Fellas have you ever noticed how many Black Dresses a female OWNS? we are assuming the answer most likely would be no, you should pay attention because every single BLACK DRESS serves a purpose. She owns anywhere from 2-6 of them (depending on the level of woman she is) and each dress is cut differently and accentuates a different part of her body . There is one just to show her back, one to show her legs, one just for cleavage, so on and so forth BUT then there is that BLACK DRESS. THE HOLY GRAIL OF BLACK DRESSES. This BLACK DRESS is the dress that states I AM SINGLE FOR THE NIGHT, fellas if you have a significant other, boo, shorty or (insert random title here) then this is the BLACK DRESS you do not want to see. Be afraid be very afraid, once this BLACK DRESS comes out of the closet she just told you "tonight imma do me boo boo, imma do me". We can tell some of our male readers are lost and do not know what this LEGENDARY BLACK DRESS looks like or what its capabilities are, we are here to help
It is the dress that makes her legs looking longer by showing MORE of them
It is the dress that shows the right amount of cleavage
It is the dress that shows the small of her back
It is the dress the makes her arms look a little nicer
It is the dress the accentuates all of the positive features of her body while hiding the negatives, the unwanted.
YES!!!! Fellas this one single dress can accomplish all of these things, NO ONE DRESS SHOULD HAVE ALL THIS POWER
Now we know our male readers are confused and we can already hear your question. WHEN AND WHY WOULD SHE WEAR SUCH A DRESS ? Well this may be difficult to read but she brings out this dress when YOU, YES YOU have pissed her off beyond belief. SO she chooses to go partying and unwind with her friends while you sit there confused as to what you have done wrong trying desperately to figure it out. When she pulls this specific BLACK DRESS out of her closet just PRAY and ask her for forgiveness because SHE IS SINGLE FOR THE NIGHT.
Comic Relief on the Blog
Wednesday, January 12, 2011
Tuesday, August 3, 2010
BLACK ANGELS SOAR OVER WASHINGTON
Layon Gray
Last week Layon Gray’s Off Broadway hit, Black Angels Over Tuskegee completed a brief but very successful showing in the nation’s capital during the National Urban League’s conference on Thursday July 29th. Gray’s play is based on true events in which six men explore their collective struggle with Jim Crow vis a vis their intelligence, patriotism, dreams of an inclusive fair society, and brotherhood-- as they become the first African American fighter pilots in the U.S. Army Air Forces.
Using every inch of the grand stage at Warner Brothers Theatre in downtown D.C, the mostly original cast pulled out every conceivable stop, eliciting spontaneous laughter and intermittent clapping from a highly charged and reactive audience which seemed only to elevate the Angels performance into the stratosphere.
Thom Scott (Abe) was simply extraordinary and seemed to have a direct connection with audience. Scott may arguably have been the audience’s favorite character that night—his intensity seemed to ratchet up as he fed off the audience‘s palpable connection with him (and what footwork this man showed as his character skillfully slips and slides at points on stage ).
Demetrius Grosse’s (Perceval) “Africa” scene was exceptionally well timed and truly funny. Grosse’s experience and stage presence amplified the play’s message at many key moments. Grosse‘s magnetic presence had the audience hinging on his words. Grosse seemed to elevate other actors around him as well. He has a deceptively agile range and improvisational ability that is clearly missed when he is not on stage (as I have written before). In this role, Grosse is in a galaxy of his own (period)—what a pleasure to watch this scintillating super nova perform.
Also shining brightly the inimitable, David Wendell Boykins (Theodore) exploded on stage. Boykins’ exquisite sensitivity always gives the play just what is needed at the right time—every time! A master of facial expressions, Boykin’s provided emotional intensity and comic relief using verbal and non verbal cues with amazing fluidity. He also doubles as lighting director and was in DC earlier than the rest of the cast to work on the set—he is a powerhouse on and off stage!
The very likable, Lamman Rucker (Tyler Perry’s Why Did I get Married and Meet the Browns ) in the role of Elijah has a quiet appeal. Quite comfortable on the big stage and in the big moment, Rucker was loose and free flowing-- not at all egotistical. Unlike some film stars who have hard time transitioning to live performance, Rucker showed talent and ability. He did not have to rely on his celebrity status or star power to make the role work. He fine tuned his character to fit in with the cast. Rucker is obviously a confident pro.
Steve Brustein who plays the commander and Derek Shaun (Jeremiah), the most emotionally troubled of the Angels provide the tension. Though he only makes a few cameo appearances, Brustein is always fresh and energetic as the highly credible commander. The play always heats up when Brustein walks out and the men snap to attention-- as he barks in disgust. Though Brustein plays a convincingly abrasive, no nonsense commander, he is never over the top which is refreshing. Brustein skillfully allows his tough-nosed character to show just enough empathy/ He breaks from his rigidity to momentarily encourage the Angels at difficult moments. Given the complexity of the relationship between Burstein and the Angels as demonstrated by the exchanges between him and Boykins, the audience is left wanting to know more about this enigmatic commander. (Perhaps Gray would consider expanding this role on Broadway? lol) Without Brustein’s volcanic performance the play certainly would have been too soft, and perhaps predictably sentimental.
Without question the most intense and complicated of the characters on stage is the smoldering Jerimah Jones played by the gifted, Derek Shaun. Sullen, troubled, purposefully withdrawn, and internally focused, Shaun appeares most affected by Jim Crow. His psychologically absorbing portrayal of Jerimah essentially forces the audience to grapple with the tragic emotional and personal injuries many of the Tuskegee Airmen suffered even before becoming Airmen. Often standing aloof and apart and in direct contrast to the camaraderie that is seen on stage, Shaun is not immediately likable. Nonetheless, he brilliantly tackles the huge task humanizing the at times offensive Jerimah. Shaun also masterfully manipulates his silences for long stretches of the play while maintaining a powerful connection with his fellow pilots and the audience through a well-timed glance, grimace, or a gesture. How Shaun is able to hold and communicate the various shades of meaning and levels of inner complexities associated with this vexing character defies description. Backstage, after the play, several people could be overheard saying to (the very personable) Shaun that they were either scared of him or didn’t think he could even smile.
Black Angels’ evocative and emotionally charged ending always generates audible sniffles. This was true of the DC crowd as well--- with several folks drying their eyes as Gray (Quentin) and Scott, whose relationship form the emotional heart of the play, engage in a riveting dialogue that is sure to tug at the heartstrings.
The thousand plus DC audience was standing on its feet well before the play was finished as Thaddeus Daniels, the play’s narrator extraordinaire, brings it all together with a poignantly communicated monologue that spellbinds the enthralled listeners. Daniels’ smooth delivery and emotionally evocative style has the effect of eliciting any emotion he wants from the audience. Literally, folks were leaning over to absorb each word from his lips. His disarming folksy narration is the play’s voice and glue—this guy is so good at setting mood and atmosphere that he has been likened to the lighting and set design! (No lie- at tiems Daniels is simply standing on stage during the action and you forget that he is there until he starts speaking again). Daniels is the secret weapon in Gray’s formidable cast.
In the front row of the DC performance last Thursday night sat the original Tuskegee Airmen (the true American heroes).They were clearly impressed and moved by the play. They all received awards and acknowledgement in a moving tribute on stage at the end of the play.
The original Airmen also bestowed the cast with a medal of honor that night- --the exchange signified a magical moment when art and reality coalesced. Kudos to the Layon Gray and the Black Angels. Keep rising fellas!
BAW
Last week Layon Gray’s Off Broadway hit, Black Angels Over Tuskegee completed a brief but very successful showing in the nation’s capital during the National Urban League’s conference on Thursday July 29th. Gray’s play is based on true events in which six men explore their collective struggle with Jim Crow vis a vis their intelligence, patriotism, dreams of an inclusive fair society, and brotherhood-- as they become the first African American fighter pilots in the U.S. Army Air Forces.
Using every inch of the grand stage at Warner Brothers Theatre in downtown D.C, the mostly original cast pulled out every conceivable stop, eliciting spontaneous laughter and intermittent clapping from a highly charged and reactive audience which seemed only to elevate the Angels performance into the stratosphere.
Thom Scott (Abe) was simply extraordinary and seemed to have a direct connection with audience. Scott may arguably have been the audience’s favorite character that night—his intensity seemed to ratchet up as he fed off the audience‘s palpable connection with him (and what footwork this man showed as his character skillfully slips and slides at points on stage ).
Demetrius Grosse’s (Perceval) “Africa” scene was exceptionally well timed and truly funny. Grosse’s experience and stage presence amplified the play’s message at many key moments. Grosse‘s magnetic presence had the audience hinging on his words. Grosse seemed to elevate other actors around him as well. He has a deceptively agile range and improvisational ability that is clearly missed when he is not on stage (as I have written before). In this role, Grosse is in a galaxy of his own (period)—what a pleasure to watch this scintillating super nova perform.
Also shining brightly the inimitable, David Wendell Boykins (Theodore) exploded on stage. Boykins’ exquisite sensitivity always gives the play just what is needed at the right time—every time! A master of facial expressions, Boykin’s provided emotional intensity and comic relief using verbal and non verbal cues with amazing fluidity. He also doubles as lighting director and was in DC earlier than the rest of the cast to work on the set—he is a powerhouse on and off stage!
The very likable, Lamman Rucker (Tyler Perry’s Why Did I get Married and Meet the Browns ) in the role of Elijah has a quiet appeal. Quite comfortable on the big stage and in the big moment, Rucker was loose and free flowing-- not at all egotistical. Unlike some film stars who have hard time transitioning to live performance, Rucker showed talent and ability. He did not have to rely on his celebrity status or star power to make the role work. He fine tuned his character to fit in with the cast. Rucker is obviously a confident pro.
Steve Brustein who plays the commander and Derek Shaun (Jeremiah), the most emotionally troubled of the Angels provide the tension. Though he only makes a few cameo appearances, Brustein is always fresh and energetic as the highly credible commander. The play always heats up when Brustein walks out and the men snap to attention-- as he barks in disgust. Though Brustein plays a convincingly abrasive, no nonsense commander, he is never over the top which is refreshing. Brustein skillfully allows his tough-nosed character to show just enough empathy/ He breaks from his rigidity to momentarily encourage the Angels at difficult moments. Given the complexity of the relationship between Burstein and the Angels as demonstrated by the exchanges between him and Boykins, the audience is left wanting to know more about this enigmatic commander. (Perhaps Gray would consider expanding this role on Broadway? lol) Without Brustein’s volcanic performance the play certainly would have been too soft, and perhaps predictably sentimental.
Without question the most intense and complicated of the characters on stage is the smoldering Jerimah Jones played by the gifted, Derek Shaun. Sullen, troubled, purposefully withdrawn, and internally focused, Shaun appeares most affected by Jim Crow. His psychologically absorbing portrayal of Jerimah essentially forces the audience to grapple with the tragic emotional and personal injuries many of the Tuskegee Airmen suffered even before becoming Airmen. Often standing aloof and apart and in direct contrast to the camaraderie that is seen on stage, Shaun is not immediately likable. Nonetheless, he brilliantly tackles the huge task humanizing the at times offensive Jerimah. Shaun also masterfully manipulates his silences for long stretches of the play while maintaining a powerful connection with his fellow pilots and the audience through a well-timed glance, grimace, or a gesture. How Shaun is able to hold and communicate the various shades of meaning and levels of inner complexities associated with this vexing character defies description. Backstage, after the play, several people could be overheard saying to (the very personable) Shaun that they were either scared of him or didn’t think he could even smile.
Black Angels’ evocative and emotionally charged ending always generates audible sniffles. This was true of the DC crowd as well--- with several folks drying their eyes as Gray (Quentin) and Scott, whose relationship form the emotional heart of the play, engage in a riveting dialogue that is sure to tug at the heartstrings.
The thousand plus DC audience was standing on its feet well before the play was finished as Thaddeus Daniels, the play’s narrator extraordinaire, brings it all together with a poignantly communicated monologue that spellbinds the enthralled listeners. Daniels’ smooth delivery and emotionally evocative style has the effect of eliciting any emotion he wants from the audience. Literally, folks were leaning over to absorb each word from his lips. His disarming folksy narration is the play’s voice and glue—this guy is so good at setting mood and atmosphere that he has been likened to the lighting and set design! (No lie- at tiems Daniels is simply standing on stage during the action and you forget that he is there until he starts speaking again). Daniels is the secret weapon in Gray’s formidable cast.
In the front row of the DC performance last Thursday night sat the original Tuskegee Airmen (the true American heroes).They were clearly impressed and moved by the play. They all received awards and acknowledgement in a moving tribute on stage at the end of the play.
The original Airmen also bestowed the cast with a medal of honor that night- --the exchange signified a magical moment when art and reality coalesced. Kudos to the Layon Gray and the Black Angels. Keep rising fellas!
BAW
Saturday, July 24, 2010
Black Angels: The Originals Return
Well...there is nothing like the real thing baby! With the return of Demetrius Gross (Perceval), Lamman Rucker (Elijah)and Derek Shaun (Jerimah), Black Angels Over Tuskegee took on a new dimension for me tonight. I had never seen the original cast perform though this was my 11th show. On the whole, the show took on a more reflective and introspective quality--not as edgy as in past shows. Yet it was smooth and easy to sit through. Bottom line: these actors have an amazing chemistry and easy flow with each other that is obvious. They truly inhabit their characters.
Lamman is very comfortable and relaxed as Elijah and even playful at times which adds poignantly to the play's overall chemistry and appeal. It's a different play with Lamar's presence-- no doubt. He is also quite credible in his delivery and makes you forget the writing. Demetrius is simply an unstoppable force--not much more can be said about him. Derek brings to Jerimah a level of complexity that I had to grapple with at first. ( It was really hard to suspend my memory of Melvin Huffnagle's explosive Jerimah which works very well). Derek's portrayl, however, is delicately nuanced and less angry-perhaps more introspective--which changed the tone of the entire play. When he erupts it almost catches you by surprise which speaks to his range and ability. He is imtriguing to say the least. I am so intrigued by Derek and Lamman's performances --and how they along with Demetrius change the topograpy of this play --that I will have to go back at it tomorrow to see what else I can learn. LOL
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A little Comic Relief
BAW
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