riots that happen backstage, that must happen every night, so that what we saw on stage happens without a flaw.
The dance sequence after DeBris is signed up may be in the script, or it may have been improvised as a nod to the Mambo scene in Guys and Dolls, in any case it was a howl and covered effortlessly a scene change between DeBris' house and Bialystocks’ office with fun and esprit. Moments like this made the show fly by with fun and imagination. Keep your eye on who pulls those curtains though, I promise, it will be worth it. The sets and lighting were magnificent with too many touches to go on without spoiling the effect. But the big numbers were big and beautiful because of them. Robert Hamel’s sets deserve all the kudos they got after the show.
Other unsung Tech and Production Staff Heroes?
• Technical Director - Vlad Novikov • Master Carpenter - Grant Wenger • Scenic Designer - Bob Hamel • Lighting Designer - Chelsea Lynn • Sound Designer - Tom Scanlon • Accompanist - Kelli Shibuya • Props Coordinator - Michelle McDonagh • Publicity - Phaedra Wells • Production Assistant - Lindsey Weiss
(Anyone willing to type in the orchestra into a comment, please let me know!)
So, now you have a decision to make. Do you say to yourself, wow, what a review! Too bad I can’t go? Or do you pick up the phone and make a reservation? I can only urge you to go. It’s on your conscious now, but I’ll leave you with this thought.
I've been less consistent about writing this blog lately because of a massive back injury that has me in constant pain. I don’t usually mention it because while in comedy pain is funny, listening to whining about it is pathetic and boring. But I’ll tell you this, after 4 years of constant merciless pain ranging from 3-9 on a 10 point scale, I’m always in some level of discomfort. Always. So I was expecting to see this show after such a long ride through a wall full of misery and have to upgrade my opinion to compensate for the agony.
I'm not sure when the laughter became so overwhelming that I forgot my misery and just enjoyed the show, then became overwhelmed with laughter and was anesthetized by it completely, but the effects of the joy and laughter lasted through two acts, some talking with the cast, crew and audience after, the whole 35 mile trip home, and for several hours later, a painless interlude for which the cast and crew have now earned my undying friendship. It's literally been years since I've felt this good. Thank you for that. It might not be a miracle, but the laughs you gave me were the best over the stage medicine I’ve had in a long time.
Thank you to all concerned. If I left you out of this review, my profound apologies, just leave me a note and I will correct it. I hope to add the names of the musicians at a later date for the record.
Correction 10/15/08 Jodi Buczek tells me that I accidentally omitted the awesome Samantha Giovannetti. Probably not the first time someone has made the Giannelli/Giovannetti mistake during this production. I have still to clear up whether "Sam" was also one of the Usherettes. Nicole who I first gave that credit to is a brunette where as Sam is a blonde. I distinctly remember a blonde Usherette. But, was that a wig? So many mysteries. Guess I will just have to go back and see the show again. Corrections like this are most gratefully received.
Correction 10/16/08 Stage Manager and Technical Staff accidentally omitted were re-added to the review. Also on the cutting room floor. My sister had a baby this week, what can I say?
Dems Change Middle Name to Hussein because it rhymes with brain.
Peter Files Blog of Comedy Political Souses report a trend of Democrats nationwide changing their middle names to Hussein in support of Barrack Obama, Democratic Presidential Nominee for President.
A new Facebook Group was formed today "People Who Call Themselves "Hussein" in Support of Obama"when it's originator, who declined to be quoted noted "The number of those with facebook listings with "Hussein" as their middle name was "Over 500" and many or most of these were ordinary American names. I'm just organizing a trend that already exists.
The groups purpose:
Are you tired of the growing hate in this election?
John McCain's and Sarah Palin's Personal attacks on Senator Barrack Obama have gone beyond the point where they can be considered within the bounds of political fair play.
Now most people with common sense know that these "Ad Hominem" attacks by McCain-Palin are a desperate attempt to replace the lack of a real program that is helpful to any but the uber-rich.
It's time to put an end to the personal attacks on Obama that go beyond the boundaries of record or common sense but play on old fashioned "race politics" that should offend us all.
Go ahead. Take a stand. Put part of Senator Obama's name in your name, yes, that part that McCain and Palin want to "scare people with"!
Ooh, "Hussein" isn't that unfamiliar foreing sounding name sooo scary, you dumb hick Joe Six packs"!
By speaking out, whether in your Facebook name, your status messages, in an email message, a button, a sign in your window, by making Hussein part of your name today you can help deprive the McCain-Palin camp of one of its weapons of fear. The kind of weapon Adolph used. Now there's a name people hate.
The terrorist who once owned "Hussein", gave it its meaning and its fear value is dead. We should now take it back and give it back to the many people of worth who were born with it and deserve the common dignity of personhood.
Why should the actions of one now dead, cruel and vicious dictator reflect on any of them anyway? Why do we act like sheep about something like this. We have gone beyond this, or should have.
It's this sheep like, herd-like mentality that fear-mongers like the McCain-Palin ticket are depending on to deprive us of our chance at meaningful change at this election.
If you pledge to "change your name", be it for a minute, an hour, a day, a week, a month, or forever, you support a change from the totolitarian fear-based politics that can ruin a nation.
You don't have to be pro-Obama to do this.
Of course, you will find many friends here if you do.
However, if you do this experiment, you may find out who among your friends has a sense of humor and who does not. And in doing so you might find yourself a supporter of Senator Barack Hussein Obama, after all.
And remember this, it is just a chance of fate that you were not born with the name Hussein in your name.
Senator Obama has nothing to do with this group.
Turns out, this is a real Facebook group. Well, will you join the effort too?
With a yummy brunch included. The Spectacular Beverly Theatre Guild, Beverly Hills Oldest Performing Arts Group invites you and your Mom and Grandmother to their Brunch and Show Treat on Mother's Day at 11:00 am at the Garden Chalet 11100 South Ridgeland followed by a 2pm performance of the Hilarious Hilarious Comedy Moon Over Buffalo at the Brand new Beverly Arts Center 111th and Western Avenue.
Brunch Space is limited so call 708-361-0400 today!
Plays coming up in South Side Chicago Theater starting this weekend. Please verify time and ticket prices with the box offices!
OAK LAWN COMMUNITY THEATER THOROUGHLY MODERN MILLIE SHOW DATES: March 14th, 15th & 16th SHOW LOCATION: Oakview Recreation Center @ 4625 W. 110th Street , Oak Lawn TICKETS: $19.00 Adults / $18.00 Students & Seniors BOX OFFICE: 708-857-2200
NEW WORLD REPERTORY THEATER THE EMPEROR’S NEW CLOTHES WHEN: March 15th WHERE: New World Repertory Theater @ 923 Curtis Street , Downers Grove TIMES: 1:00pm & 4:00pm TICKETS: $10.00 Ages 12 & up / $7.00 Children under 12 BOX OFFICE: 630-633-1489 www.newworldrep.org
ELIZABETH SETON CHURCH THE VIGIL – AN EASTER PASSION PLAY WHEN: March 13th & 14th WHERE: 16100 Seton Road , South Holland , IL TIMES: 7:30pm TICKETS: $5.00 Per Person BOX OFFICE: 708-333-6300
BEVERLY THEATRE GUILD JESUS CHRIST SUPERSTAR WHEN: March 14th, 15th & 16th WHERE: Beverly Arts Center @ 2407 W. 111th Street , Chicago TIMES: TBA TICKETS: $20.00 Adults / $19.00 Senior (62+) & Students (with current ID) / $18 Military ~ Retired or Active / $18 Group Sales ~20 or more BOX OFFICE: 773-445-3838 or www.beverlyartcenter.org
THEATRE-ON-THE-HILL ESCANABA IN LOVE WHEN: March 21st through April 13th WHERE: Bollingbrook’s Performing Arts Stage @ 375 W. Briarcliff, Bolingbrook TIMES: Friday & Saturday @ 8:00pm / Sunday @ 3:00pm TICKETS: $11.00 Students & Seniors / $14.00 Adults BOX OFFICE: 630-759-2970
ORLAND PARK COMEDY IMPROV COMEDY IMPROV WHEN: March 28th WHERE: Old Village Hall @ 14413 Beacon, Orland Park , IL TIMES: 8:00pm – 10:00pm TICKETS: $5.00 at the door BOX OFFICE: 708-403-7275
ORLAND PARK THEATRE TROUPE GREASE! WHEN: April 25th, 26th & 27th WHERE: Carl Sandburg Performing Arts Center @ 13100 LaGrange Rd , Orland Park TIMES: Friday & Saturday @ 7:00pm / Sunday @ 2:00pm TICKETS: $17.00 Adults / $15.00 Seniors & Students / $13.00 Children to age 12 BOX OFFICE: 708-403-7275
STRAY DOG BORN YESTERDAY WHEN: April 25th, 26th, 27th, May 2nd, 34d & 4th WHERE: Veteran’s Memorial Middle School Theatre @ 12320 S. Greenwood Ave , Blue Island TIMES: Doors open @ 6:45 ~ Please do not arrive earlier than 6:30 or later than 8:30pm TICKETS: TBA BOX OFFICE: TBA
S.T.A.R. ANYBODY OUT THERE? WHEN: April 26 & 27, May 2 & 3 WHERE: Home Auditorium, 4400 S Home Ave , Stickney , IL TIME: : Sat @ 8pm / Sun @ 2pm / Fri & Sat @ 8pm TICKETS: $10 Adults / $9 Seniors, Students & Military / $5 Children 12 & under BOX OFFICE: 773-585-5852 or www.chicagostar.org
BEVERLY THEATRE GUILD MOON OVER BUFFALO WHEN: : May 9th, 10th & 11th WHERE: Beverly Arts Center @ 2407 W. 111th Street , Chicago TIMES: TBA TICKETS: $20.00 Adults / $19.00 Senior (62+) & Students (with current ID) / $18 Military ~ Retired or Active / $18 Group Sales ~20 or more BOX OFFICE: 773-445-3838 or www.beverlyartcenter.org
PALOS VILLAGE PLAYERS I HATE HAMLET WHEN: May 9th, 10th, 16th & 17th WHERE: Palos Village Hall @ 8901 W. 123rd Street , Palos Park TIMES: Fridays & Saturdays @ 7:30pm, Sunday matinee (10th) @ 2pm TICKETS: From $12 to $15 BOX OFFICE: 708- 479-3262 or 708-671-1091
Unlike many similar posts this one is legit. If you are a high school student looking for a paid theater internship, check this out!
NightBlue Performing Arts Internship Opportunity This program is partially supported by a grant from the Illinois Arts Council, a state agency.
NightBlue Performing Arts Company is a professional 501(c)(3) not-for-profit performing arts company. As an inclusive program providing performance opportunities to people of all backgrounds including regular training for young adults, NightBlue has a vibrant history of involving community youth in its productions both on and off the stage. NightBlue continues to provide cutting-edge, award-winning theater in Chicago and on its Southside, featuring professional actors of all ages.
In keeping with NightBlue’s initiative to expose community youth to the arts, NightBlue has developed an off-stage teen internship program in the administrative and technical stage areas. In January, NightBlue received a grant from the Illinois Arts Foundation to assist in aggressively pursuing a total of 4 high school aged students, 2 for each session of the program. There will be a spring and a summer session, and each session provides the opportunity for one teen to act as an intern in both the administrative and technical areas. Each teen will benefit from this experience both creatively and educationally, and will receive weekly guidance from the NightBlue staff. Below you will find more specific details regarding each paid internship opportunity. NightBlue can also extend the hours of the internship and provide certification for service hours as a charitable organization. Please contact Tina Smith, Program Administrator, at tina@nightbluetheater.com for more information or to obtain an application.
Tech Intern: SALARY: $7.50 per hour DUTIES include, but are not limited to: Participating in set, lighting and sound design, construction, and set-up. Assisting with technical show development. Running crew and stage management at performances.
Arts Administrator Intern: SALARY: $7.50 per hour DUTIES to be completed at the Lemont office include, but are not limited to:
Managing ticket sales and ticket plans for events Developing and implementing publicity and advertising, including e-mail marketing strategies and press releases for local newspapers. Planning strategy for large black-tie downtown Chicago benefit. Planning for and meeting with staff and the board of directors. Updating and independent design for blog and web pages.
FIRST SESSION (12 weeks): March 17, 200 - June 7, 2008 Weekly Hours: Approx. 11.5 hrs/wk scheduled to be planned with intern and will include a weekly meeting with the supervisor
SECOND SESSION (12 weeks): June 1, 2008 - August 23, 2008 Weekly Hours: Approx. 11.5 hrs/wk scheduled to be planned with intern and will include a weekly meeting with the supervisor
I remember sitting in AP Physics trying to get my head around the mysteries of "centripetal force" and why there "was no such thing as centrifugal force".
How I wish I had this comic back then, just to show it to Fr. Fergus, S.J. (RIP) who would have roared with laughter, or just to alleviate my frustration with the math that was making my head spin.
He would have, of course, been in the "centrifugal force is not an actual force but the effect of the combination of other forces" camp. The point here, that whether it is an actual force or a combined force that kills you, you're still just as dead, is a very funny one indeed.
So be sure to check out the continuing saga of many really original laughs at xkcd.com. Quite a few romantic ones too.
This is one of those cartoon sites that makes me wish I had saved all my doodles or learned to draw and think funnier. Of course 97.5% of my doodles were 3-D boxes and extensions of them. A limited market for those today. If you are asking why other shapes commonly found in young men's doodles were not high in that total I have a two word answer for you.
Jesuit Education.
The penalty for being caught with naughty drawings could be severe.
Unlike a Christian Brothers school you would not get hit on the head with a ruler for daring to draw body parts in class, instead, you risked either having to explain why you, of all of those in the room were so special that you did not have the need to pay attention in class, and then demonstrate your superior knowledge of the subject at hand, or, worse yet, might have to display your artwork to the class, and make comments about its artistic merit at length, inviting criticism, blatantly honest criticism which was of course, freely given, especially after the bell, from the class.
Nothing beats a little humiliation and peer pressure for "Character Building" and creating an advanced sense of social responsibility.
This strip was not only funny but invoked many memories.
Amber, Amber, Amber, I can still hear you barking in the quad.
(Amber was Fr. Fergus' German Shepherd who could be frequently heard barking during the course of the school day, not exactly the geese of Rome, but we liked the old dog who was far more often heard than seen.)
Speaking of social responsibility, let's have one more!
Sharing comedy is a wonderful thing to do. If you wish to share my comedy with your friends, non-commercially, feel free to do so using the email-share link button shaped like an envelope below. Better yet, send them the link to this post, or any other that you like here. New readers are always welcome! But don't sell them or use them in a sold work, my original works are fully protected under international copyright law.
As you may be aware, while not playing Old Maid in the Cloakroom, the Illinois State Legislature has been going through many machinations this month to solve the Chicago Transit Authority's funding crisis.
Illinois Governor Rob Blagojevich stunned all of the politicos in Illinois and Chicago especially when he finally announced, through an amendatory veto, the part of the CTA rescue plan that he'd been keeping under his thinking cap, probably so that he'd get sole credit for it, that all senior citizens would ride free under his new plan, leading to the headline above, albeit, I hope a fictional one.
Illinois Governor's New Transit Plan Solves Senior Homeless Problem at One, er, Stroke
Not that Senior Citizens ever have strokes, or would ride CTA perpetually in cold weather under the new plan.
Or would shoot CTA Service Planning all to heck and back by giving unlimited riding to any market segment.
Of course, there are some benefits to the plan, a lot of Senior riding is in the off-peak, that is from 9 am to 3 pm on weekdays and on the weekends, when CTA has more capacity. One problem though is that Seniors tend to be early risers and may be tempted to ride early, between 5:30 and 7:30 when CTA does not have extra capacity.
A simple solution would be to charge everyone the same thing during these times, Senior Citizen or no, or, to charge the current half fare during peak hours. Otherwise, CTA may be forced to purchase even more equipment than it has now, and given its current capital needs crisis that would not be a good thing.
Yes, I thought of other headlines that could be in our future:
New Senior Fare Plan Leads To Need For Bathrooms on Buses and Trains
What the El is Leaking From That Train?
CTA Now Has More Depends-Able Public Transportation
New Bus Routes To Go Past Funeral Home Viewing Windows In Off-Peak On Request, Seniors Dying to Use New Service Option
I'm Tired Of Your Complaining Mom, Go Jump On A Bus!
CTA Ridership Up, Seats Down, Seniors Eye Chicago As New Vacation Mecca
Of course, this is all in fun. What ever they can do to give CTA a stable source of income without stealing from the hard working employees and retirees of CTA is a good thing, in my book.
Did you know that coming into downtown from O'Hare or Midway you can save $30 to $40 taking CTA's safe Blue and Orange lines and as much as 30 and 40 minutes as well? That time and money combination is hard to beat!
I think that everyone commenting on the issue is missing the central point that since Reagan cut funding of Transit Operations (not Capital Funding) to transit properties in the 90's, in Chicago that was a loss of 80+ million a year, Illinois, unlike many other states, never figured out a way to pick up the difference. (Cf: NYCTA, Boston, Septa, etc). Instead its been blame CTA for problems caused elsewhere and lack of the political will to do what was needed. And in a region that needs CTA as much as this one does, not to mention Pace and Metra, that's no joke.
I can't help wondering why, when after the last 3 census counts when Chicago lost population, legislators were eager to cut CTA, why after the last census when the City of Chicago's population grew, legislators were not more willing to sustain or even expand CTA?
Especially since the new population, Hispanics, are very likely to use CTA for many of their trips.
Makes you wonder, doesn't it.
Seniors Refuse Free Rides On CTA, Want Free Cars From Oprah Instead
I grew up in Europe, where the history comes from. -Eddie Izzard*
I grew up in the United States, where democracy and human rights comes from. -This Post, Peter, The Peter Files Blog of Comedy, Satire, Jokes and Commentary
I'm Charley's Aunt from Brazil - where the nuts come from. - Charley's Aunt, Brandon Thomas, 1856-1914
Oh, when the world was once a simpler time. If you've never seen the stage play or movie Charley's Aunt, do so as soon as you can.
The best place to see it of course is in a theater, where the play was meant to be seen. In a really good production, the laughs just build and build and build until the health of some members of the audience is physically endangered and others are seen weeping with laughter on the floor or in the aisles. Seeing the show is also a good place to find out where some of the oldest bits in comedy came from, except the ones that Thomas stole from others, er., were in in the tradition of the stage already.
That kind of laughter, which builds and builds on the most effervescent and ephemeral of heights until you are laughing so hard that you can hardly stand it is almost impossible to achieve in a film or to maintain, because of course the actors can't hear the audience and change their timing in the oh so slight ways needed to help the laughs roll and billow and build with each individual audience. For of course the greatest comedy requires listening to the audience and responding to it, even it you never seem to acknowledge it.
I played Charley once in an amazing production of Charley's Aunt, our Fancourt Baberly, the guy dragged into impersonating Charley' Aunt was possibly the funniest guy since Jack Benny to play the role. Truly gut wrenchingly funny. Ah, if I only had a tape. The pitfalls of doing community theater and not TV or Film. At any rate, he and our Jack, Charley's roommate and the others in the cast soon formed a small but deranged group of actors that would do anything to get a laugh and somehow seemed to fall into the methods of the time in which reactions are so important, Benny's forte, the slow turn and stare, "Well!", was made for this play and you will hardly see him in anything, anything better. The material is just that good.
Speaking of Jack Benny's version of Charley's Aunt, it just was re-released in DVD after having its image and sound fixed up by Fox to picture perfect or thereabouts quality, I hear. If anyone was born to the part, other than my friend Marty, it has to have been Jack Benny and I can't wait to get my hands on this version which also stars Kay Francis, James Ellison, Anne Baxter, and Edmund Gwenn.
Just right-click on the ad below to see a review and details of the show if you are at all curious about this wonderful love story.
For all of those suspicious of any commentary with an ad in it, I don't blame you. I just saw the Eddy Izzard quote, was inspired to do my own, and realized that Eddy was really borrowing off of Brandon Thomas, author of Charley's Aunt, whether he realized it or not. He almost had to know what he was doing though, as had most of his audience.
Even today, it must be hard to get through school in England without seeing Charley's Aunt at least once. It's them like not seeing The Importance of Being Earnest or U.S. kids of the 70's and 80's not seeing the film versions of The Lottery or An Occurrence at Owl Creek Bridge (the latter of which I saw endlessly though grammar school, high school and even in college!)
At any rate, I've added the ad because I can! I hope you will get the film here or somewhere else. Or rent it as soon as it becomes available.
Here's to those who once admired, "the roses, the primroses, the cabbages and things," wherever you are!
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