I hate Cheyenne, Wyoming. With a passion. I hate every last corner of that city I’ve ever had the misfortune to meet – which is to say I hate Cheyenne’s Greyhound bus station at two o’clock in the morning. Believe you me it’s a dirty, dreary place complete with unsavory characters and unspeakable bathrooms. Cheyenne and I became acquainted during my college years. In those days, the Greyhound from Omaha to Provo was my ticket to school, and the trip always seemed to include a middle-of-the-night layover in Cheyenne.
I think you need to understand my hatred of Cheyenne to fully appreciate what I’m going to say next. There was actually one occasion when I didn’t mind the place so much – because I barely even knew I was there. That was the trip during which I fell in love with the wizarding world of Harry Potter. It happened in the fall of 2002. I’d read The Sorcerer’s Stone a few months earlier and sort of shrugged it off. I wanted The Lord of the Rings, and The Lord of the Rings it was not, but for some reason I still climbed aboard that Greyhound with a copy of The Chamber of Secrets in tow, and then a funny thing happened. I couldn’t put it down.
Not long after that trip, I devoured a copy of The Prisoner of Azkaban. Later I was staying up to the wee hours of the morning with my hair on fire to finish The Goblet of Fire. I was in full-fledged Potter-mania when The Order of the Phoenix came out. You better believe I was at the bookstore at zero dark thirty to pick up my pre-ordered copy before I went off to savor every last page. I was there again at midnight for The Half-Blood Prince. I was married by then, so I read it with Sara, who once famously said of the experience that she mourned far more for a beloved character there than she ever did for Michael Jackson (whose passing several years later was marked by nauseatingly ubiquitous media coverage). With The Deathly Hallows, Sara and I sequestered ourselves in our apartment and read as quickly as we could in a furious attempt to outpace the spoilers. We read so much so fast that I described the feeling afterwards as a Harry Potter hangover, but it was so fun and so worth it.
Then it was over. I’ve never quite had a reading experience like that one. There was – dare I say it? – magic in the anticipation and the journey. Great fiction makes you forget the drudgery of everyday life. That is, I suppose, what all fiction writers are aiming for. Harry Potter did that for me like nothing ever had, and there’s a certain sadness knowing no matter how many times I reread those books I can never quite go home again. Not like that.
But I’ve found a sort of solace of late. Now I’m reading Harry Potter to my kids. We’ve finished the first three books, and we’re currently partway through Goblet of Fire. I’m watching the light in my children’s eyes as their imaginations run wild. I’m hearing them chatter about favorite scenes and characters. They’re speculating about what happens next. They don’t want me to stop reading, I don’t want it to end, and I do believe Cheyenne has never been farther behind me.


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I believe the stories we tell are what bring us together.
With over 15 years of experience in television and production, Jason has gathered an array of skills to help him capture the moment and tell the story. From corporate boardrooms to village hospitals in Haiti, he's seen it all. His passion for storytelling and dedication to his craft drive him to create, try new and challenging concepts, and do whatever it takes to bring the story to life.
Jason is passionate about live music, pit bulls, and hopes to someday find the perfect veggie reuben.
Jason is both an Emmy and Edward R. Murrow award recipient.


Tuesday, 17 March 2009
A Wedding Suit for Dorian Gray
From time to time, here at Jack Bunneys we get asked for something that is a little different. Wherever we can help we will certainly try. We created some fantastic and original suits after a unique and unusual request from a customer!
One of my personal favourites was the suit we made for a customer who was getting married in the ICE HOTEL in Sweden.
This customer brought with him a DVD sleeve with a picture of the suit he wanted to wear for his wedding. The DVD was the 2003 movie: The League of Extraordinary Gentlemen starring Sean Connery.
The character our customer would like his suit based upon was the character of Dorian Gray (played by Stuart Townsend). (pictured).
Well we like a challenge!
So we set about renting DVDs and trying to glimpse the suit as carefully as we could, although you never see the suit in its entirety in the movie, we could see enough to begin work.
Between the customer and Peter (our bespoke tailor) they created an interpretation of the suit Dorian Gray wore.
This interpretation also had to be a modern wedding suit, suitable for the Ice Hotel.
I think the pictures show that between the initial enquiry from the customer and the finished article the customer helped create something unique and unusual.
Thank you to Mr and Mrs Porter


Fort Lauderdale Video Productions produces content-rich media and motion graphic videos for businesses of all shapes and sizes. Along with capturing and editing footage, we provide screenwriting and distribution assistance for our clients. Our mission is to create captivating video for our clients to make them stand out in their field.
Our parent company, Mosaic Media Productions LLC, was founded in 2003 by Sergei Luzginov. Luzginov is an actor, director, and producer who worked in the Hollywood film industry for nine years before founding Mosaic. He has acted in films such as K-19: The Widowmaker (2002); starring Harrison Ford, Night All Day, Rollerball, The Agency, The District, and other films produced by WB, Universal, CBS, ABC, Paramount Pictures, and many others. Luzginov gained experience from both sides of the camera, deciding to use what he had learned to help businesses create innovative and creative media.


Romance writers tend to love Buffy the Vampire Slayer because it’s the only show on TV that gets the dynamics of falling in love right most of the time. Whedon and his writers seem to have an instinct for the messy part of romance, the off-the-wall, over-the-top, why-am-I-doing-this? insanity that makes love such a pain in the neck, whether somebody’s biting you there or not. The reasons for this are many and varied, and all the more telling when the people at Mutant Enemy get it wrong. Watching Buffy is an education in how to write romance.
A look at how Buffy Summers meets and mates gives the first part of the answer as to why Buffy makes the best love on TV. Buffy has had three loves in her seven-year fight against the Hellmouth, and three of these relationships followed the basic psychological progress–assumption, attraction, infatuation, and attachment–which is why they all felt true emotionally, even if some viewers were less than pleased with Buffy’s choices.
The first move in establishing a relationship is assumption, gauging, consciously or unconsciously, if this person is somebody desirable, somebody it is possible to love. Is the object of potential desire physically attractive? Smart? Strong? Funny? These are all clues that the object is genetically a catch, physically and mentally healthy; it’s DNA shrieking “Pick that one, I want to live forever!” Since Sunnydale is populated almost entirely by beautiful, verbal teenagers, this is not a difficult stage for the Scooby Gang, their angst notwithstanding. But Buffy as Mythic Heroine is going to need more than just a knee-jerk jock of the week, so Whedon ushers in Angel, the Heathcliff for the turn-of-the-millennium. He’s strong (he can hold his own with the Slayer), he’s smart (he knows the evil world she must learn in order to fight it), he has a mordant sense of humor (even more effective because Angel is not a happy man), and he’s physically attractive, or as Buffy puts it after she first meets him in “Welcome to the Hellmouth,” “Dark, gorgeous in an annoying kind of way” (Whedon 44).
Once assumption is made, the second stage or Attraction begins, finding out if this is somebody who should be loved. Friends and family play a huge role here, along with physical and emotional connections. Buffy’s peer group sees Angel as attractive (even Xander’s jealousy is backhanded approval since he rates Angel a threat), her mother less so, perversely making him even more desirable because he’s outside the bounds of parental control. Also in the mix are physical cues: he falls into step easily beside her, they fight beside one another in synchronization, and they share long, deep looks (known to the psych trade as copulatory gazes). And then there are the emotional cues: he’s the only one who understands the darkness in her, she’s the only human he’s connected to in two hundred years. Everything is in place for Angel and Buffy to believably fall in love.
But for attraction to turn to infatuation, there have to be physiological cues, joy or pain or both. Joy is physical pleasure or emotional connection, great kisses or moments when eyes meet across a room in perfect understanding. Pain is stress, danger, jealousy, the reason for war romances and office affairs. (There’s a reason there are so many love stories in Sunnydale; it’s Pain Central.) The more of these cues that are present, the faster the relationship will move into the giddiness of immature love. And both joy and pain cues are all over the place in the Buffy-and-Angel story, climaxing in their first kiss, a physical thrill so great it provokes his vampire side, the part of his story he’d forgotten to mention (Greenwalt, “Angel”). The revelation that he’s her destined enemy would be enough to kill infatuation. But something has happened before the reveal: Buffy has moved past immature love to a recognition of who Angel is besides the hottie who loves her. She has moved into mature love.
The question “Is this real love or just infatuation?” misses the point: it’s all infatuation in the beginning, infatuation (or immature love) is the stage everyone passes through on the way to mature love. Erich Fromm in The Art of Loving makes the distinction between the two, pointing out that infatuation is about the person doing the loving, the lover, but true love is about the person who is loved, the object. Infatuation is about conditional love: I love you because of what you do for me, because you’re funny, you’re loving, you’re sexy, you’re smart, you’re not a vampire, etc. But what happens when the object stops being funny and sexy? What happens when he turns into a vampire? “I love you because” is conditional love, based on what the object does for the lover; the “You complete me” statement that sounds good but is really a threat: “Complete me or lose me, it’s all about me.” Mature love, goes beyond that and says that it doesn’t matter whether the object is wonderful or not, the love is just there, like the air we breathe. So Angel vamps and Buffy screams and rejects him, but when she has the opportunity to kill him, fulfilling her destiny as a vampire slayer, she deliberately misses, and Angel saves her from the woman who made him a vampire, symbolically killing his old life to enter a new one with Buffy. Their love is unconditional, the season ends, the love story is finished. Unless, of course, it’s playing out in Sunnydale.
Buffy’s choice to spare Angel in the first season is not based on blindly unconditional love; she has plenty of clues in that story arc that he is on her side. The second season brings the real test: in one of Whedon’s blatant, powerful metaphors, Buffy loses her virginity to a loving, sexually skilled Angel and wakes up with the murderous beast, Angelus. It’s easy to love Angel, he meets all the conditions for it, he completes Buffy. Loving Angelus is the antithesis of that, nobody could rationally love a vicious demon who rapes and murders without compunction. In the same way, it’s easy to love Buffy-the-Savior if you’re Angel, impossible to love her if you’re Angelus.
And yet they still love each other, much to their mutual disgust and despair. Angelus is riddled with love for her, and because of that he is driven to destroy her; as he tells Spike in “Innocence”, “To kill this girl . . . you have to love her” (Whedon). Buffy is stuck, too: she cannot bring herself to kill Angelus until he gives her no choice by opening the portal to hell. But she kills him as a sacrifice to save the world, not as an execution to punish and reject him, something that Whedon makes clear by transforming Angelus into Angel before she strikes (Whedon, “Becoming Part II). When he comes back from hell, tortured for a century until he is only slightly above a beast, he still loves her and saves her instinctively, just as she loves and protects him even though his mind is gone (Noxon, “Beauty and the Beasts”). The power of their love is larger than life not because they’re larger-than-life characters, but because it is implacably and completely unconditional.
Their final act of love is their great sacrifice at the end of the third season. Angel leaves her to free her and Buffy lets him go: He’s protected her until she’s graduated into adulthood, she’s stood by him until he believes in himself again, and now unconditional love recognizes that they have to move on with only the hope of their promise at the end of the series that they’ll be together again some day. It’s brilliant storytelling that gives Whedon the opportunity to move the series to a different level, but it’s also brilliant romance writing, a love story of mythic proportions.
Following that love story was going to be tough in any case, so Whedon pulled his punch and introduced Parker, the embodiment of the dangers of infatuation. Buffy makes the Parker Mistake because she wants to fall in love with a everyday human being more than she wants Parker in the specific. Zipping through the assumption and attraction in a rush to get to normal and loved, Buffy misses the cues that would have told her he was a shallow, not very bright user and pays the price. Parker adds to Buffy’s experience with men, but mostly he serves as foil and foreshadowing for Buffy’s next big romance, Riley Finn.
The assumption phase for this romance is automatic: Riley and Buffy are both beautiful, blond, athletic college students. When they discover in “Hush” that they’re both super-human demon fighters, attraction goes wild, fueled by copulatory gazes over dead demons and hot hand-to-hand combat (Whedon). In fact, combat is the foreplay for their first sexual encounter, one that leads to frequent healthy, sweaty, well-lit intercourse. But a gulf opens between them when Riley discovers that his super-human strength comes from drugs that are killing him, which forces him to return to being just a strong human. If he truly loved Buffy unconditionally, Riley would accept their differences as fact and not as a comment on his inadequacy. Instead, he sees Buffy only in relationship to himself, a reproach to his own lost power, and punishes her by finding sexual solace with the enemy as a vampire addict, a tacit admission that all that safe, bouncy lovemaking is a sham. Buffy fails him just as badly by turning from him when she discovers his addiction, betrayed because he isn’t the hero she needs him to be. Real love is unconditional, and they don’t have it.
There’s also another factor at work: Buffy is no longer a wisecracking teenager by the time the fourth season ends. She’s an adult, increasingly aware that the line between good and evil is more of a smudge, and she knows Riley’s matter-of-fact, Manichean view of the universe is too simplistic. The fifth season codes this in the form of the two men vying for her: Riley the Impossibly Good and Spike the Unspeakably Evil, an ostensibly easy choice. But it slowly becomes evident that while the noble Riley’s love is selfish and conditional, the murderous Spike’s love is without qualification.
At first glance, assumption plays no part in Buffy and Spike’s relationship. They meet as mortal enemies, trying without hesitation to kill one another. But their first interactions are in fact strong cues for assumption, and although she dismisses him as just another vampire, and he sees her as the third notch on his slayer-killing belt, they both surprise each other. He’s much more powerful than she realizes, and she’s much more complex than he can fathom. Adding to the attraction is the fact that from the beginning, their conflict is sexual. In their first real physical confrontation in “School Hard,” he knocks her to the ground and straddles her, saying, “I’ll make it quick. It won’t hurt a bit;” she says, “Wrong. It’s gonna hurt a lot ,” foreshadowing the next five seasons of mutual violence (Whedon and Greenwalt, 50-51). It’s a coded erotic beginning to a complex hate/hate relationship that takes an abrupt turn when Spike is forced to choose between Angelus’s plan for the end of the world and his own enjoyment of life. Stuck between Angelus and Buffy, he chooses her, and starts irrevocably down a path that leads him to unconditional love, not only of Buffy but of life (Whedon, “Becoming, Part II”).
Caught in a dynamic so strong neither can break away, Spike and Buffy continue to ignore what viewers can see plainly: they’re meant for each other. But when Buffy is injured and forced to confront her own mortality, it’s Spike she goes to for answers in “Fool for Love.” When she asks him how he killed two slayers, he gives her the key she doesn’t want. “Every slayer,” he tells her, fixing her with a copulatory gaze, “has a death wish,” and then he rephrases it in sexual terms: “You know you want to dance” (Petrie). It’s in this scene that their erotic attraction becomes clear: They’re tied to each other in a heated, perverse symbiosis that fuses all the elements of attraction: they’re beautiful, strong, smart, funny, and forbidden, and they’re the only two people on the planet who can understand each other. They’re the ultimate aphrodisiac: they know each other to the core.
Swamped by emotion and lust, Spike moves into infatuation much more readily than Buffy because he’s the true romantic, the real fool for love. In that, he’s smarter than Buffy, who keeps trying to fall in love with Good instead of finding a partner who not only understands her but also values her for what she is. Spike might have gone on loving her hopelessly forever except for a major plot move: Buffy dies to save the world. If Spike’s love were immature and conditional, that would finish things, and he’d return to his old life. Instead, he stays in a life that doesn’t fit him, helping her friends and protecting her sister, knowing that he’ll never see her again and still loving her hopelessly. When she claws her way out of the grave, he’s the only one who understands what’s happened, and his calm handling of her crisis is one of the best demonstrations of real love ever filmed. When she asks, “How long was I gone?” and he says, “Hundred and forty-seven days yesterday . . . one forty-eight today,” he speaks volumes about how much he loves her (Espenson, “Afterlife”).
And Buffy knows it. He’s the only one she can trust with the truth about her “rescue,” the only one she can talk to without anger or guilt, the only one who accepts her absolutely. But her love isn’t based on those things; like Spike’s, it’s also unconditional. Although she finally ends their affair, she stands by him through stupid crimes (selling monster eggs?), attempted rape, and insanity, refusing to kill him again and again even though he crosses her moral line, rejecting his offer to leave when it appears that the First Evil plans to work through him, telling him “I’m not ready for you not to be here” (Espenson, “First Date”). Even throughout a very uneven sixth season that swings between brilliant episodes and stories that are appalling world and character violations, Spike and Buffy’s love story stays true because Spike, like Angel before him, loves Buffy unconditionally, sacrifices for her, endures torture for her, almost dies for her, finally does die for her, and much against her will, Buffy reciprocates, risking her life to save him, forgiving him the unforgivable, telling him at the end that she loves him because he’s earned it.
But there’s another dimension to Buffy’s love stories beyond the psychological accuracy, a dimension that makes them even deeper: the ever-present knowledge that while falling in love can be devastating, consummating that love can be lethal. A quick run-down of Love’s Greatest Hits on Buffy shows that love in this world really is a matter of life and death.
Buffy sleeps with Angel who turns into a demon and tries to kill her with a short time-out when they’re possessed by the spirits of a murder-suicide love match (“I Only Have Eyes For You”). When she tries to date within her species, she ends up with an ex-boyfriend to tries to feed her to vampires (“Lie to Me”), a nice guy with a death wish (“Never Kill A Boy on the First Date”), a groping loser who turns into The Creature from the Swim Team (“Go Fish”), and another nice guy whose best friend tries to kill her as Sunnydale’s Dr. Hyde (“Beauty and the Beasts”). After that, she falls for a man whose jealous mentor tries to send her to her death (“The I in Team”) and a vampire who’s tried to kill her so many times he’s practically the Wile E. Coyote of Sunnydale.
Buffy’s friends aren’t doing any better. Willow’s hopeless crush on Xander leads her to accept a stranger’s invitation to a nice walk in the dark and almost gets her killed in “Welcome to the Hellmouth.” After that she gets a crush on an internet pen pal who turns out to be a demon-infested robot (“I Robot, You Jane”), falls in love with a werewolf who tries to rip her apart (“Phases”); and finally finds a haven with Tara, who is shot to death as she’s standing in Willow’s bedroom, making a sexual advance. Or there’s Cordelia Chase, who almost gets vamped by her dance partner (“The Harvest”), dates a fraternity boy who tries to feed her to a giant lizard (“Reptile Boy”), is kidnapped by a Frankenstein football player who wants to cut off her head so they can be together forever, and falls in love with Xander who betrays her which results in her impalement on a rebar (“Lover’s Walk”). Buffy’s family doesn’t fare any better. Her mother has two boyfriends in the entire run of the show (not counting her candy-inspired interlude with Giles on the hood of the police car): a homicidal robot (“Ted”) and the nice guy who sends her flowers the morning she dies (“The Body.”) And Buffy’s little sister Dawn goes on her first date and gets her first kiss from a guy who turns into a vampire, pins her down in the missionary position, and offers to make her immortal, after which she stakes him.
But it’s not just Sunnydale’s women who are mauled by the metaphor. Whedon’s universe offers equal opportunity death to men. Angel is human until a pick-up date named Darla murders him in an alley and makes him a vampire. He manages to make it through the next two hundred years and then meets Buffy, his one true love, who runs a phallic sword through him and sends him to hell. Spike’s story is similar: He meets Drusilla when she finds him weeping in the street after rejection by the woman he loves; she comforts him by making him a vampire. He loves her for the next century until he falls for Buffy as someone even more lethal than Dru, dying spectacularly in the series finale to save her and defeat his kind. Giles, Buffy’s watcher, falls in love with a fellow teacher and then, on the night they plan to consummate their love, finds her dead in his bed (“Passion”). But the real champ in the Sex-Is-Death sweepstakes is Xander, who ignores non-lethal and therefore non-sexual Willow to lust after a substitute teacher who invites him to her house for a study date and turns into a praying mantis (“Teacher’s Pet”), an undead exchange student whose kiss causes death (“Inca Mummy Girl”), and Cordelia who wishes him into an alternate universe where he’s a vampire staked by Buffy (“The Wish”). When he tries to be proactive and use magic to make things work, hordes of women attack him, ready to love him to death (“Bewitched, Bothered, and Bewildered”). He loses his virginity to deviant slayer Faith who tries to strangle him when he comes back for seconds, and proposes to Anya the vengeance demon who does her best to eviscerate him by proxy when he leaves her at the altar. Then his rebound date strings him up above an ancient symbol and penetrates his abdomen with a spear so that his blood will unleash the undead (“First Dates”).
Still, the most interesting sex-as-pain-and-death relationship in this series is Buffy and Spike. Their frequent physical fights grow more and more sexual, so that when Spike finally tells Buffy he loves her, and she tries to track back to where she went wrong, she decides it’s the pain: “I do beat him up a lot. For him, that’s like third base” (Fury, “Crush” ). The foreplay for their first sexual encounter is a knock-down fight, during which Spike tells her, “I wasn’t planning to hurt you. Much,” right before she hits him and then kisses him and then hits him again (Greenberg, “Smashed). It’s important that Buffy doesn’t sleep with Spike until she knows the prophylactic chip in his head does not work for her because it means that in the heated proximity of the rough sex they become addicted to, they’re both easy to kill, each knowing that the little death of orgasm can, at any moment, change from symbol to reality, and the fact that the sex is violent simulates this. They’re miming death over and over again, practicing the moment they both assume they’re hurtling toward, the moment they fulfill their roles as vampire slayer and slayer assassin. That erotic risk coupled with their repeated demonstrations of unconditional love makes their twisted relationship one of the most powerful ever written, a fitting climax to a series in which “dying for a kiss” isn’t just a figure of speech, at least not for Spike.
But Whedon’s greatest love story doesn’t stop there. He takes it down another layer, to the metaphor that fuels the series and raises the romances of Buffy to the level of myth: Buffy as the slayer is unconditionally, inextricably, erotically tied to Death.
Angel’s transformation into a vampire after their first kiss in the first season is the only incident in the series in which sexual arousal is directly linked to becoming the monster, but it ties into the long tradition of oral eroticism that the vampire story has represented since Stoker’s Dracula. Buffy screams when confronted with the truth, but it’s a truth that she needs to face. She can’t remain an innocent and save the world, too, just as she can’t remain sexually innocent and become a mature woman. That metaphor is reinforced when she makes love with Angel for the first time and wakes up with Angelus, a move that at first glance seems only to symbolize “all men are beasts,” but comes to mean that all lovers are dangerous when Buffy proves to be just as lethal as Angelus. When Buffy refuses to destroy Angelus, she protects death; when she sacrifices Angel to save the world, she sacrifices love.
The power of this metaphor also explains Buffy’s failed relationship with Riley. Yes, their love is conditional, but what really undercuts their relationship is a much deeper failing: Riley is the wrong metaphor. As the corn-fed farm boy, Riley represents the Beautiful American, light and peace and wholesomeness, and Buffy wants to connect to him because she wants to be Good’s Girlfriend. But the relationship feels wrong: Riley wears a milk mustache while Buffy’s hands drip blood. His appreciation of her as the Slayer seems to stem from the fact that she’s really athletic and great at covert ops, just like one of the guys. He never seems to understand what Angel and Spike know instinctively, that Buffy has a heart of darkness. As Buffy comes to understand this herself, the series darkens but it also deepens, becoming much richer as each season adds more layers to the metaphor so that in the last three seasons, Whedon connects directly with this paradox at the core of Buffy, the complexity that made the series so irresistible from the beginning: Our savior is a murderess, and she’s infatuated with Death.
The clearest embodiment of that is her relationship with Spike. Everything in their interactions reeks of sex and death, from the moment in “Fool for Love” when Spike tells her that he’s waiting for her to get tired of the struggle and come to him to be taken. He looms over her, phallic pool cue in hand, whispering in her ear that all he needs to get her is “One. Good. Day,” and becomes the symbol that eroticizes Buffy’s dark side (Petrie). This makes it all the more perplexing that the Mutant Enemy writers see their relationship as one-sided and harmful. In what was evidently one of the great botched metaphors in the history of storytelling, Buffy and Spike consummate their relationship and demolish a derelict mansion in their throes. Houses are a common symbol for people in stories (think of Roderick Usher’s mansion in “The Fall of the House of Usher” or Emily’s decaying home in Faulkner’s “A Rose for Emily”) and this one seems to clearly represent Buffy’s once rich but now derelict past life. She has died in one life and been resurrected into a new one, but she’s clinging to the past, living in the decaying shell of her former existence, an old life must be rejected before she can live fully in the new world. When she embraces Spike, she embraces the dark side of her destiny, an adult rejection of the simplistic good/evil universe of her childhood, freeing herself to move into the future and defeat the worst enemy of all, the First Evil. Their consummation takes them to their deepest levels, both symbolically and literally as they fall into the basement, and leaves Buffy standing in a shaft of light in the morning, reborn. As metaphoric scenes go, it’s one of the most powerful in the history of the series.
Except that’s evidently not what the writers had in mind, since they insisted in interviews that the wreck symbolized the relationship as a bad choice. If Spike and Buffy wreck her cheery little bungalow home, that’s bad. If they dismantle a church, that’s bad. If they demolish a deserted, derelict mansion, that’s urban renewal. The continued insistence throughout Season Six that this relationship is wrong, unhealthy, symbolic of something evil and immoral is not only inexplicable but annoying, which is probably why so many viewers are unhappy with the direction the series takes in the sixth season: they were reading a different metaphor than the writers intended.
But in the seventh season, Whedon brings the story back to its roots by taking it down one more metaphoric layer, to the beginning of his myth. In “Get It Done“, Buffy travels back to the beginning of the Slayers and discovers that the first Slayer was created when a council of men chained a helpless girl to be raped by a demon in order to imbue her with supernatural powers that would protect them. The concept of the slayer has always been a violation of free will, from very first episode in which Buffy is forced back to her role as Slayer against her wishes to the last season populated by bewildered and frightened Potentials who would rather just go home. In “Get It Done,” the image of a chained Buffy penetrated both orally and vaginally by the creeping black vapor of the demon, symbolizes this violation at the center of the myth, the rape of free will that every slayer represents. As defined by the council, the creation of the Slayer was a violent sexual sacrifice to death, a sacrifice that is destined to be repeated in every generation.
But the myth of Buffy the Vampire Slayer has never been the myth of the Slayer; it’s the myth of Buffy Summers, the Slayer who is different. Instead of obeying and dying like her predecessors, season after season, she has rejected the male power hierarchies that have tried to control her. She defies Giles in the first season and makes him treat her as a partner in decision making. She fires the council in season three, and when they come back for season five, she defeats them and forces them to work for her. In season seven, she goes back to the beginning and defies the original council, resetting the power structure at the heart of myth and taking back her story, and refusing the rape and its sexual-submission-as-power ploy, saying “You think I came all this way to get knocked up by some demon dust?” (Petrie, “Get It Done”). She is the Slayer who is different, the lover who embraces death on her own terms, the blonde who goes into the alley and comes back with patriarchy’s head, and she does it, not as a virginal, powerless Joan of Arc (even if she wistfully christens herself “Joan” in “Tabula Rasa), but as a fiercely sexual, passionate woman who knows exactly what she’s doing when she opens her arms to darkness.
In a world where any attempt to find connection results in pain and death, love is an act of unbelievable courage. That Buffy the Vampire Slayer explores that dangerous act in so many forms on so many levels through so many characters is the most compelling aspect of the series. But first among equals, it is Buffy in her passion and in her blazing, defiant sexuality that most defines the myth, Buffy the great feminist icon as warrior, lover, and finally mature woman. She’s our Ishtar who aced the SATs, our Morrigan with a snarky sense of humor, our Kali with a better fashion sense, and the complexity of her myth, the depth of her metaphor, and the truth of her love stories makes her a great romantic heroine and Buffy the Vampire Slayer one of the great romances of our time.
- Espenson, Jane. “Afterlife.” “First Date.”
- Fromm, Erich. The Art of Loving.NY: Harper, 1956.
- Fury, David. “Crush.”
- Greenberg, Drew. “Smashed.”
- Greenwalt, David. “Angel.” Buffy the Vampire Slayer, Season One, Volume Two: The Script Book. NY: Pocket, 1997, 2000.
- Noxon, Marti. “Beauty and the Beasts.” “I Only Have Eyes For You.”
- Petrie, Douglas. “Fool for Love.” “Get It Done.”
- Whedon, Joss. “Becoming, Part II.” “Hush.” “Innocence.” “Welcome to the Hellmouth.” Buffy the Vampire Slayer, Season One, Volume One: The Script Book. NY: Pocket, 1997, 2000.
- Whedon, Joss and David Greenwalt. “School Hard.” Buffy the Vampire Slayer, Season Two, Volume One: The Script Book. NY: Pocket, 1997, 2001.
Written by Jennifer Crusie, this essay was originally published as “Dating Death.” Seven Seasons of Buffy: Science Fiction and Fantasy Writers Discuss Their Favorite Television Show. Ed. Glenn Yeffeth. BenBella Books, Sept 2003.
All rights reserved. No part of this webpage may be used or reproduced in any manner whatsoever with out written permission except in the case of brief quotations embodied in critical articles and reviews.


Sid Meier's Civilization III: Play the World is the
exciting expansion pack to Sid Meier's Civilization III, the greatest
strategy game of all-time! Featuring new multiplayer and single player
features, Civilization III: Play the World pits you against the best
Civilization players from all corners of the earth via the Internet.
With new online modes of play like "turnless" and fast-paced
games like Regicide and Elimination, the battle for the ultimate in
bragging rights will be intense!
Eight new civilizations including new leaders and units provide even
more challenges and strategic options. A powerful Scenario Editor allows
players to construct their dream scenario and share it with players
from around the world. Play scenarios created by others, or build your
own -- replayability is now truly limitless with the new benchmark in


With the warm weather starting and spring in full force, lots of people are looking for ways to start taking in the sun and enjoying the city. If you want to get bus tickets to New York
and enjoy its parks, street fairs, an food festivals, the BestBus team knows just the things to see to make your trip as memorable as possible.
The Best Spring Activities New York Has to Offer
* The Orchid Show
Spring is a time of new beginnings, and The Orchid Show is a great event with a 2019 theme of Singapore. The 17th annual flora festival features a display with thousands of orchids in various shapes, sizes, and colors. Of course, there will also be special Orchid Evenings for visitors that want to enjoy that attraction under the night sky and see the supertrees alongside an amazing display of lights.
* The Sakura Matsuri Cherry Blossom Festival
When you attend the Sakura Matsuri you’ll have the chance to take in everything from Taiko drummers, J-rock bands, samurai-sword masters, and stand-up comics across the festival’s two stages. Not only that, you can enjoy an art gallery, a Japanese tearoom, and a mini flea market with silk wraps, wall scrolls, Raaka Chocolate, and flowers.
* Shakespeare in the Park
When the weather warms up, New York’s favorite outdoor theater — also free of charge — beings its new season. And this year, it kicks off with Tony Award-winning director Kenny Leon’s modernized play of Shakespeare’s Much Ado About Nothing, a comedy that follows miscommunication and romantic retribution. Just be sure to plan your trip accordingly
so you can get to Delacorte Theater by noon at the latest on performance day to pick up your tickets!
* Frieze New York
An expansive art festival with artwork from 200 international galleries, Frieze New York gives you all day to immerse yourself in all of the indoor and outdoor projects. To top it off, you can also take in the Manhattan views and enjoy some panel discussions.
Book Your NY Ticket with BestBus today!
If you’re going to buy bus tickets to New York to enjoy the city during the spring or early summer, we promise that our bus services will have you covered. We are committed to making your trip to most comfortable, safe, and enjoyable possible so you can take in the sights and enjoy the weather. Contact us today at (888) 888-3269
for more information.


GEORGIE FISHER – ‘PLAYGROUND’
Big Voice Management were instrumental in promoting the musical talent, Georgie Fisher.
‘One of the most exciting emerging artists at the moment’
After collaborating with The Versionaries, Damage Control and The Upbeats, Georgie is now rapidly carving out a phenomenally successful solo career.
Inspired by the likes of Joni Mitchell, Johnny Cash and Rene Geyer, Georgie’s soulful voice with woozy overtones of late nights in jazz clubs, each track different from the next; the punky sounds of ‘Blame it on your Mother’, the rebellious ‘Smoke’ to the beautiful ‘Fall Apart’ Georgie Fishers talent as an artist is boundless. Her voice, once described as a ‘butterscotch growl’, effortlessly delivers powerful and poetic lyricism and beautiful, outstanding tracks that are propelling her rapidly into the global music world.
‘PLAYGROUND’ – GEORGIE FISHER’S DEBUT EP IS AVAILABLE ON iTUNES
ALL MEDIA/PRESS ENQUIRIES VIA BIG VOICE MANAGEMENT
GEORGIE FISHER PERFORMING WITH THE VERSIONARIES


Back by popular demand, Suzi Parron will once again lead us in a fun-filled afternoon of barn quilt painting.
Sunday, August 13, 2017
Cost: $50 for members and $60 for non-members (includes the cost of the kit and admission to the museum and refreshments)
Call 402-472-6549 to register.
Copies of Following the Barn Quilt Trail will be available for purchase in the Museum Shop.


Get the free demo of IceBreaker. The demo is fully playable but the user preferences are locked.
Give the game a try. To instantly unlock all features simply purchase the game at any time.
Supports Windows 7, Vista, and XP. Download the package, run it, and follow the installer instructions.
Windows installer package: IceBreaker.msi
Supports Mac OS 10.4+ (Snow Leopard, Leopard, and Tiger). Download the image, open it, and drag the game into your Applications folder.
Mac disk image: IceBreaker.dmg
If you are not sure if your system meets the requirements just give the game a try. The download is free.


This is a 16×20 photo that was personally autographed by 3 cast members from the movie Major League Charlie Sheen, Tom Berenger (Jake Taylor) and Corbin Bernsen (Roger Dorn). Sheen is a famous American actor who played roles in Platoon, Wall Street, Major League, Hot Shots and The Three Musketeers. Sheen was also famous for his long running sitcom Two and a Half Men. Tom is known for his portrayal of Staff Sergeant Bob Barnes in Platoon (1986). He is also known for playing Jake Taylor in the Major League films and Thomas Beckett in the Sniper films. Corbin is known for his roles as divorce attorney Arnold Becker on the NBC drama series L.A. Law, Dr. Alan Feinstone in The Dentist as retired police detective Henry Spencer on the USA Network comedy-drama series Psych, and as Roger Dorn in the Major League films. This photo has minor bent corner damage at the top left and bottom right of the photo. This item includes a certificate of authenticity from James Spence Authentication (JSA) and Denver Autographs.


Located near Rodeo Drive, The Carlyle Inn places you in the vicinity of the most luxurious shops, restaurants, and sites in Beverly Hills. Tour iconic avenues dotted with all the luxury brands you can think of, or take a stroll to the Kabbalah Centre or other Jewish centers, all conveniently located just minutes from our Los Angeles hotel.
Walk down the iconic Hollywood Walk of Fame and see over 2,400 brass stars that illuminate the sidewalks of Hollywood Boulevard and Vine Street.
The glamorous home of the Academy Awards, the renowned Dolby Theatre (formerly the Kodak Theater) in Hollywood presents the city's top performers, concerts and entertainment events, including the finals for American Idol!
Discover fashion and fabulous finds on Rodeo Drive, the glamorous shopping destination in Beverly Hills where you can shop with the stars.
An icon of Hollywood celebrity culture, Sunset Boulevard is a stretch of Los Angeles - from Downtown Los Angeles to the Pacific Ocean - lined with trendy bars, restaurants and music venues.
This landmark outdoor theater hosts some of the world's top performers and events from fireworks displays, to Broadway style shows and movie screenings.
Shop ‘til you drop at the fashionable Beverly Center or the Citadel Outlets, both located just minutes away from The Carlyle Inn.
Laugh the night away when you grab a seat at the live taping of one LA's hottest late-night talk shows, featuring news, celebrity guests and pop culture comedy.
Get ready for the ultimate Hollywood experience! LA's best place for unexpected excitement!


Smooth. Jazzy. Worshipful.
It’s poetic and encouraging. Marcia Brackett successfully blends the smooth sounds of contemporary jazz melodies with silky smooth vocals in songs and spoken word for a masterfully created first CD. She artfully balances the old with the new for an enjoyable listening experience across demographics. From start to finish the music is soothing; you will relax but you will not go to sleep. I guarantee you that you will want to stay awake to listen to every word in every song. They are that captivating.
The songs I Give You My All, Forgive Me Lord and I Cry Out are prayerful and reflective. They take you into that secret place where you want to be alone with the Lord to have that one on one intimacy. The only instrument on I Cry Out is the piano. This provides a raw, honest and open worship experience. If you have ever had to cry out to God for any reason, if you have ever needed to feel Him near, you will appreciate this song. Another single instrument track that I found to be soulfully poignant is The Greatest Thing. This one is done with only an organ, giving it a nice Sunday morning feel.
It is difficult to decide which is my favourite track on the disc. Whenever I choose one, I hear another one which could be and so I conclude that all the tracks are my favourite. No exaggeration. I love the lyrics, the melodies, her voice and the backing music. It is the complete smooth jazz experience. Your Love, Rain and Russian Roulette are three of my modern favourites. As someone who loves the rain, I can picture myself listening and writing to this during a nice, light rain shower, or even a heavy downpour. I would be in my zone. The rock guitar in Russian Roulette gives it a hard edginess but the subdued funkiness of the track chips the edge right off and leaves that certain element of smooth.
Strange Fruit is another one that grabbed me early on. The name of the song reminds me of Billie Holiday, as she also did a jazz song way back when with the same name. When I heard the intro I thought I was going to hear Anita Baker’s Been Too Long, but they threw me off then pulled me back with something sweet and brand new. Very smooth. The Outro also has that Anita Baker feel to it.
The CD is a good listen and I recommend it. Some of these tracks are available for listening on YouTube. Or visit the Jazz D’Vine page on Facebook. We have added a couple of them there. I hope your listening experience will be as enjoyable as mine was.


Mondays 10 – 11am (during the school term)
Junior Jivers is a music & dance group for 0 to 5s that meets in the Gerringong Anglican Church Hall.
It is a time of dancing, singing, playing instruments, craft, stories, morning tea with friends, and free play. Mums, Dads, grandparents and carers are encouraged to come and join in the fun with their child. Afterwards enjoy a much needed cup of tea with other parents and carers.
Each term there is a different theme filled with new and familiar songs, fun activities and Christian teaching.
If you’re interested please contact Fiona Clare. ph 4234 0175 email email@example.com


“Illustrators, lets do it again. We’re looking for an illustrator who can draw awesome, quasi-retro robots for a fun book. Let me know.” -Giuseppe Castellano ( @pinocastellano )
Responding to this tweet was what started my adventure into the picture book world and ended with one of my favorite illustration projects of all time: the Robot Workshop activity book with Penguin Publishing.
There simply aren't enough words to express how thankful I am to have been able to contribute to this one. Working on a book which allows kids to draw on the pages was so much fun for me. My goal was to try and squeeze in as much detail as I could so kids would have fun getting lost in and drawing on top of this world. I hope they enjoy it as much as I enjoyed creating it.
My deepest thanks to Giuseppe Castellano. It was a dream come true working with him, and I hope lightning strikes twice and we get to do it again!
Now, onto the art!


With the start of Open Beta Test comes a set of events for the first week! Details for the Friends Forever event follow:
Event: Friends Forever
Details: Earn any amount of Friend Points by playing in party with other players in your Friend List to win five [Party Warp Card] items! Friend Points have to be earned during the event duration in order to qualify.
Prize: 5x [Party Warp Card]. Infinite number of winners. Only the first character on a THQ*ICE Passport to complete this event is eligible. Prizes will be delivered after the event ends.
Duration: Starts Friday, August 21st, ends Monday, August 24th at 11:59 PM Pacific.
Prizes will be sent via in-game mail.


In recent years, competitive gaming, commonly known as esports, has witnessed an unprecedented surge in popularity, transforming from a niche subculture to a global phenomenon. Esports has become a cultural and economic force, captivating audiences, and offering professional opportunities for skilled gamers. This deep dive explores the factors contributing to the rise of esports, its evolution, and the impact it has had on the gaming industry and mainstream entertainment.
Historical Roots of Esports
The roots of esports can be traced back to the 1970s and 1980s when competitive gaming took shape in arcades and local tournaments. Early titles like Space Invaders and Pac-Man set the stage for competitive play. As technology advanced, multiplayer games like Doom and Quake laid the foundation for the esports culture we know today.
Proliferation of Online Gaming
The advent of high-speed internet and online gaming platforms facilitated the growth of competitive gaming. With the ability to connect players globally, the online multiplayer game qqmobil became the battleground for skilled competitors. Titles like Counter-Strike, StarCraft, and later, League of Legends and Dota 2, gained prominence, paving the way for organized esports leagues.
Formation of Professional Leagues and Tournaments
The 21st century marked the establishment of professional esports leagues and tournaments. Organizations like the Electronic Sports League (ESL) and Major League Gaming (MLG) became pioneers in organizing competitive events. The introduction of significant prize pools attracted attention, validating esports as a viable career path for dedicated gamers.
Diversification of Esports Genres
Esports is not limited to a specific genre; it encompasses a diverse range of games, including first-person shooters, real-time strategy, multiplayer online battle arena (MOBA), and sports simulations. This diversity has broadened the appeal of esports, attracting audiences with varying gaming preferences.
Globalization and Mainstream Recognition
Esports transcended cultural and geographical boundaries, gaining recognition on a global scale. Major tournaments and leagues attracted massive viewership, both online and in-person. Esports events filled arenas, and championships began to receive mainstream media coverage, further solidifying the legitimacy and cultural impact of competitive gaming.
Rise of Streaming Platforms
The advent of streaming platforms, particularly Twitch, revolutionized the way fans engage with esports. Gamers could now watch their favorite players and teams in real time, fostering a sense of community. Streaming platforms provided an avenue for players to connect with their audience, creating a more intimate and interactive experience.
Investments and Sponsorships
As esports gained traction, investments from traditional sports organizations, celebrities, and tech giants flooded the industry. Franchise-based leagues, such as the Overwatch League and the League of Legends Championship Series, adopted structures similar to traditional sports, attracting significant sponsorships and media rights deals.
Professionalization of Esports Athletes
Esports athletes transitioned from passionate gamers to dedicated professionals. Training facilities, coaching staff, and sports psychologists became integral parts of esports organizations. The demand for skilled players led to the rise of player contracts, endorsements, and a competitive ecosystem that mirrors traditional sports.
Integration into Education
Esports made its way into educational institutions, with universities offering scholarships for talented gamers. Collegiate esports leagues and tournaments emerged, providing a structured pathway for aspiring players to pursue their passion while obtaining an education.
The Future of Esports: Technology and Inclusion
Looking ahead, the future of esports is shaped by technological advancements such as virtual reality, augmented reality, and 5G connectivity. These innovations promise to enhance the viewer experience and provide new dimensions to competitive gaming. Additionally, the industry is actively addressing inclusivity and diversity, with efforts to provide opportunities for underrepresented groups in esports.
The rise of esports represents a remarkable journey from grassroots competitions to a multi-billion-dollar industry with a global fan base. Competitive gaming has not only redefined entertainment but has also created new avenues for professional athletes, content creators, and businesses. As esports continues to evolve, its impact on mainstream culture and the entertainment landscape is undeniable, cementing its status as a force to be reckoned with in the world of sports and gaming.


• Join the Downtown Yoga Center, 122 Spring St., Sunday starting at 2 p.m. for yoga, kittens and coffee. A yoga with kittens class will begin at 2 p.m., open kitten adoption will be from 3-4 p.m. and Dos Gatos Coffee Bar will be providing coffee and scones for participants beginning at 3 p.m. There is a suggested $10 donation for the class.
• Folk Soul Revival will play for East Tennessee State University’s homecoming tailgate party at 1:30 Saturday afternoon at the Pepsi/Buctainment stage in the parking lot behind Warf-Pickel Hall on campus. The concert is free. Wyldeheart will open the show at noon.
• Dogs and their humans are invited to the Kingsport Aquatic Center, 1820 Meadowview Parkway, Saturday from 1-4 p.m. for a special party to swim in the outdoor waterpark to close out the season. Dogs must be up-to-date on current vaccinations, and proof of vaccination paperwork rom a veterinarian is required for entry. Admission is $5 per human and free for dogs. Admission is two dogs per human, and handlers must be 18 or older. Humans will not be able to swim during the event.
• Party like it’s 1920 and help local animals with a Gatsby-themed dinner party at Taylored Venue and Events, 115 Shelby St., Saturday from 6-10 p.m. A $50 ticket includes dinner, two drinks from the cash bar, live music and dancing. Proceeds from The Great Catsby will benefit the Sullivan County Humane Society. Learn more at facebook.com/Sullivan-County-Humane-Society.
• Downtown Jonesborough will be bustling this weekend with the National Storytelling Festival Friday through Sunday. Dozens of tellers from around the world will take take the stages throughout the weekend, but you don’t need a weekend pass to enjoy a slice of fun. Check out storytellingcenter.net for separate events like ghost stories, the midnight cabaret or other concerts as well as weekend and day passes.


Sheet Music Downloads at Musicnotes.com. Download, print and play sheet music from Musicnotes.com, the largest library of official, licensed digital sheet music. Print instantly + play with free iOS, Android, Mac and PC apps.
Tomplay Interactive Sheet Music with Backing Tracks | Tomplay. Thousands of Play Along Sheet Music for piano, violin, flute, cello, clarinet, drums, guitar, saxophone and more. Play your instrument accompanied by high quality backing tracks recorded with real musicians.


Coloring is not just for children; it also has gained popularity among adults as a therapeutic and relaxing pastime. It has been proved that coloring reduces state anxiety. Engaging in this activity will help you keep focused on one thing, effectively alleviating your stress and increasing mindfulness. Below there is a collection of digital adult coloring books we have for you. Free to download and print them to kick off coloring!
7 Free Adult Coloring PDFs for Downloads
Explore the amazing world of dragons in this printable adult coloring book. It comes loaded with 45 pages of stunning illustrations featuring characters and iconic scenes. A ton of details are waiting for you to fill in. Enliven the characters and scenes with colors.
The digital adult coloring book is filled with compelling patterns of flowers, butterflies, food, and other things. Download the free adult coloring PDF and print it out for coloring. Let your creativity flow right now!
Find peace and happiness in the intriguing coloring journey. The digital adult coloring book shows an eye-catching combination of flowers of various animals, such as fish, owls, elephants, and more. Each coloring page has intricate and attractive patterns. You will have a good time and great fulfillment after coloring it.
Ready to use all your vibrant colors! The printable adult coloring book features beautiful floral patterns that are covered in small details. Just keep concentrated and mindful, and you will get breathtaking masterpieces. Take your time with the free adult coloring PDF and relieve your stress during the process.
This is another mindful coloring book for you to have a blast! Color 36 wonderful Zentangle patterns to have fun. The free adult coloring PDF also provides you with bonus templates, encouraging you to design your own patterns. Give it a try and see how fantastic it will be.
If you love gardening, don’t miss out on the digital adult coloring book! It not only includes coloring pages but also introduces common animals in gardens and tells you how to make your garden more biodiversity-friendly. Get closer to nature and learn useful knowledge about gardening while coloring the printable adult coloring book.
Calm your nerves with the digital adult coloring book for mental therapy. A variety of animals, including pandas, wolves, horses, and koalas, are adorned with wondrous and intricate patterns. Download the free adult coloring PDF and immerse yourself in a burst of colors.
Best Digital Adult Coloring Book Maker – Flip PDF Plus
Flip PDF Plus is a free PDF to ebook converter that specializes in transforming static PDFs and images into 3D animated flipbooks. Simply upload your coloring book and then get an interactive printable adult coloring book within minutes. It supports you in sharing digital adult coloring books via links and QR codes. Distribute them on different social media platforms to showcase your creativity. You can also sell them online to monetize your content.
Wrap It Up
Coloring is a process of unwinding and finding inner peace. Step into a world of colors and add some magic to the free adult coloring PDFs listed above. Flip PDF Plus is an all-in-one flipbook maker that helps you create, publish, share, and sell engaging digital adult coloring books effortlessly. Try it out and make your printable adult coloring books more captivating.


A. Conan Doyle The Hound of the Baskervilles Sherlock Holmes Vintage Edition
The Hound of the Baskervilles
Another Adventure of Sherlock Holmes.
By: A. Conan Doyle
New York: Grosset and Dunlap. circa 1910
Octavo, original red cloth, titles to cover and spine black, portrait to front cover, black and white illustrations throughout.
A very attractive vintage copy with just a touch of wear to cloth at corners and ends of spine, spine gently rolled, else an excellent copy.


Downtown Santa Cruz is a unique and wonderful place, whatever it is that everyone loves about Downtown Santa Cruz, it’s hard to argue that the people are what make it so special. The people who live, work and play here all make up a shared experience that really does make our Downtown unique and wonderful.
One would tell you that the mix of over 100 one-of-a-kind shops with many of the big name stores you know and love, makes for one of the most exciting shopping experiences anywhere.
Of course with dozens of outstanding restaurants, each expressing its own interpretation of the best combined agricultural and fishing region in the world, one could argue that the food and wine is the main draw.
But don’t forget about the world class music scene, with more amazing sub genres than you ever knew existed. A nod must go to the wealth of local artists showcased throughout Downtown each month as part of the First Friday Art tour.


CHESTER GREGORY (Berry Gordy)
Chester is thrilled and honored to return in the role of Berry Gordy, after portraying him last summer on Broadway in Motown The Musical! Broadway credits include Hairspray, Tarzan, Cry-Baby and Sister Act. He has toured nationally with several shows including Dreamgirls and his one-man show The Eve of Jackie Wilson. Chester has received many awards including the NAACP Theatre Award, and has been presented the key to the city of his hometown of Gary, Indiana and East Chicago. He has also been chosen as an Honorary State Representative and has received a Honorary Doctorate from his alma mater Columbia College in Chicago. Chester is also a songwriter and producer. Join the journey @ChesterGregory and chestergregory.com.
ALLISON SEMMES (Diana Ross)
Thrilled to be traveling the nation with this show again! Proud AEA member. Chicago Native. B.M.Opera at UIUC, M.M. from NYU-Steinhardt. Broadway credits: Motown The Musical (Florence Ballard) and The Book of Mormon (Nabalungi u/s, Swing). Other credits include The Color Purple National Tour, Dreamgirls, Bubbling Brown Sugar, The Wiz, Candide. BroadwayWorld Chicago award for Best Female Lead, and an NAACP Theatre Award nomination for Best Female Lead for Diana Ross in Motown. Thanks to Mr. Gordy, Charles, KM, and my family. Follow her journey @ladysemmes & www.allisonsemmes.com
JARRAN MUSE (Marvin Gaye)
A native Jersey boy couldn’t be happier living his dream. God is good y’all. Broadway/N.Y.C.: Motown The Musical, Irving Berlin’s White Christmas, Dreamgirls. Tours: American Idiot, Dreamgirls, Hairspray, 42nd Street. Check jarranmuse.com for the complete resume. “Thank you to Mr. Gordy, Charles and Telsey for this new opportunity to bring Marvin to stage every night; to the Motown legends that lived the story we are telling; to KMR for representing me and to my family and friends for being there. I LOVE YOU! Proud member of Actors’ Equity Association. Follow me on Instagram: @JaeMuse or Twitter: @JarranMuse.”
DAVID KAVERMAN (Smokey Robinson)
is honored to make his Equity and National Tour debuts with Motown! Native of Ohio. Favorite credits (Regional): Sister Act, Dreamgirls, Carousel, Chicago, Godspell, & Disney Cruise Line. Proud graduate of Otterbein University (BM) & the Manhattan School of Music (MM). Eternal thanks to Mr. Gordy & Wojcik|Seay Casting. Shout out to The Mine, his superMama, Manda, and invaluable friends & teachers who have given him the world! Love. Instagram: @deighvidk. www.davidkaverman.com
CJ WRIGHT (Young Berry Gordy/Young Stevie Wonder/Young Michael Jackson)
is an 11-year musician from Upland CA, is beyond excited to join the Motown cast and make his national tour debut. He has appeared in a commercial, print, voice overs, and has performed in local theater and venues. He would like to thank his family, friends, and teachers who have supported him along this amazing journey.
RAYMOND DAVIS JR. (Young Berry Gordy/Young Stevie Wonder/Young Michael Jackson)
A 12 year old native of Indianapolis, Raymond is humbled and extremely grateful to join the Motown cast. He has appeared in commercials and has won many singing contests in Indianapolis. He would like to thank God, family, and friends.
MICHELLE ALVES (Ensemble)
Broadway /National Tour: West Side Story (Anita 2012-2014), Carmen, RENT, Hairspray, Godspell, Hair, Chicago, Nine; Ricky Martin, Black Eyed Peas, Pitbull, Nelly Furtado; Grammy/Billboard Awards; LA Broadwayworld Best Featured Actress in a Musical Winner (Anita-2013). www.michellemalves.com
MALCOLM ARMWOOD (Ensemble)
National Tour: Smokey Joes Cafe (Adrian). Regional: Grease (Teen Angel), Show Boat, Ragtime, Hairspray, Kiss Me Kate. ECU alum! Praises to God for his continuous blessings! Thanks Dad, Mom, Mckenzie, family and friends for all the love and support.
ERICK BUCKLEY (Swing)
Broadway/national tours: Les Misérables (Valjean); The Addams Family (Uncle Fester); The Full Monty (Dave); The Phantom of the Opera (Piangi); Kiss Me, Kate (Gangster #1); Grease! (Roger). Favorite roles: husband to Robin, dad to Miranda.
JUDITH FRANKLIN (Ensemble)
Houston Texas Native. Regional: Dreamgirls, Memphis The Musical, Little Shop of Horrors, Company Tours: Todrick Hall's Straight Outta Oz, Tyler Perry's Madea On The Run Grateful! @judithfranklin.
JEREMY GASTON (Ensemble)
National/International Tours: Sister Act 1st national (Eddie u/s, Curtis u/s, TJ u/s), Shrek (Donkey), Smokey Joe's Café (Victor u/s), We Will Rock You (Britney), Jesus Christ Superstar (Priest u/s), Sunfish (Monk). Jeremiah 29:11 @JeremyAllynGaston
ALYSSA V. GOMEZ (Swing)
A NY Native, Alyssa is delighted to join the company of Motown! Regional: In The Heights (Nina), Rent (Mimi), American Idiot (Whatsername). BA Emerson College. Much love to mi familia!
GARFIELD HAMMONDS (Ensemble)
is elated to join the Motown family! Fave Credits: Kiss Me, Kate (Nat'l Tour), Ragtime (Coalhouse), Smokey Joe's Cafe, Big River. Love to Chris and Mom. Thanks Bobbie!
ROD HARRELSON (Dance Captain/Swing)
Proud AEA member! Originally from Greensboro, NC., trained/studied at UNC-Chapel Hill. "Golden Rule" at all times. Love and thanks to God and family - always for Cynthia!
LATRISA HARPER (Ensemble)
Broadway: The Color Purple, The Lion King. 1st National Tours: The Color Purple, Motown The Musical. Off Broadway: Invisible Thread, Second Stage Theater NYC. Regional: The Wiz, Arkansas Repertory, Witness Uganda, American Repertory Theater. Was a member of Ailey II. Proud AEA member. Love to family and Susan Batson Studios.
JARED HOWELTON (Ensemble)
Credits include: International Tour - Shrek the Musical (Donkey), Off-Broadway - Urinetown (Bobby Strong). Otterbein University (BFA). Thanks be to God, family, and TPG!
LOUIS JAMES JACKSON (Ensemble)
International Tour: SHREK The Musical (u.s. Donkey & perf'd/Papa Bear). Regional: Beauty and The Beast (Ensemble)-Ogunquit Playhouse. Dance: Luna Negra Dance Theater, DanceWorks Chicago. The Ailey School.
ELIJAH AHMAD LEWIS (Ensemble)
is thrilled to return to Motown! Broadway: Motown. Off Broadway: Mama I Want To Sing, Sing Harlem Sing. Tours: Motown (1st Nat) Mama I Want To Sing (Japan). Music: Mario, Ariana Grande, Mary Mary, Madonna. @eal360 eal360.com
RAMONE OWENS (Assistant Dance Captain/Ensemble)
Broadway; Motown. Off-Broadway; Finian’s Rainbow (Irish Rep) Regional: Disney’s Aladdin, Hairspray, Dreamgirls, Man of La Mancha. Countless thanks to God, his family and The About Artist Agency. B.F.A., Boston Conservatory. Psalm 16:8
DEVIN L. PRICE (Ensemble)
Born and raised in Lansing, Michigan. Graduated from Oakland University in Rochester Hills, MI, with BFA Musical Theatre (MT '15). Special thanks always to God, Family and Friends.
ALANA RANDALL (Swing)
Toronto native thrilled to be joining the Motown family! Off-Broadway/Tours: Vagina Monologues (Jerry Orbach), Dirty Dancing, The Wizard Of Oz. Theatre: West Side Story, Hairspray, Hair, High School Musical. TV: Series regular on Hellcats (CW). Love to family & Bloc NYC.
TAVIA RIVEÉ (Ensemble)
is thrilled to join the Motown family! Favorite credits include: Hairspray, Seussical, All Shook Up. Thanks to Wojcik|Seay, Brian Graziani, and my amazing parents. Glory to God! @TaviaRivee
MATTHEW SIMS JR (Swing)
Graduate of AMDA. International performer for Carnival Cruise Lines. Wailin’ Joe in Memphis, Leroy in Hairspray, and The Band Leader in the NAACP Award winning musical, Recorded In Hollywood.
KIMBERLY ANN STEELE (Ensemble)
Favorite credits: Hair (Hollywood Bowl), Kiss Me, Kate! (Pasadena Playhouse), Carrie: The Killer Musical Experience (Los Angeles Theatre), Spring Awakening (UCLA). UCLA Alumni. www.electricsteele.com. Thanks Mom!
DOUG STORM (Ensemble)
Broadway: Motown, Les Misérables, Jekyll & Hyde, The Scarlet Pimpernel, Dance of the Vampires, Chess in Concert. Off-Broadway: Bat Boy (original cast). Other: Disney’s Tarzan, Because of Winn Dixie. Notre Dame de Paris – Vegas (Quasimodo). Trained at HB Studios (NY) & Second City (Chicago)
DANIEL ROBERT SULLIVAN (Ensemble)
Over 1000 performances as Tommy DeVito in Jersey Boys. Author of award-winning play Prospect High: Brooklyn, and theatrical memoir Becoming a Jersey Boy. Say hello at DanielRobertSullivan@gmail.com!
GABRIELLA WHITING (Ensemble)
Previous credits include; National Tours: Saturday Night Fever (Candy). Regional: Sister Act (Michelle/ Delores u.s), Sweet Charity (Helene) RENT(Mimi). Big thanks to mom for always being so supportive.
GALEN J. WILLIAMS (Swing)
Favorite past credits: Motown the Musical (Broadway) Passing Strange, Three Little Birds. Huge thanks to my loving family, amazing friends, and my stellar team at Apex Talent Group! B.F.A., Howard University.
RICARDO A. ZAYAS (Ensemble)
Brooklyn, NY. Honors graduate Fordham. "25 to Watch"-Dance Magazine. Dance: Ailey II, Lar Lubovitch, LINES Ballet, Metropolitan Opera, Shen Wei. Theater: In The Heights, Queen of the Night, West Side Story (Carnegie Hall), Broadway's Hamilton.
BERRY GORDY (Book, Producer)is the founder of Motown, the hit-making enterprise that reached out across a racially divided, politically and socially charged country to trans- form popular music. He is also a songwriter, producer, director, innovative entrepreneur, teacher and visionary. Actively involved in the Civil Rights movement, he released the recorded speeches of Dr. Martin Luther King, Jr. His films include Lady Sings the Blues (five Academy Award nominations) and Mahogany. Gordy has received four honorary doctorates in philosophy (Occidental College), the humanities (Morehouse College, Michigan State University) and music (Eastern Michigan University). Other awards include the Martin Luther King, Jr. Leadership Award, the Gordon Grand Fellow from Yale University, induction into the Rock and Roll Hall of Fame, a star on Hollywood’s Walk of Fame, the Rainbow Coalition’s Man of the Millennium Award, the Rhythm and Blues Foundation’s Lifetime Achievement Award, the T.J. Martell Foundation’s Lifetime Artistic Achievement Award and the Grammy Salute to Industry Icons President’s Merit Award. In 2011, President Obama honored him with a Salute to Motown evening at the White House. He is also the recipient of the 2013 Marian Anderson Award, BET’s Visionary Award, Ebony’s first Lifetime Achievement Award, and Major League Baseball’s 2014 Beacon of Change Award and The NAACP 2016 Theatre Award for Best Playwright. In a White House ceremony in September 2015, President Barack Obama presented Gordy with the National Medal of Arts for a lifetime of achievement that “transformed music and American life and still reverberates today. Berry Gordy’s unparalleled contribution to popular culture is chronicled in his autobiography, To Be Loved: The Music, The Magic, The Memories of Motown.
SONY/ATV MUSIC PUBLISHING
Sony/ATV Music Publishing, established in 1995 as a joint venture between Sony and Michael Jackson, is the world’s leading music publisher. Together with EMI Music Publishing, Sony/ATV owns or administers more than two million copyrights, including those from such iconic music catalogs like Leiber Stoller, Mijac Music, Motown and Famous Music. Sony/ATV also controls many of the best-known songs ever written, such as “New York, New York,” “All You Need Is Love,” “You’ve Got a Friend,” “Moon River,” “Jailhouse Rock,” “The Mission Impossible Theme,” “Ain’t No Mountain High Enough,” “Over the Rainbow,” “Stand By Me,” “I Heard It Through the Grapevine” and “Singin’ in the Rain.” In addition, Sony/ATV represents the copyrights of such legendary artists as the Beatles, Leonard Cohen, Neil Diamond, Bob Dylan, Marvin Gaye, Michael Jackson, Carole King, Kraftwerk, Joni Mitchell, Willie Nelson, Roy Orbison, Queen, the Rolling Stones, Richie Sambora, Sting, the Supremes, Wyclef Jean, Hank Williams and Stevie Wonder, among others. Its ever growing list of chart-topping artists, writers and producers includes Akon, Fall Out Boy, Jessie J, Norah Jones, Alicia Keys, Lady Gaga, John Mayer, Pink, RedOne, Shakira, Ed Sheeran, Stargate, Taylor Swift and Kanye West.
CHARLES RANDOLPH-WRIGHT (Director)
Theatre directing credits include Motown The Musical (on Broadway, the national tour, and London), the new musical Born For This (co-written with Bebe Winans), the Pulitzer Prize-winning play Ruined and Sophisticated Ladies at Arena Stage, the 75th Anniversary International Tour of Porgy and Bess, Love/Life at Lincoln Center (with Brian Stokes Mitchell), the National Tour of Guys and Dolls (starring Maurice Hines), and They’re Playing Our Song (in Brasil in Portuguese). Randolph-Wright wrote the plays Blue (starring Phylicia Rashad and Diahann Carroll), The Night Is A Child (starring JoBeth Williams), Cuttin’ Up, co-wrote Just Between Friends - Bea Arthur on Broadway, and the upcoming new play Love in Afghanistan. Charles directed the award-winning film “Preaching to the Choir,” and has written screenplays for HBO, Showtime, Disney, and Fox. Television credits include directing the series “Greenleaf,” “Lincoln Heights,” “South of Nowhere,” the music special “America America,” the “Freestyle” football commercial for Nike, and producing and writing the Showtime series “Linc’s.” www.Randolph-wright.com
PATRICIA WILCOX (Choreographer)
Broadway: Motown The Musical (Astaire Award and NAACP Awards) and A Night with Janis Joplin. Off-Broadway/national tours: Little Shop of Horrors (Encore/City Center starring Jake Gyllenhaal), Children’s Letters to God, Bowfire (and PBS television special), Blues in the Night (NAACP nomination), and Seussical. West End: Motown The Musical. Selected Regional: The Kennedy Center, Pasadena Playhouse, Arizona Theatre Company, Pioneer Theatre Company, Missouri Repertory Theatre, The Alley Theatre, Goodspeed Opera House, and Paper Mill Playhouse. She has staged original works for the Houston Symphony, Minnesota Pops, Phoenix Symphony, Norwegian Cruise Line, and she has also created numbers for ice skating gold medalists Viktor Petrenko, Ilia Kulik, Katya Gordeeva, Miki Ando and ice dancing teams for the 2006, 2010 and 2014 Winter Olympics.
WARREN ADAMS (Choreographer)
MOTOWN: Broadway, US TOURS, West End (Fred Astaire Award, NAACP Theatre Award) BORN FOR THIS (Alliance and Arena ) Adams is an award winning producer director, choreographer and an adjunct professor at NYU and Princeton University in the theater department. He recently directed the film documentary Africa Straight Up and also choreographed the Pulitzer Prize-winning Off-Broadway plays How I Learned to Drive and Ruined. Other notable credits include the opera Magdalena at the Theatre du Chatelet in Paris, Toy Story the Musical for Disney and Nora Ephron’s last film Julie & Julia starring Meryl Streep. His theatrical work has been presented at New York City Center, the Joyce, 2nd Stage, South Coast Rep, Teatro du Municipal Sao Paulo, Theatre for a New Audience, the Intiman, the Geffen and several dance companies. Upcoming Works include directing Michael Ogborn’s TRIAL OF THE CENTURY and Gilbert Bailey’s BOUT TO BLOW. Born and raised in South Africa, he won the Nelson Mandela/Sainsbury Scholarship to study at the Rambert Ballet in London. He is a graduate of Brunel University in England and winner of the Rudolf Nureyev Award. www.WarrenAdams.me.
ETHAN POPP (Music Supervision, Orchestrations, Arrangements)
Awards: 2016 NAACP Theatre Award (Motown The Musical), 2014 Grammy Award Nomination (Motown The Musical Original Cast Recording, Music Producer), 2013 Tony Award Nomination (Motown The Musical, Best Orchestrations). Theater: Jay Chou’s The Secret (Beijing; Orchestrator), School Of Rock (Broadway; Music Supervisor), Hedwig And The Angry Inch (2014 Tony Award Winner, Best Revival of a Musical Broadway; Music Supervisor), Motown The Musical (Broadway, U.S. Tour, London; Music Supervisor, Arranger, Orchestrator), Rock Of Ages (2009 Tony Award Nomination, Best Musical; Broadway, U.S. Tour, London, Australia; Music Supervisor, Arranger, Orchestrator), Disney’s Tarzan (Broadway), We Will Rock You (German Premiere), Disney’s Aida (European Premiere), Mamma Mia! (German Premiere) among others. Film: “The Greatest Showman” starring Hugh Jackman, Michelle Williams, Zac Efron and Zendaya (20th Century Fox, Music Director). Television: “Last Week Tonight with John Oliver” (HBO; Music Director, Composer, Arranger), “Smash” (NBC/Universal; Music Producer, Arranger, Orchestrator), “A Capitol Fourth” (PBS; Arranger, Orchestrator), “The 2011 Primetime Emmy Awards” (FOX; Conductor), “The Tonight Show with Jay Leno” (NBC; Music Director, Arranger, Orchestrator), “Late Night with Conan O’Brien” (NBC; Music Director, Arranger, Orchestrator). Love to Vanessa and Aldrin! www.ethanpopp.com
DAVID KORINS (Scenic Design)
Broadway: Dear Evan Hansen, Hamilton (Tony Nom.), War Paint, Misery, Motown, Vanya and Sonia…, Annie, Bring It On, Magic/Bird, An Evening with Patti Lupone and Mandy Patinkin, Godspell, Chinglish, The Pee-wee Herman Show, Lombardi, Passing Strange & Bridge and Tunnel. TV: Grease: Live! (Emmy Award). Concert: Bruno Mars, Lady Gaga, Kanye West, Sia, Mariah Carey, Andrea Boccelli. Extensive off-Broadway/Regional theater, hospitality, event & experience design. Dad: Stella & Vivian. @davidkorins
EMILIO SOSA (Costume Design)
Radio City Spectacular (2015- 2016). Broadway: On Your Feet!; Lady Day at Emerson’s Bar & Grill, Motown: The Musical (West End, 1st National Tour, NAACP Theater Award); Porgy and Bess (Tony nomination, NAACP Theatre Award), Topdog/Underdog. Off-Broadway:By the Way, Meet Vera Stark (Lucille Lortell Award, NAACP Theatre Award), Invisible Thread,Sex With Strangers, Crowns, The Invisible Hand, Sunset Baby, Detroit ‘67, The Misanthrope. Regional: Twist (L.A. Ovation Award), Immediate Family, Marley, American Night: The Ballad of Juan José, Ruined, Cutting Up, Señor Discretion Himself (Helen Hayes nomination), Witness Uganda, Fences, Turandot: The Rumble for the Ring, Pippin, Ain’t Misbehavin,’ Sense & Sensibility The Musical. Project Runway finalist; Trustees, American Theatre Wing.
NATASHA KATZ (Lighting Design)
has designed extensively for theatre, opera, and dance around the world. She is a six-time Tony Award winner whose recent Broadway credits include: Cats, Long Day’s Journey Into Night, School of Rock, An American in Paris, Aladdin, Skylight, The Glass Menagerie, Once, Follies, The Coast of Utopia: Salvage, and Aida. Opera/dance/other include: Alice’s Adventures in Wonderland (Royal Ballet), Cinderella (Dutch National Ballet), Buried Child (National Theatre, London), Cyrano (the Met), Carnival of the Animals (NYCB), Swan Lake (Edinburgh Festival). Concert acts: Shirley MacLaine, Ann-Margret and Tommy Tune. Permanent lighting installations: Niketown NYC and London and the Big Bang at the Museum of Natural History in NYC.
PETER HYLENSKI (Sound Design)
Grammy, Olivier and four time Tony award nominated. Selected Designs include: Something Rotten, Rock of Ages, After Midnight, Motown, The Scottsboro Boys, Side Show, Rocky, Bullets Over Broadway, Shrek the Musical, On A Clear Day, Lend Me A Tenor, Elf, Wonderland, Cry Baby, The Times They Are A-Changin’, The Wedding Singer, Sweet Charity, Martin Short: Fame Becomes Me, Little Women, Brooklyn. Other credits: Le Reve and ShowStoppers at Wynn Las Vegas, Ragtime (London), Rocky Das Musical (Hamburg, Stuttgart), King Kong (Melbourne), Bull Durham, Mame, Gotta Dance, Anastasia. International arena tours of How To Train Your Dragon and Walking with Dinosaurs.
DANIEL BRODIE (Projection Designer)
Designs include Basil Twist’s Behind the Lid, Arias with a Twist and The Rite of Spring, as well as Christopher Wheeldon’s Cinderella and The Winter’s Tale. His designs for Broadway include Motown the Musical, Jekyll & Hyde and Disney’s Aladdin. He has also created large-scale video designs for hip-hop artist Kanye West and for the Bonnaroo Music and Arts Festival.
CHARLES G. LAPOINTE (Hair & Wig Design)
Broadway: Hamilton, On Your Feet, Allegiance, Color Purple (Revival), Holiday Inn, Violet, Gentleman’s Guide…, After Midnight, Of Mice and Men, Julius Caesar, Fences, Clybourne Park, Newsies, The Columnist, Magic/Bird, Bonnie & Clyde, The Mountaintop, Women on the Verge, The Merchant of Venice, Memphis, Henry IV, The Rivals, Cymbeline, Lombardi, Looped, The Miracle Worker, Superior Donuts, 33 Variations, Guys and Dolls, In the Heights, Jersey Boys, The Color Purple, Martin Short, Good Vibrations, The Apple Tree, A Raisin in the Sun, Cat…, The Lieutenant of Inishmore, Radio Golf, Sight Unseen, High Fidelity, Xanadu and Bring It On.
BRYAN CROOK (Orchestrations, Additional Arrangements)
is a Tony-nominated orchestrator, producer, composer, arranger and multi-instrumentalist for Broadway, TV and films. In addition to playing woodwinds for The Book of Mormon on Broadway, his work can be heard in Ice Age 4 (FOX), “Smash” (NBC), The 2011 Billboard Music Awards and the 2011 Emmy Awards. He has several projects in development, including Mighty Cindy Cypress, a children's show. His most important credits, however, are as a husband to Hilary and father to Liam, Ethan and Henry.
ZANE MARK (Dance Music Arrangements)
Broadway: Hollar If You Hear Me; Motown The Musical; Pippin; Leap of Faith; All ShookUp; Dirty Rotten Scoundrels; Never Gonna Dance; The Full Monty; Bring in ’da Noise, Bring in ’da Funk (Tony and Grammy nominations); Bubblin’ Brown Sugar; The Wiz. Off-Broadway and regional: Smart People; Frog Kiss, Crowns, The Brother/Sister Plays, Ray Charles Live, Imagine Tap, Radiant Baby, George Wolfe’s Harlem Song (AUDELCO Award), Thunder Knocking on the Door, Insurrection, Betsy Brown. Movies: Rosenwald; The Dancer Chronicles, Lackawanna Blues, Frances Ford Coppola’s The Cotton Club.
DARRYL ARCHIBALD (Musical Director, Conductor)
MOTOWN (Broadway 2016 and first national tour), MEMPHIS Broadway tour; WICKED at the Pantages Theater (substitute conductor); DREAMGIRLS national tour (associate conductor); Disney’s THE LION KING tour (vocal coach/assistant conductor); INNOCENCE (Banff Centre and Manhattan Theatre Club); NEXT TO NORMAL, SWING! (McCoy/Rigby); CAROUSEL, LI’l ABNER (Reprise); CAMELOT, 1776 (Utah Shakespearean Festival); guest conductor for ERASURE (Palm Springs Convention Center).
WOJCIK|SEAY CASTING (Casting)
is Scott Wojcik and Gayle Seay. Along with Holly Buczek, they cast all mediums. Tours: Vocalosity, Flashdance, Nice Work If You Can Get It, Jekyll & Hyde (national and Korean), Dreamgirls (Korean tour), Joseph…Dreamcoat, Oklahoma! and A Chorus Line. Off-Broadway current and past: Othello: The Remix, The Portal, Tennessee Williams’ The Two Character Play with Amanda Plummer and Brad Dourif, Handle with Care with Carol Lawrence, Triassic Parq, National Pastime, 666 and more. Regional: multiple seasons/shows for Riverside Theatre, Fla.; The Engeman Theatre, N.Y.; Theatre Raleigh, N.C.; Stages St. Louis, Mo.; Theatre Aspen, Colo.; and Tuacahn PAC, Utah. Pilots: “Upstate” and “Stand-In.” Films: Best Man in the Dark, Tommy Battles the Silver Sea Dragon, My Prologue. Webseries: “The Fuzz.” Many commercials. Currently: “The Hunt with John Walsh” on CNN. wscasting.com.
TELSEY + COMPANY (Original Casting)
Broadway/tours: Anastasia; Charlie and the Chocolate Factory; Hello, Dolly!; War Paint; Present Laughter; Come from Away; Paramour; Waitress; On Your Feet!; Hamilton; Kinky Boots; Wicked; The King and I; An American in Paris; The Sound of Music. Off-Broadway: Atlantic, Classic Stage Company, LAByrinth, MCC, Second Stage, Signature. Regional: A.R.T., La Jolla, McCarter, New York Stage and Film, Paper Mill, Williamstown. Film: Into the Woods, Margin Call, Rachel Getting Married, Across the Universe, Camp, Pieces of April. TV: “Hairspray Live!,” “Conviction,” “This Is Us,” “Grease Live!,” “The Wiz Live!,” “Flesh and Bone,” “Masters of Sex,” “Smash,” “The Big C,” commercials. Telseyandco.com.
J. JARED JANAS (Makeup Design)
Broadway designs include makeup for The Visit and The Real Thing, wigs and special makeup effects for Lady Day at Emerson’s Bar and Grill, wigs and makeup for The Gershwins’ Porgy and Bess, hair for Peter and the Starcatcher, and wigs for All About Me and Next to Normal. TV/film includes “30 Rock,” “Gotham,” “Mozart in the Jungle,” “Master of None,” Lola Versus, Angelica, and Six by Sondheim.
DAVID GOLDSMITH (Script Consultant)
Imagine This (lyrics, Theatre Royal, Plymouth and London, West End; a filmed version of the West End production is part of the PBS catalogue); Having It All (book and lyrics, Los Angeles; Ovation nominee, Best Musical, Best Book). Invisible Thread (Story Consultant - 2nd Stage Theatre, Diane Paulus, dir.) Thanks to BG, DS, CB, BB, NNL, CRW and KM.
DICK SCANLAN (Script Consultant)
has been involved with many acclaimed shows as a writer (Everyday Rapture, Thoroughly Modern Millie—2002 Tony Award, Best Musical) and director (Little Shop of Horrors at Encores! Off-Center, starring Jake Gyllenhaal). He has been a Motown fanatic since his mother bought him a Supremes record in 1967. Thanks, mom. Thanks, Berry Gordy.
ROD LEMMOND (Associate Scenic Designer)
has been the lead associate on more than 200 shows and projects. Broadway credits include Hamilton, War Paint, Misery, Motown, Annie, Chinglish, The Pee-wee Herman Show, Lombardi, and Passing Strange. Rod has also worked Off-Broadway, regionally and in TV and film.
SCHELE WILLIAMS (Staging / Associate Director)
has directed numerous Broadway Concerts at the Gershwin Theatre in New York, including Uprising of Love, Defying Inequality, for which she received a New York City Proclamation, and From Broadway to Bourbon Street. She had directed at numerous regional theatres including: The Kennedy Center, The Village Theatre, Human Race Theatre, Weston Playhouse, Ogunquit Theatre, TheaterWorks, NYMTF, and NAMT. Schele is an adjunct professor at NYU New Studio on Broadway and is co founder of Parlor Night, a pop up entertainment experience and Blink Twice Productions.
BRIAN HARLAN BROOKS (Associate Choreographer)
Training at the Dance Theater of Harlem, and The Alvin Ailey American Dance Centre, The William Esper Studio. Since then performing with, Forces of Nature, Philadelphia Dance Company (Philidanco), Joseph Holmes Chicago Dance Theatre, Deeply Rooted Dance Theatre; the tour of Vinette Carole’s Your Arms Too Short Box with God, Donald Byrd/The Group, Williams/Henry Danse Theatre, Earl Moseley’s Diversity of Dance, and The Color Purple first National Tour (Dance Captain). TV and Film, Across the Universe, Lifted a Fox Searchlight Film, and the HBO series Boardwalk Empire. Working as rehearsal director for Deeply Rooted Dance Theater, Donald Byrd/The Group, Ailey Camp Missouri Site Director, and Cedar Lake Contemporary Ballet.
ANNA R. KALTENBACH (Production Stage Manager)
Broadway/NY: Motown, Broadway Advocacy Coalition, Broadway Inspirational Voices. Tours: Once, Memphis, Shrek, A Chorus Line, Mamma Mia!, Dirty Rotten Scoundrels, Joseph... (Tokyo). West End: Motown. Regional: Marriott Lincolnshire, Chicago Shakespeare, Other Theatre Company, Western Stage, Cleo Parker Robinson Dance, Colorado Ballet, Opera Colorado. Proud AEA member.
RALPH STAN LEE (Stage Manager)
is pleased to join Motown. Some of his favorite credits are: National tours of Dreamgirls; Hello, Dolly!; Cinderella; A Christmas Story; and Nice Work If You Can Get It. Regional: Whorl Inside a Loop (Second Stage), Porgy & Bess (Spoletto) and A Christmas Carol (N.C. Shakes). Ralph would like to thank Work Light and Mr. Gordy for this opportunity.
AMBER JOHNSON (Assistant Stage Manager)
is thrilled to be working with MOTOWN again. Touring Credits: The Phantom of the Opera (North American Tour), MOTOWN The Musical (1st National), The Book of Mormon (Chicago Tour), and Jersey Boys (Chicago Tour). Chicago credits include West Side Story, Mamma Mia!, and Oklahoma! (Paramount Theatre) and GYPSY, Seussical The Musical, and SHREK the Musical (Chicago Shakespeare Theatre). Other regional credits include Williamstown Theatre Festival and Antelope Valley Ballet. Amber graduated from the University of Oklahoma with a BFA in Theatre. As always, Boomer Sooner!
ALLIED LIVE (Marketing and Press)
is a full-service marketing/advertising agency representing national tours, performing arts institutions and experiential entertainment entities throughout North America. Current touring clients: Hamilton, The Book of Mormon, An American in Paris, Something Rotten!, Rent 20th Anniversary Tour, Kinky Boots, Rodgers + Hammerstein’s Cinderella, A Gentleman’s Guide to Love & Murder, Mamma Mia!, Motown The Musical, Once, Elf and Irving Berlin’s White Christmas. Upcoming tours include School of Rock and The Humans.
WORK LIGHT PRODUCTIONS (General Management)
Dedicated to creating and producing live entertainment. General management for Something Rotten! and Motown. Producers of Rent 20th anniversary tour, Rodgers + Hammerstein's Cinderella, Mamma Mia!, White Christmas. Currently developing Clue, a new stage play based on the Paramount movie. Produced Julie Andrews, The Gift of Music at The Hollywood Bowl and London’s O2 Arena. Other recent touring productions include the Tony Award-winners American Idiot, In the Heights and Avenue Q. WLP is led by founding partner and President Stephen Gabriel and Vice President Nancy Gabriel. worklightproductions.com.
PORT CITY TECHNICAL (Production Management)
is a production management company based in Charleston, S.C. Current tours with Work Light Productions include Mamma Mia!, Rent, Rodgers + Hammerstein's Cinderella and White Christmas. “We are thrilled to be working with them again on Motown and Something Rotten
KEVIN MCCOLLUM (Producer)
has received three Tony Awards for Best Musical for In the Heights (2008), Avenue Q (2004), and Rent (1996), which was also awarded the Pulitzer Prize for Drama. He also produced The Drowsy Chaperone (2006, winner of 5 Tonys), and most recently, Something Rotten!, Hand To God, and Motown the Musical on Broadway. He will be represented on Broadway this spring by The Play That Goes Wrong and also on tour by Something Rotten! Mr. McCollum was trained at the University of Cincinnati’s College-Conservatory of Music and earned his master’s from the University of Southern California.
DOUG MORRIS (Producer)
is widely considered the most influential executive in the music industry. Currently CEO of Sony Music Entertainment, he has worked with many of the most popular artists of the past four decades, including the Rolling Stones, Phil Collins, Pete Townshend, Led Zeppelin, Stevie Nicks, Bette Midler, Tori Amos, INXS, Mariah Carey, Jay-Z, Stevie Wonder and U2. He is on the board of the Rock and Roll Hall of Fame, he has a star on the Hollywood Walk of Fame, and he has been recognized by numerous organizations for his outstanding contributions to music. Morris is also the founder of VEVO, the top music entertainment destination on the web, and previously spent 15 years as worldwide chairman and CEO of Universal Music Group. He began his career as a songwriter and producer, with credits including the Chiffons’ “Sweet Talkin’ Guy” and Brownsville Station’s “Smokin’ in the Boys Room.”
NANSCI NEIMAN-LEGETTE (Executive Producer)
After a noteworthy career as Executive Vice President and Publisher of Warner Books and West Coast Publisher of Penguin Putnam, Nansci became Berry Gordy’s Chief Operating Officer in 2004. She has helped shepherd the show from first pages to this production.


August 22, 2018 – Eleven days, 10 venues, and over 200 performing artists. All free and open to the public. This is the Sing Out Loud Festival, one of the largest free music festivals in Northeast Florida. And it’s just one of many reasons to visit Florida’s Historic Coast during Easy Season through September.
In August and September, visitors and locals alike in St. Augustine, Ponte Vedra & The Beaches take it easy while crowds are thinner, deals are plentiful, beaches beckon, and music and entertainment are sizzling!
The Sing Out Loud Music Festival brings hundreds of live performances to the greater St. Augustine and Ponte Vedra area. Sing Out Loud is an epic celebration of live entertainment in a convergence of musical genres over four weekends September 1 – 23. And it’s all free! Headlining acts include Jason Isbell and the 400 Unit, The Decemberists, Lucero, The Mountain Goats, Rising Appalachia, Propagandhi and more in addition to over 150 local and regional bands. See the full line-up of performances at http://www.SingOutLoudFestival.com.
Along with the hundreds of musical performances in September, the city of St. Augustine is celebrating 453 years of history. As the oldest continually occupied European settlement in North America, the annual re-enactment of the founding of St. Augustine in 1565 by Spanish explorer Pedro Menendez’s takes place September 8. This living history demonstration of the landing is celebrated with festivities at the Mission Nombre de Diós and the Fountain of Youth Archaeological Park.
So between the Sing Out Loud Festival, historic re-enactments and dozens of free attractions, tours and activities, a trip to Florida’s Historic Coast in August and September is easy on your wallet. Check out great deals on lodging.


There are those that say that our generation has forgotten how to wait. Insta-everything and Uber-your-hearts-desires are great for distraction and convenience, but not so good for practicing delayed gratification.
However, to be reminded of the joy of the journey, we only have to see the building excitement of a child who is counting down to Christmas.
As adults, we can learn a lot from our kids about the forgotten thrill of anticipation. So, this Christmas Eve, join in! Celebrate the waiting, the journey, the pause before the big event by celebrating Christmas Eve with these simple ideas.
1. Christmas Eve in Iceland - Take a leaf our of Iceland's Christmas Eve playbook , and exchange books on Christmas Eve. Spend the evening reading them, and eating chocolate!
2. Christmas Eve Box: Wrap up a new pair of pyjamas, some popcorn, and a Christmas movie! Snuggle up together on the couch, and enjoy a classic Christmas flick.
3. Midnight Mass or Christmas Eve service: Many communities gather together at their local church for a Christmas Eve service, and
4. Christmas carols: Set the Christmas lights to twinkle and sing and dance together around the Christmas tree.
5. Leave out something for Santa and his reindeer: Milk, cookies, carrots. They could even create their own reindeer blend by punching holes out of leaves.


Wild on the Fly Shoot - Outdoor Channel
We are excited to be collaborating with The Outdoor Channel's Wild on the Fly TV program at Sailfish Bay in February. We will be targeting sailfish on fly rods for several days. The show will air in March 2011 and we will provide more details to everyone when we have exact dates for the show with Sailfish Bay.
The Saturday morning TV fishing show debuted January 1, 2011 on the Outdoor Channel – a stunning 13-episode high-definition series of sensational angling adventures around the world. Every production is un-staged and genuine, a little bit edgy and frequently humorous, and always rich in culture, lore, food, scenery, wildlife, critical conservation and of course, cutting-edge fishing.
"Truly great fishing trips are as much about the travel as the angling," explains Executive Producer Joseph Daniel. "While each of our shows will definitely inspire you with amazing fly fishing, they will also immerse you in everything from culture to cuisine to conservation. Think of Wild on The Fly as a crazy blend of the Outdoor Channel, Food Network and Discovery."
An exciting new episode of Wild On The Fly will air three times each week January through March at 9:00am Thursday, 6:00pm Friday, and 1:30pm Saturday (EST) – featuring episodes from Alaska to Argentina, Mexico to Mongolia. The series premiered New Year's Day on the renowned waters of Missoula, Montana, and includes a special segment on the restoration of the Clark Fork River.
Mention in the USA Today travel blog about the show:
Wild on the Fly