Thursday, April 24, 2008

On Stage with Jim Brickman

By Brian Baez
Brian is a Box Office Associate for Barksdale


This past Saturday I had the honor of performing with American’s leading romantic pianist, Jim Brickman, at the Southern Women’s Show here in Richmond. Here’s the scoop on how it all went down.

A few weeks ago, Jason Campbell, of Barksdale box office fame, called me from his car telling me that he just heard on the radio that Jim Brickman was having a concert and was looking for a vocalist to sing some of his songs. I immediately went online to find out what it was I needed to do. All he was asking for was a simple demo of you singing one of his songs in one take, with no edits, and a headshot. Easy! “I got this!” I thought. So I called up a friend of mine who had all the recording equipment, and on one rainy afternoon I recorded “The Love I Found In You” and sent it in.

An opportunity like this doesn’t come around every day, so when it did, I jumped on it. I didn’t know what to expect. How many others had heard about the competition? There are a lot of really talented singers out there; do I really have a shot? All I knew is that I wanted it more than I wanted any other performing job in the past. Here was an opportunity to make an impression on one of the most internationally respected musicians of today. After I put my package in the mail, the rest was out of my hands. All I could do was wait, and hope that fate would smile on me.

I was in the Barksdale box office when I felt my phone vibrate with a number I didn’t recognize. “OMG! OMG! Anna-Marie, I think this is it!” I rushed out of the office and answered the call.

“Hello?!”

”Hi! Is this Brian?!

”Yes…”

”Brian, this is Wendy calling from Jim Brickman’s office.”

”Oh My God! I think I know why you’re calling and I’m very, very happy!”

“HAHA! Well you should be. I’m calling to tell you that Jim was very impressed with your demo and he would love for you to join him in concert on Saturday!”

Through the box office glass I could see Anna-Marie jumping up and down in her seat her hand waving madly in front of her face! “OMG!” I thought, “Is this for real?!”

Well, it was for real because the next thing I knew, Cheryl Miller from Channel 6 was calling me to ask me to come into the station and join her on the 12 o’clock news on Thursday to introduce me and talk a little about the concert.

Thursday came and went, and the interview was short, but very fun, and now my focus shifted to Saturday’s perfor…

“Wait! What am I gonna wear?!?!”


I arrived at the Richmond Raceway Complex on Saturday to find the parking lot packed full of cars. That’s when my nerves started and my sweat glands kicked into overdrive. I met up with Claire, Jim’s assistant and publicist, who was smart, trendy and had a witty sense of humor. We instantly clicked, and I emotionally crossed my fingers hoping that that counted for something. I waited around for a while and make sure that my family got in ok and had the chance to find good seats. Then I went backstage and waited to finally meet the man who thought my demo wasn’t half bad. Claire came around the corner and was accompanied by Jim, who looked calm, cool, and nothing like I thought he would!… Just kidding! He looks exactly like his album covers. With a big smile he introduced himself and told me how excited he was to hear me live.

The concert started, and from the moment Jim… yes, we’re on a first name basis… walked onstage, he held the audience in the palm of his hand. After a few numbers, Jim started talking about his search to find a vocalist for this concert. At this point I had no clue as to how many demos he had received, but then I heard him say that we got over 300 CDs from singers from all over the state! My heart was racing as Jim introduced me. I could hear my family and friends from Barksdale who came to support me shouting as I walked out onstage.

The first song went off without a hitch. It was the same as the one I sent in. Jim then mentioned that that was the one song he sang, and was now going to have to find another! After asking me a little about myself, he asked “What else do you wanna do?!”

“Let’s do that Michael W. Smith one, Love Of My Life!” I replied. “Oh, you mean the one that I wrote and he sang?!” Jim was so breezy onstage that it made performing with him feel natural and easy. The banter back and forth was quite humorous as we made little jokes about this or that. I could tell the audience was enjoying themselves as much as I was.

After I finished my songs, I waited backstage again for him to finish the rest of his set. I am always my own worst critic, but when he came backstage he was most complimentary. He then asked if I’d like to join him at the booth to do CD signings. Could this get any better? I felt like such a rock star getting usher in a small entourage to the main booth where there was a line that seemed forever long waiting to say hi. The reception was overwhelming. Folks from all over the state had so many wonderful things to say, and were eagerly waiting to hear wonderful things from me in the future.

I would love to get to work with Jim Brickman again, perhaps on his next tour. His tour manager Wendy said not to rule that out, “You never know” she said when she called ,”he may ask you to go on tour!”

Looking back on the whole week’s events there’s only one word I could use to accurately describe what I experienced. Surreal.

- Brian Baez

Tuesday, April 22, 2008

Respecting Those Who Leave "Little Dog" NOT Laughing

Posted by Bruce Miller
We're two weeks into our six week run of The Little Dog Laughed. About 150 patrons thus far have decided to opt out prior to seeing Little Dog due to their concerns over content. Another 110 or so have left the theatre upset after seeing part or all of Act I.

Each of these patrons matters to me, and not just from a business point of view. I respect and value their concerns. It's vital that I remain true to my own heart, and that they remain true to theirs. But hearts can open; minds can change. Both mine and theirs.

I know not everyone in the world will ever see eye to eye. That's a good thing. I hope I will always want to hear and respect the opinions of those who disagree with me. I hope that many of those who hold opinions different from mine will nonetheless be willing to hear what I have to say.

I've written down the following thoughts and we will begin distributing them during Wednesday's performances to all those who express concerns or choose to leave the show early. I offer my thoughts here to get the word out to others who may have left Little Dog angry during the first two weeks, and may be unaware of our efforts to address their disappointment. Please spread the word.

Dear Barksdale Audience Member,

I’m writing this for those of you who are choosing to leave The Little Dog Laughed early, and/or have shared your objections with our staff during intermission. I’m honestly sorry if you’ve been offended by the play. I understand and respect your opinions. I take them to heart.

I hope you'll allow me to respond to your concerns with five bullet points. I have no expectation of changing your mind. I simply want to offer my perspective.

The first bullet point describes my spiritual motivations for selecting this play. The second outlines where I believe The Little Dog Laughed fits into theatre history. In the third, I talk about the many ways in which we have tried to advise all audience members about the content of Little Dog before they came to see the show. In the fourth I offer you several remedies to address your disappointment. The fifth details what you can expect from Barksdale Theatre in the future, as long as I remain artistic director.

1 - As I have noted for many years, I consider my job to be a calling. I honestly feel compelled to act on my faith through my work at Barksdale Theatre. Without intending to trivialize or rationalize anything, may I say that I sometimes think that Little Dog is my "woman at the well" play.

One of my favorite Bible passages is John 4: 1-42, in which Jesus encounters an outcast Samaritan woman at Jacob’s Well. He knows she has been branded an “adulteress”; he knows she’s been living with a “fifth husband” to whom she’s not really married. He knows she’s become alienated from her own community to the point where her neighbors allow her to visit the well only at high noon after all the other women have returned home.

To the shock of his disciples, Jesus doesn't turn his back on this woman. He engages her in conversation (not allowed by Jewish law at the time), asks her to share a drink of water with him (an act considered so intimate that it too was forbidden by Jewish law), and then offers her not judgment, but salvation.

As I state in the Director’s Notes that are printed in the playbill, when 57% of the Virginia population voted in favor of the most stringent marriage law in the United States, outlawing even marriage-like legal contracts between unmarried couples, they turned their backs on gay men and women just as the Samaritans chose to ostracize the woman at the well. I don’t believe Virginia voters did the right thing. Following Act II, most theatregoers walk away from Little Dog questioning whether the “happy ending” that has been engineered is really happy or moral after all. When we as a community judge and exclude others because they are different, are we acting in a Christ-like manner, or are we failing each other and ourselves?

The Little Dog Laughed speaks meaningfully to me and to many others about love, compassion and inclusion, three important tenets of the religious left. I think the moral stance of the religious left is just as worthy of consideration as is the moral stance of the religious right, and vice versa. Unfortunately, those of us in the religious left tend to be shy about claiming the moral high ground. To be honest, I'm feeling fairly self conscious right now.

Nonetheless, I think The Little Dog Laughed says some important things about our world today, and says them with a sense of humor. I’m sorry if the play didn’t speak to your spirit; it speaks to mine.

2 – The Little Dog Laughed is a traditional comedy of manners—offering a satirical and purposefully shocking take on today’s language, mores and culture. It is highly regarded nationally and internationally, and was nominated for the 2007 Tony Award for Broadway’s Best Play of the Year. It is very much in keeping with plays like Moliere’s great comedy Tartuffe, which is now universally considered to be a world masterpiece. During Moliere’s lifetime, however, Tartuffe was banned by the church, decried by conservatives, and Moliere himself was roundly pilloried for having written such “filth.” Tartuffe was loved and highly praised by many of the young moderns of Paris, just as Little Dog is enjoyed and praised by many of the young professionals (and lots of non-elites and seniors too) of NYC and Richmond. By “young,” I mean adults in their 30s and 40s, an audience Barksdale (and every professional theatre) needs to cultivate in order to survive.

3 – In every mention we have made about The Little Dog Laughed since Day One, we have noted that the play told the story of two gay men, one of whom was a male prostitute. We have said that the play included nudity and ribald language. In all illustrations, we have shown two naked men in bed together. During the last three months, we have sent a content advisory to all subscribers, ticket buyers, and others on our mailing list, noting that the play included strong language and adult content. We have encouraged all newspaper coverage to indicate that this was the edgiest play in Barksdale’s recent history (Barksdale’s extended history includes many such plays), and to again make clear that the language, nudity, gay themes and adult content were vital components of the show. On our website, we’ve posted discussions of what offends an audience most, and outlined the themes and content of this play. On the Little Dog section of our website, we’ve posted a waist up photo of the two naked actors embracing each other.

In every other major city where Little Dog has played or is playing, there has been a much smaller effort to advise audience members. In most cities, nothing is done. We know this is Richmond, so we did everything we could short of going door-to-door to let our audience members know what to expect. Even so, we apparently did too little. If you were surprised by the play’s subject matter and tone, you are not alone.

4 – Before the fact and after, we have offered those who may be offended by the show’s content several remedies. Before coming to the show, over 150 subscribers read our advisories and took us up on our offer to trade in their Little Dog tickets for free tickets to Greater Tuna, our current hit comedy at Hanover Tavern, or for tickets to our upcoming productions of the great Broadway musicals Peter Pan and/or Guys and Dolls at the Empire. To the 110 or so people who missed our advisories and thus far have come to see Little Dog only to be offended and/or disappointed, we again make a similar offer in an effort to address respectfully your concerns.

a. If you were disappointed in Little Dog, you may have free tickets to Greater Tuna, pending availability. Tuna closes at Hanover Tavern on June 15. Or ...

b. You may have free tickets to the hit Broadway musical Peter Pan, produced by Theatre IV, pending availability. Peter Pan runs at the Empire Theatre from April 25 until May 18. Or ...

c. You may have free tickets to the hit Broadway musical Guys and Dolls, pending availability, to share with your friends. Guys runs at the Empire Theatre from June 13 through August 17.

To obtain your choice of free tickets, simply call Joy Ross at the Barksdale Box Office – 282-2620.

5 – I’ve served as artistic director of Barksdale Theatre since July 2001. During the last seven seasons, I’ve selected and produced 44 plays and musicals, one of which was The Little Dog Laughed. I’m proud of each selection, for different reasons. This roster of 44 productions is indicative of what you can expect from Barksdale in the future.

Will Barksdale produce another play in the next seven years that is as edgy as The Little Dog Laughed? Yes, I expect we will. For every person who has had the integrity to communicate with me regarding their objections to Little Dog, there have been at least two others who have communicated to thank me and let me know how much they loved the production.

Will we do 43 other plays in the next seven years that offer a broad perspective of world theatre, including shows like Doubt, Mame, The Member of the Wedding, The Full Monty, To Kill a Mockingbird, Crowns, Moonlight and Magnolias, The 1940s Radio Hour, Cyrano de Bergerac, The Lark, The Brooklyn Boy, Annie Get Your Gun, Drawer Boy, Intimate Apparel, Anything Goes, The Crucible, James Joyce's The Dead, The Laramie Project, The Little Foxes, Proof (insert your favorite Barksdale show here)? Yes, we will. Our goal always has been and always will be to offer an eclectic roster of plays and musicals, not a steady diet of only one type of show. I believe most patrons support our broad-based mission to bring you “the great comedies, dramas and musicals, past, present and future.”

I sincerely appreciate and respect your sharing your objections with us. If you would like to communicate with me directly, I encourage you to do so. I can be reached via email, by phone at (804) 783-1688 ext 13 (this will take you to my assistant, Janine Serresseque), or by land mail at Bruce Miller, Barksdale Theatre, 114 W. Broad Street, Richmond, VA 23220.

I always look forward to hearing from you. I also always appreciate your support of Barksdale Theatre, Richmond’s leading professional stage company.

Sincerely,
Bruce Miller
Artistic Director, Barksdale Theatre

Thursday, April 17, 2008

Box Office Staff Member to Appear with Jim Brickman

Posted by Jessica Daugherty

Brian Baez from our talented Box Office won a statewide vocal contest giving him the opportunity to be featured in concert with Jim Brickman as a special guest artist at this year's Southern Women's Show Concert at 4:30 on Saturday, April 19! Brian was one of many vocalists from across VA who sent in demos to be judged by a panel of music professionals, including Jim Brickman himself. Brickman has six Gold and Platinum selling albums and consistently tops a variety of Billboard charts.

The Southern Women's Show is being held Friday through Sunday at the Richmond Raceway Complex and offers creative lifestyle ideas, cooking tips, fashion shows and celebrity guests. If you're at the show on Saturday afternoon, be sure to listen out for Brian at the concert on the Fashion and Entertainment Stage. Check back here next week when Brian will post his impressions from the day.

Monday, April 14, 2008

Little Dog's Opening Night - with Playwright & Composer in the house

By Judi Crenshaw, Barksdale's Publicist

By the time opening night of The Little Dog Laughed rolled around, those of us involved in the build up to the show were relieved that the public was finally going to see what we’ve been promoting, defending, gushing over, justifying, and generally maneuvering our way around. It’s been an exhilarating and challenging few weeks. But through it all we have loved the play. When I first read it last year --- belly laughing and gleefully muttering to myself, “Are we really going to do this?” --- I loved the language, envied the wit, and poured over illegal Little Dog video of Julie White and Tom Everett Scott on YouTube.

I watched some legit internet clips too, and quickly zeroed in on interviews with playwright Douglas Carter Beane. Funny. Razor sharp. Self-effacing. You gotta love those Broadway big-wigs. But mostly they stay on Broadway. To be admired from my computer. Like Julie White and Tom Everett Scott (with some extra Google Images time devoted to Tom). So when Susan Sanford let it slip that DCB might actually be coming to our opening night I was elated for about 3 seconds, and then my stomach started slipping south. In the theatrical world of non-stop measuring up, with a guy who clearly is way past any mark I’ll ever know, would the Barksdale production come anywhere close?

Doug Beane walked in the Barksdale door with a wide grin and extended hand. He was genuinely friendly. Doug came with Lewis Flinn, his partner of many years and composer of Little Dog music as well as loads of other Broadway and TV scores. I was relieved that these two guys were regular people. Okay, ├╝ber successful, smart, and witty regular people. They seemed downright tickled to be here. They oogled over the photos in the lobby (which are stunning, thanks to Jay Paul). They introduced us to Lewis’ parents who are Barksdale patrons. They bounded up the stairs greeting everyone and spreading goodwill.

But my stomach had not caught up with how jolly our guests seem to be. I am still nervous about the measuring up. I keep sneaking glances at them during the show. They are getting a kick out of Susan’s performance and looking around at everyone else getting a kick out of Susan. Every time Laine Satterfield comes on, DCB inches forward in his seat and smiles. I think these are good things and I relax. Then the bed gets stuck halfway along its intended downstage trajectory. John is slyly propping up a set panel while lying on the stuck bed and I am praying that Matt will not whack his head on the panel looming over the crazy stuck bed. The crew is trying to yank it from behind, pull it, FIX IT! FIX IT! There is some banging and dropping of metal. I am no longer relaxed. Susan has been masterfully “working” her laryngitis but it is getting a tighter grip. I am now avoiding any glances whatsoever in the direction of Doug and Lewis.

I do look around, though, at everyone else in the audience and they are completely engrossed in the play. They are rooting for the two guys to be together. They are laughing, intrigued, appalled, touched, engaged. I know these things are good. And I know that this was an important choice for Barksdale and a deeply personal quest for Bruce Miller. I know we have pushed some patrons past their comfort zone and we are grateful to the people who will give this play a chance. I know we measure up for all the right reasons, even with the f***ing bed malfunction. I think that Doug Beane knows this too.

After the show, there was a rare chance to celebrate play and playwright, director and cast, supporters and friends. Host Bill Hall put together a truly elegant bash that would have been the envy of any New Yorker. I felt a little silly with my Kodak One-Shot and home camcorder in hand, but we wanted to share the love!

THANK YOU Douglas Carter Beane and Lewis Flinn!!

- Judi Crenshaw

Friday, April 11, 2008

To Bare or not to Bare, that is the question

By Bob Albertia

Tonight, April 11, 2008 is the opening night of Barksdale's production of THE LITTLE DOG LAUGHED, a 2007 Broadway hit. Over the past few weeks, it has come to my attention that some of our patrons have commented that this play offends them to one degree or another, and they have chosen not to attend. We respect the opinions of all of our patrons and appreciate feedback on our production choices and presentations.

In view of recent comments, both pro and con, I, as an actor for fifty-plus years, would like to reflect on past Barksdale productions and their impact on the community. Over the years, Barksdale Theatre has a history of presenting edgy, provocative and caring theatre resulting in critically acclaimed productions dealing with alcoholism (Who's Afraid of Virginia Woolf), homosexuality (The Boys In The Band), nudity (Equus) to name a few, and all highly praised by the audience and critics alike.

In short, my reason for writing this post, is to point out that theatres are a place for storytelling and commentary, presenting us with a look at ourselves, the nation and the world. We go to museums and view paintings of war, death, love, destruction and nudity and are in awe of artists who have so brilliantly painted scenes on canvas or delicately carved statues out of a block of stone. Theatre too, from its simple beginnings of telling stories and entertaining us, is still a platform for letting each of us take a good look at our ourselves and the world around us. From the safety of our theatre seat, we can investigate the complex and emotional issues at the heart of a production like The Boys in the Band, Equus, or in this case, The Little Dog Laughed.

As a member of the theatre staff, I applaud Barksdale Theatre in continuing the legacy of Muriel McAuley and Pete and Nancy Kilgore in presenting the highest caliber of theatre in all of its forms; bold and brash comedy, on the edge drama and tap your toes and sing along musicals. I can't wait to see tonight's show and experience yet another opening night and share those feelings with both old and new friends alike.

- Bob Albertia

Wednesday, April 9, 2008

Looking Up at Willow Lawn

Posted by Jessica Daugherty


On your way in to see The Little Dog Laughed at Willow Lawn, lift your eyes up for a look at our new and improved building facade. Our old sign was damaged in a storm, and we've replaced it with new letters finished with hammered gold foil. The work was done by Carousel Signs.

The new building front:


















The original facade before the old sign was damaged in a hurricane:

Friday, April 4, 2008

More Coffee Please...

Posted by Jessica Daugherty

ROSTOV's Coffee & Conversations

This Tuesday, April 8
at 9:30 AM

Rostov's Coffee & Conversations
at Willow Lawn

On The Board's: The Role of Richmond's Theatre Trustees

Barksdale
Moderator: Peggy Baggett, Executive Director of the Virginia Commission for the Arts


Admission:

Barksdale at The Shops at Willow Lawn
Time: 9:30 -10:30 AM
Cost: Suggested $3 Donation includes Rostov's Coffee, Hot Tea and Pastries
No reservations required. Questions? Call our Box Office at 804-282-2620.

For the full schedule of Coffee & Conversations Events, click here. Three more Coffee & Conversations dates have been added to the schedule! Thanks to Rostov's for making this program possible.


Meet the Stars Cancellation

In response to cuts in state funding, Barksdale Theatre has cancelled the two remaining Meet the Stars events originally announced for the 2007-08 Season. Cancelled are the Little Dog Laughed discussion program on Monday, April 14, and the Guys and Dolls discussion program on Monday, June 16.

Those who would like to participate in discussions with the casts of these two productions may attend Rostov's Coffee & Conversation events scheduled for Tuesday, May 13, 9:30 a.m. (Behind the Scenes of The Little Dog Laughed) and Tuesday, July 8, 9:30 a.m. (Behind the Scenes of Guys and Dolls). All Rostov's Coffee & Conversation events are held in the lobby of Barksdale Theatre at Willow Lawn.

Wednesday, April 2, 2008

'It's Never Boring' & Director's Notes for The Little Dog Laughed

It's been a busy few weeks here at Barksdale and Theatre IV. We just opened Greater Tuna at Hanover Tavern (great review in the TD!), closed Doubt: A Parable at Willow Lawn and had a successful Virginia Arts and Letters Live event at the Empire Theatre.

On the Theatre IV side, Peter Pan and the Fairy Tale Ball preparations are in full swing. You can see more about both on the TIV blog. Amidst the chaos at the Empire Theatre today, our new touring show, The Air We Share, commissioned by GRTC and written by Scott Wichmann, finished its last rehearsal before heading off to schools tomorrow morning. And of course the move-out of our storage/shop space at Tom Perry's.

That's the Cliff Notes version of the last few weeks. Now our marketing/PR/box office focus shifts more towards The Little Dog Laughed. And now, we realize this show may be more controversial than we previously expected. I personally have been very excited about this show and consider it a great addition to the season, but it does contain some language and content that may not be for everyone. Since everyone may not have a chance to read Bruce Miller's director's notes that we will publish in the program, we thought it would be nice to post them here and perhaps answer some questions.


-Sara Marsden

"Why The Little Dog Laughed"
by Bruce Miller

In November of 2006, Virginia passed the Marshall-Newman Amendment, also referred to as the Virginia Marriage Amendment, by a 57% majority. In so doing, voters amended the Virginia Constitution to define marriage as “solely between one man and one woman,” and to ban recognition of any status "approximat[ing] the design, qualities, significance, or effects of marriage.”

This was the first time in Virginia history that our constitution was amended to deny the rights of certain individuals. Virginia is now the only state in the nation to ban marriage-like contracts between unmarried partners. In The Washington Post, Jonathan Rauch wrote, “Virginia appears to abridge gay individuals’ right to enter into private contracts with each other. On its face, the law could interfere with wills, medical directives, powers of attorney, child custody and property arrangements, even perhaps joint bank accounts.”

In March of 1924, Virginia’s legislature passed the Racial Integrity Act. It required that a racial description of every person be recorded at birth, and made marriage between “white persons” and “non-white persons” a felony. Just like the Marshall-Newman Amendment, the Racial Integrity Act gave Virginia the dubious honor of having the nation’s strictest laws on who could and could not fall in love, be married, or recognized as legal partners within the state’s borders.

In 1958, Mildred Jeter (a woman of white, African-American and Native American heritage) and Richard Loving (a white man) fell in love in the racially mixed, low income farmland of Caroline County, Virginia. Because of Virginia’s Racial Integrity Act, they travelled to Washington, D. C. to get married. Shortly after their return to Virginia, police burst into their bedroom at 3 a.m., arrested man and wife, and carried them away to jail. The Lovings pleaded guilty to being married; they were sentenced to one year in prison. I welcome you to visit the Barksdale blog to read more about this couple. Type Loving Virginia theatre into Google, and it will take you right there.

In 1967, Virginia’s Racial Integrity Act was declared unconstitutional by the U. S. Supreme Court, ending misogenation laws nationwide. Today, virtually all those who objected vigorously to interracial marriage in the first half of the 20th Century (major political parties, churches, general public) have changed their minds.

It may take another generation, it may take longer, but I hope, pray and believe that during my children’s lifetimes, our state’s and our nation’s prejudice toward gay couples will go the way of yesteryear’s opposition to interracial marriage. I think the more we see gay characters loving each other on our TV screens, in our cineplexes, and on our stages, the quicker that day will come.

I’m reminded of President Kennedy when he made his historic, world-uniting speech in 1963. “Ich bin ein Berliner.” I am a Berliner. Set aside for a moment the urban myth that purports that “Berliner” in German vernacular means “jelly doughnut” rather than “citizen of Berlin.” John Kennedy’s clear intention was to take his stand beside, with and among West Germans shortly after the Communist state of East Germany erected the Berlin Wall as a barrier to restrict the freedom of its citizens.

I love The Little Dog Laughed because, as freedoms are being restricted here at home, it proudly seeks to establish solidarity with gay men and women who are feeling increasingly isolated and ostracized by the so-called Defense of Marriage agenda. The play suggests that love between two consenting adults is more vital, powerful and sacred than any credo or code. It shows that building barriers to limit love is hypocritical for societies, industries and individuals who pretend to salute freedom and embrace equality. It does so with a sense of humor. If we can laugh at this hypocracy, then perhaps we can also get beyond it.


-Bruce Miller