stopped sucking water to get sucked into play
I see a fair number of little plays**, but I don't usually relax enough to adore them--I worry too much about the actors missing lines or the point is too belabored or obvious . . . . I must have been in a mood. I was charmed by this one--Floyd and Clea Under the Western Sky.
The romance wasn't entirely believable, but I thoroughly believed in the love, even if I wish it had stayed platonic--there's only a hint that it doesn't. It's funny because I can see the flaws (if I'd written a character that got in a car with a guy she'd just met, everyone would at once label her TSTL. And some of the moments were glossed over or just didn't seem plausible. The plot often seems very familiar**** I knew what was going to happen.) but I just don't give a damn.
I loved that thing.
I loved the songs (and I don't even like country western)...particularly the ones that don't have to do with the relationship. That burntangel @ aol is a classic. Now I wonder if the songs he sings in the beginning are supposed to show that he'd lost touch with the Feeeelings That He Needed to be An Artist? Don't care. I still love that burntangel thing.
I want to go out and buy the tape. I want the play to do well. I want the actors to get rich and famous and live happily ever after, kind of like the characters, only skipping the angst. David Cole--actor, songwriter, playwright--is way cool, even if his fantasy apparently includes hitching up with a girl half his age. I'll buy into it and cheer him on, no problem. Turns out he's British. . . damn, he's as good at accents as Hugh Laurie then.
Sarah Glendening played Clea. The woman is gorgeous and can sing beautifully. The role of a fresh-clean-lovely-young thing who Cares Deeply could have been obnoxious but she did it so well we didn't want to roll our eyes.
It was wonderful. I'm way glad I went, particularly since it meant I could stop cleaning up the flooded basement.
_________
** I don't see a lot of big slick events--the ones that are so huge you almost forget have real people in them. They cost real money.
****but hey, a romance writer saying a plot's familiar? Teapots! Kettles! glass houses!
The romance wasn't entirely believable, but I thoroughly believed in the love, even if I wish it had stayed platonic--there's only a hint that it doesn't. It's funny because I can see the flaws (if I'd written a character that got in a car with a guy she'd just met, everyone would at once label her TSTL. And some of the moments were glossed over or just didn't seem plausible. The plot often seems very familiar**** I knew what was going to happen.) but I just don't give a damn.
I loved that thing.
I loved the songs (and I don't even like country western)...particularly the ones that don't have to do with the relationship. That burntangel @ aol is a classic. Now I wonder if the songs he sings in the beginning are supposed to show that he'd lost touch with the Feeeelings That He Needed to be An Artist? Don't care. I still love that burntangel thing.
I want to go out and buy the tape. I want the play to do well. I want the actors to get rich and famous and live happily ever after, kind of like the characters, only skipping the angst. David Cole--actor, songwriter, playwright--is way cool, even if his fantasy apparently includes hitching up with a girl half his age. I'll buy into it and cheer him on, no problem. Turns out he's British. . . damn, he's as good at accents as Hugh Laurie then.
Sarah Glendening played Clea. The woman is gorgeous and can sing beautifully. The role of a fresh-clean-lovely-young thing who Cares Deeply could have been obnoxious but she did it so well we didn't want to roll our eyes.
It was wonderful. I'm way glad I went, particularly since it meant I could stop cleaning up the flooded basement.
_________
** I don't see a lot of big slick events--the ones that are so huge you almost forget have real people in them. They cost real money.
****but hey, a romance writer saying a plot's familiar? Teapots! Kettles! glass houses!
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