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Death of a Salesman

Reviewed by David A. Rosenberg

Produced by David Richenthal, Jujamcyn Theaters, Allan S. Gordon, and Fox Theatricals, in association with Jerry Frankel, at the Eugene O'Neill Theatre, 230 W. 49th St., NYC. Opened Feb. 10 for an open run.

Into his masterpiece "Death of a Salesman," Arthur Miller poured, not only his own soul, but the soul of a country forever impaled on the twin spikes of illusion and ambition. In director Robert Falls' riveting production at the Eugene O' Neill Theatre, a splendid company of actors gives us a powerful testament to how theatre at its best seeps into the unconscious.

The story is familiar. Willy Loman, unable to go on, returns to his Brooklyn home a broken man after a failed trip to New England. His long-suffering wife, Linda, and his two boys, Biff and Happy, are enmeshed in his perverted values and disintegrating life. The production emphasizes the play's two time zones, present and past, as well as the bifurcated locations, mind and body, of a man whose ride "on a smile and a shoeshine" is screeching to an end.

Brian Dennehy is Willy, rubbing his temples as if to ward off impending collapse. Though by turns raging and vulnerable, his performance lacks a trajectory and is ultimately disappointing. As Linda, Elizabeth Franz is overwhelming. Kevin Anderson is a terrifying Biff, Ted Koch a sad-sack Happy. Howard Witt is wonderful as the compassionate Charley. The cast is uniformly excellent: Kent Klineman's Stanley, Kate Buddeke as The Woman, Allen Hamilton's Uncle Ben, Richard Thompson's Bernard, Steve Pickering's Howard, plus Barbara eda-Young, Chelsea Altman, and Stephanie March.

Mark Wendland's set design and Richard Woodbury's music/sound design tellingly reflect Willy's wanderings between real and imagined. Birgit Rattenborg Wise's costumes and Michael Philippi's lighting evoke a world of people who cannot hold themselves together.

Making Peter Pope

Reviewed by Victor Gluck

Presented by The Harbor Theatre, at the 30th Street Theatre, 259 W. 30th St., NYC, Feb. 15-March 6.

The bad news about Edmund De Santis' new play "Making Peter Pope," is that it is derivative and familiar. If memory serves, didn't Albert Innaurato write a play some years ago, called "Gemini," that told a similar story‹albeit not in such a liberated fashion?

The good news about De Santis' play is that it is engrossing, entertaining, suspenseful, and sexy. Although the advance publicity describes it as a comedy, it is more accurately a drama. It deals with the year the title character lost his mother, met a hunky Italian boyfriend, attended the wedding of his father to a new wife, dealt with his suicidal sister, crossed paths with his new drug-addicted stepsister and her homophobic husband, and was tested for AIDS.

The title is a misnomer unless it refers to making Peter Pope into the person he is today. What is most interesting about the play is its structure: It is narrated by Peter (played by Harry Bouvy) in a series of flashbacks that interrupt and overlap each other as he stands in a circus set designed by Charles Townsend Wittreich, Jr., and tries to M.C. his own life. Derek Todd directing an ensemble cast of seven adroitly keeps the many plot strains in the air and makes the alternating scenes coherent.

Although the cast is playing recognizable types, the acting is of a high caliber. In the central role Bouvy is rather bland, but this works in his favor with all the colorful eccentrics around him. Eric Morace is quite effective as the Italian of Peter's dreams who surprisingly pursues him. Fred Velde as Peter's father, who isn't willing to accept that his son is gay, and Joanne Dorian, as the new stepmother who has a penchant for spangled outfits, are very believable.

The Misanthrope

Reviewed by David Sheward

Presented by and at CSC Theatre, 136 E. 13th St., Feb. 14-March 7.

It seems like a natural. Transplanting Moli're's "The Misanthrope" from the 17th-century French court to contemporary media-frenzied London. After all, the play's target is shallow insincerity among the bewigged fops. How far is that from the shallow insincerity of show-biz glitterati? Just substitute cell phones for handkerchiefs and Mercedes Benz for a horse-in-four and you're in.

Martin Crimp's adaptation, currently on view at the Classic Stage Company, sometimes strains to duplicate the rhymed meter of the original. "Shit" and "it" are his favorite couplings. But, overall, this is a witty updating, especially if you're familiar with the politics of the British stage. The problem is, CSC Artistic Director Barry Edelstein has staged this sharp satire with the high-pitched hysteria of a Feydeau farce. Granted, everyone onstage is a stock type, but there has to be some tinge of inner life to even the most hackneyed of clowns.

Roger Rees plays the title curmudgeon as an enraged firebrand out of early John Osborne. He was screaming so much, I feared for the health of his voice. We have to like this guy in spite of his prickly disposition. He represents Moli're's credo of honesty being the best policy even when it makes us uncomfortable. Rees makes us just want to cover our ears. Likewise, Adina Porter, Seth Gilliam, and John Gould Rubin don't get much further than posturing.

On the plus side: Michael Emerson, Nick Wyman, Mary Lou Rosato, and, most surprisingly, in a variation on her own sex-icon, movie-star image, Uma Thurman.

Narelle Sissons' ultra-chic set is a spot-on jibe at contemporary soulless architecture and Martin Pakledinaz's costumes rib the fashions of both Calvin Klein and Versailles. Paul Huntley's wigs deserve mention, as does Stephen Strawbridge's disco-esque lighting and Darron L. West's punkish sound design. Overall, a mixed "Misanthrope."

Ashes to Ashes

Reviewed by Irene Backalenick

Presented by Roundabout Theatre Company, at the Gramercy Theatre, 127 E. 23rd St., NYC, Feb. 7-May 9.

Harold's Pinter's "Ashes to Ashes," which now makes its American debut at the Gramercy Theatre, is not a play. There is no proper beginning, middle, and end, no plot that moves forward to resolution. It is better defined as one short scene. But what a scene! In 45 minutes Pinter discloses a relentlessly haunting, menacing world (his usual stock in trade). While a husband tries desperately to communicate with his wife, with questions grounded in reality, her answers are distant, disconnected. What causes the wife's remoteness, the husband's desperation?

Ambiguity rules, as in all Pinter's works. Only gradually does one realize that these two are married. And one gets a sense of what fuels the wife's behavior only toward the play's close, in a single shattering speech. But even that speech (which ought not to be revealed here) lends itself to varied interpretations.

Ambiguity and menace are the very strengths of Pinter works‹those muted howls that define man's place in the universe. But in specifics, a Pinter play is what any viewer chooses it to be, and this is certainly true of "Ashes to Ashes," despite the message inherent in its title. It is a piece about the aftermath of violence. But what specific violence? We are left to fill in the blanks.

As to this production, director Karel Reisz has a firm hold on the proceedings, a solid sense of this playwright's style. And the magnificent Lindsay Duncan, who appeared in the London production, is completely tuned in to the Pinter mode. Focusing on a distant point over the audiences' heads, she gives every word, every line full measure. David Strathairn proves less absorbing as the husband, Devlin. But that may not be the fault of this excellent actor. As the interrogator, he is given a less interesting, less Pinter-like role.

Equally important is the design team's impeccable work, with sound by G. Thomas Clark and lighting by Richard Pilbrow. And Tony Walton's stunning set, a mix of the real and the abstract, is a perfect milieu for "Ashes to Ashes."

Babes in Arms

Reviewed by David A. Rosenberg

Presented by Encores!: Great American Musicals in Concert, at City Center, 131 W. 55th St., NYC, Feb. 11-14.

Charles Schulz had it only half right. When the Peanuts creator decreed "Happiness is a warm puppy," he obviously hadn't yet seen "Babes in Arms." This latest delight by the six-year-old Encores! series at City Center made audience members both leap and weep in joyous gratitude.

To be sure, the book is a patchwork affair, ladling its cornball jokes with once-contemporary references to Marx, Nietzsche, and Schopenhauer. The year was 1937 and all sorts of philosophical and sociological notions were rife in a land under the thumb of the Depression. But, lest we forget, "Babes" is also the ur-showbiz story, the very one in which, when the kids have no place to perform, someone declares, "Wait a minute‹what about‹the barn! The old red barn! That's a perfect summer theatre!"

And perform the Encores! cast did, to perhaps the loveliest musical comedy score of them all: "Where or When," "I Wish I Were in Love Again," "My Funny Valentine," "Johnny One-Note," "Imagine," "The Lady Is a Tramp," and the title number. Composer Richard Rodgers and lyricist Lorenz Hart were at their merriest and most melodious. (Both also wrote the book, here trimmed and tightened by John Guare.)

In director/choreographer Kathleen Marshall's spiffy, inventive hands, the score was treated with affection, the book with just enough winking to make it palatable. David Campbell and Erin Dilly were a rapturously appealing twosome, while Jessica Stone and Christopher Fitzgerald were frolicsome as lovey-dovey battlers.

Stopping the show were nine-year-old tap prodigy Cartier Anthony Williams, and a quartet of "Chorus Line" alumni‹Donna McKechnie, Priscilla Lopez, Thommie Walsh, and Don Correia‹even before they did anything at all. Everyone was impressive, from the madcap Kevin Cahoon to the sturdy Perry Laylon Ojeda, from belting Melissa Rain Anderson to the dancers and singers whose exuberance practically invited the audience onstage to join the fun.

Fun it was, thanks to Peter Kaczorowski's lighting, Scott Lehrer's sound, Toni-Leslie James' costumes, and John Lee Beatty's sets. And, of course, a great big Valentine's Day smack to Rob Fisher and his incomparable Coffee Club Orchestra. Now, how about "Peggy-Ann"?

James Naughton: Street of Dreams

Reviewed by Robert Windeler

Presented by Mike Nichols, at the Promenade Theatre, 2162 B'way, NYC; opened Jan. 28, extended to April 11.

Fans of James Naughton's singing voice since 1977's "I Love My Wife" have waited a long time for this show. Our reward for patience is not quite cabaret and yet not theatre, featuring 20 eclectic songs in 95 brisk minutes. Naughton sings in a rich, rangy bass-baritone and comports himself with the self-confidence and touch of the showoff that is necessary to make any solo act work. As good as he is, this set would not be half so wonderful without the backup jazz-pop quintet headed by musical director and pianist John Oddo. Dave Pietro on the saxophone, Jay Azzolina on the guitar, Steve Laspina on bass, and Ray Marchia on drums are all virtuosi‹and they make nifty backup singers. Naughton displays a breadth of taste to match his breadth of talent. His disparate numbers include such standards as "Stardust," the Jon Hendricks rocker " I Want You to Be My Baby," satirical songs from Dave Frischberg and Randy Newman, and even a touch of country: Hank Snow's "I've Been Everywhere." Naughton is generous, almost Sinatran, in his acknowledgement of composers and lyricists.

The entire set is glib, funny, admirably staged (by an uncredited person or team) with between-songs chat that is just enough and completely charming. What the act isn't, however, is soulful, insightful, or even autobiographical‹although his run-up to an exquisite rendition of "The Folks Who Live on the Hill" makes you wish for more Naughton and less olio of favorites and influences. He does no golden oldies, either: songs from "Chicago," "I Love My Wife," or "City of Angels." This greatest-hits avoidance seems almost perverse.

The advantages of doing a cabaret act in a theatre are increased audience attention, no clinking glassware, smoke in your face or crowding at small tables. The disadvantage, in Naughton's case at least, is not feeling the necessity to break through that fourth wall to establish an intimate connection with the audience. He talks and sings at us, not to us, leaving "Street of Dreams" a somewhat distant accomplishment, for all its many virtues.

The Chemistry of Change

Reviewed by Glenda Frank

Presented jointly by the Women's Project and Productions and Playwrights Horizons, at Theatre Four, 424 W. 55th St., NYC, Feb.10-March 7.

Lee, a venal divorc e (Carlin Glynn), doesn't dance with the seductive Devil (Larry Pine) in the pale moonlight. She makes him husband number 10‹and brings him home to a "Tobacco Road" brood of grown children for whom the adjective "dysfunctional" is a goal. The Devil has his work cut out for him if he's to have any peace in his new life.

Act I of "The Chemistry of Change," Marlane Meyer's dark new comedy at Theatre Four, a co-production of the Women's Project and Productions and Playwrights Horizons, is aglow with absurdities, sulfuric humor, and razor-edged repartee. The characters' eccentricities are more than just amusing gimmicks. They mask a panoply of contemporary angst: teenage growing pains and passions, childhood traumas. lonely middle age, and a rage at fathers who disappear in the night.

It's all an irrational, poetic, hyperbolically funny ride, until Act II when Meyer seems to feel a need to straighten out everyone's lives. The richly textured language, daughter Corlis' (Jodi Thelen) jazzy outbursts of male hatred. the promise that Baron, the older son, is really "a demon, a shape-changing entity"‹the imaginative wonders of the play deflate into problems with absurdist, but sometimes sitcom, overtones.

As compensation, the innovative direction of Lisa Peterson (who also staged the marvelous "Collected Stories") and the acting, which begin strong, get even better. Characters like Shep (Hamish Linklater), the youngest son, who has impregnated his "dwarfish" high school teacher, and Farley (Barry Del Sherman), who never outgrew his longing for a pet, become distinctive and endearing characters. The nondescript Aunt Dixon (Brenda Wehle) is transformed from the frumpy, unmarried aunt to a working glamour gal as the Devil (a carny who owns a fright ride called the Hell Hole) and Peterson weave their spells.

"The Chemistry of Change" is good‹no, very good‹theatre, but it promised to be much more.

The Mineola Twins

Reviewed by Irene Backalenick

Presented by Roundabout Theatre Company, at the Laura Pels Theatre, 1530 B'way, Feb. 18-May 23.

That plays must be staged, not read as literature, to come alive, was never truer than with Paula Vogel's newest offering. In reading the script, one wonders what the confusing, tepid piece is trying to say.

It takes the vision and skills of a director like Joe Mantello to give "The Mineola Twins" its due. Now on its feet at the Laura Pels Theatre, the play bursts forth in its glory‹a funny, perceptive, biting take on The American Woman. Vogel was never more political and never more on target.

Beyond being solid entertainment, "The Mineola Twins" explores the roles women have been called to play‹or chosen to play. Using the old Hollywood theme of the Good Twin and Evil Twin, Vogel traces two sisters' lives through three Republican administrations (the Eisenhower, Nixon, and Bush regimes).

But this is not just a double dose of Olivia deHaviland or Bette Davis, slugging it out with herself on screen. Twinning is used here as a metaphor for the duality of human nature‹dark and light, male and female‹yin and yang, if you will. And the metaphor defines the political/social struggle as well. In the conservative '50s, women were both exalted and enchained as homemakers, even while some struggled to defy that image. Though conformity dominated the '50s, the lone voices of rebellion began to surface. And in later eras, those contrasting positions were polarized and solidified. It's all there in the Vogel tale.

Mantello has assembled an excellent cast and design team, which, under his firm direction, serve the play well. All the design work (Robert Brill, with Scott Pask, set; Jess Goldstein, costumes; Kevin Adams, lighting; David Van Tieghem, sound) contributes to the sly humor of the piece and its imaginative staging.

As to its performers, the play is a tour de force for the estimable Swoosie Kurtz, who in effect gives us six clearly differentiated portrayals. She plays both twins at three phases of their lives, with a variety of hilarious hairstyles (courtesy of Bobby Miller). And both Mo Gaffney and Mandy Siegfried, in cross-gender roles, add sizzle to the proceedings.

Rollin' on the T.O.B.A.

Reviewed by Cindy Nemser

Presented by John Grimaldi, Ashton Springer, and Frenchmen Productions, Inc., at the 47th St. Theatre, 304 W. 47th St., Jan. 28-March 14; reopens at a theatre and time TBA.

If you want to get a glimpse of black vaudeville in its purist form, "Rollin' on the T.O.B.A." is one show you won't want to miss. T.O.B.A. stands for Theatre Owners Booking Association, which was the circuit of more than 80 theatres where incredibly talented and original performers like Bill "Bojangles" Robinson plied their trade, even as they were exploited by their white employers. Conceived by Ronald "Smokey" Stevens and Jaye Stewart, with excepts from "The Simple Stories," by Langston Hughes, this affectionate review offers a cornucopia of comic sketches, sassy songs, and eye-catching dance numbers.

Emulating past performers, the principals of T.O.B.A.‹Rudy Roberson (Stewart), Ronald "Smokey" Stevens (Stevens), and Sandra Reaves-Phillips (Bertha Mae)‹spend their time either on the stage or on the train traveling all over the country. It is in the latter location that we get a glimmer of the tough times they endured‹in Georgia they could not get into the dining car for a meal. But all is not gloom, for onstage it is fun to revel in such raucous favorites as "A Good Man Is Hard to Find" and "One-Hour Mama." Reaves-Phillips is at her soulful best when she belts out "Take Me as I Am." Stevens and Robertson are no slouches either, as they slip and slide through their dances routines, do a priceless pantomime routine as poker players, and extract every nugget of humor out of "Huggin' and Chalkin'. " Some of the routines are hilarious, as when Stevens and Robertson come to realize that white folks aren't ready for integration because they don't have soul food on their menus.

David Alan Bunn adds to the fun by playing a mean piano, and Michele Reisch's costumes add even more razzle-dazzle to a show already brimful of sparkle.

Pat Hall & Pam Patrick: (under) Cover Girls

Reviewed by Lisa Jo Sagolla

Presented by and at Dance Theater Workshop, 219 W. 19th St., NYC, Feb. 9-10, 18-19, 27-28.

Choreographer Pat Hall and singer-drummer Pam Pat-rick's collaborative work "(under) Cover Girls," presented at Dance Theater Workshop, offers an evening of fascinating music and enthusiastically performed African-style dancing. Written and directed by Valeria Vasilevski, and conceived by Hall, Patrick, and Gayle Rozie-Green, the work uses dialogue, songs, and movement to explore young women's experiences with menstruation, parents, ethnicity, and identity. Though its premise is well taken‹that the "perfect" beauty of the media's cover-girl images can create damaging feelings of inferiority and confuse young girls' developing self-identities‹the ideas are communicated in an unimaginative fashion that proves dull rather than thought provoking.

The production's music, however, is phenomenal and powerfully propels the piece. The combination of instruments is intriguing‹a female voice, a cello, and an array of African drums and percussion instruments. They set a somber tone in an opening selection featuring beautifully groaning cello sounds, raise the roof with exhilarating jamming, and brilliantly transform into a boogie-woogie jazz combo with the cello played pizzicato like a stand-up bass, and brushes swooshing across drumheads and cymbals.

Hall is a comely performer who dances an alluring solo, with sensuous arms, slinky torso moves, and rapid spins. Her choreography, however, focuses predominantly on body moves‹most of which are familiar African steps‹and lacks craft or invention in its overall visual design. The ensemble is either scattered about the stage, dancing non-locomotor unison phrases for extended periods or moving in flat, straight lines and predictable couplings.

The uninteresting choreography is performed by dancers who have been students in Hall's community movement classes. One suspects Hall to be a wonderful teacher, as all her dancers move with a joyous confidence and commitment, while some display advanced levels of technical skill.

The Thunderbird American Indian Dancers

Reviewed by Lisa Jo Sagolla

Presented by and at Theater for the New City, 155 First Ave., NYC, Jan. 15-24.

You probably don't think of New York City as a hotbed of American Indian culture, but thanks to the tireless preservation and teaching efforts of Louis Mofsie, artistic director of The Thunderbird American Indian Dancers, New Yorkers can meaningfully experience the Native American dance tradition. Mofsie's company presented its 36th annual concert and pow-wow at Theater for the New City.

It's a fascinating evening of Native dances framed by Mofsie's narration, which provides a wealth of engrossing contextual information about each dance.

Neatly divided into four sections, the program offers dances from the Northwest Coast, the Iroquois, the Southwest, and the Plains. The highlights include Ray Black Feather's intricate hoop dance and a tricky contest dance that requires a man to lift a tiny feather from the floor with his mouth, without touching the ground with his hands, knees, or elbows. The concert climaxes with a thrilling "Fancy Dance" in which a soloist astounds the spectators with the speed and intensity of his wild movements.

The program also includes "Wanbalee," choreographer Michael Taylor's keen juxtaposition of the Hopi Eagle Dance and softly lyrical modern dance. Two men, dramatically costumed in Hopi regalia, execute the traditional Native steps while modern dancers Maura Lee and Mikako use the broader kinesthetic range of their dance form to enlarge and embroider the symbolic eagle moves and postures. Their expansive, gloriously danced movements winningly complement the strength and clarity of the more restricted Native vocabulary. The four dancers graciously share the space, each respectfully aware of, but not altered by, the others' energies.

When audience members were invited to join in a round dance, numerous participants leapt to their feet with surprising alacrity and snaked their way around the floor with an array of personally improvised movement choices. One man married a Hora-like grapevine step to the native drumbeat while another hunched over and hopped in an enthusiastic rendition of American Indian choreography seemingly acquired from a Hollywood "western."

Congratulations to Mofsie and his company for keeping Native American culture alive in Gotham!

Avila/Weeks Dance Enwrapture

Reviewed by Phyllis Goldman

Self-presented at Joyce Soho, 155 Mercer St., NYC, Jan. 28-30.

Since 1991, Homer Avila and Edisa Weeks have labored steadily and steadfastly at choreography, and recently presented the fruits of that labor in the Joyce Soho theatre‹a simple, elegant space to show dance. Their concert was an endearing culmination of their efforts.

The couple has an odd twist to play on. She is quite tall and slim, and moves with a flowing ease. (I hope she is not wedded to the dyed cherry-red hair which detracts mightily from her natural beauty.) Avila is her counterpart‹small and sinewy, darting around the stage with an eagerness and zest that form his winning presence.

Six pieces were on the bill. Some proved more successful than others, but each had a life of its own and showed implicit thought.

"Caught in Thermidor's Twilight," a duet choreographed for Richard Rivera and Leonora Stapleton, began with Stapleton jumping to Rivera's shoulders. It was a startling beginning, and the first few minutes let the viewer feast on Stapleton's mastery of movement. She can walk to the drugstore and make it a memorable moment. However, the piece was much too long, and ideas began to diminish. Both dancers were completely at home with the demands of the choreography, but at a certain point the dance had no place to go. Then repetition and filler steps took over, and the piece lost its importance.

"Dubious Faith" began with Avila as the preacher silently spouting his words of fire and brimstone (an inspiring text by James Joyce), with arm and hand choreography that was like audacious signing. He fought against the spell of the delicious Weeks, who did not let a turned-around collar deter her. This narrative of seduction-of-prophet-into-sinner took a grand shape without being melodramatic. Weeks undresses the holy man, shapes his jacket into a crucifix on the floor, pinioning it with two wine goblets. Then she lifts the shamed man, carrying him upside down to eternity.

The closing piece, "Everlasting," to a hammering Philip Glass score, was framed with stops, starts, directional shifts, and a cunning geometric maze created by the dancers. The absence of wing space at the Joyce Soho added an extra layer, as the dancers are seen waiting for their cues in full view of the audience.

Reviewed by Cindy Nemser

Presented by the Worth Street Theater Company, at the Tribeca Playhouse, 111 Reade St., Jan. 15-Feb. 15.

Jeff Cohen has adapted Georg Büchner's "Woyzeck" into a searing indictment against racism in a new work titled "Whoa-Jack!" Episodic in structure and at times disjointed, this play, which is also directed by Cohen, still has power to kindle strong feelings as it recounts the events that lead up to its tragic denouement.

The action has been relocated to an army base in Alabama, circa 1960, and tells the story of Private Jackson, who is betrayed by his mistress and ultimately destroyed by the white officers. He is also subjected to medical experimentation by a callous doctor, which conjures up the infamous Tuskegee syphilis experiments. Throughout the play Jackson is haunted by the specter of the cruel lynchings of the Ku Klux Klan. He senses all too clearly that he, too, will share this fate. Commenting on the events is singer Queen Esther, who gives moving renditions of classic blues numbers such as "Solitude," "Strange Fruit," and "God Bless the Child." Steve Bargonetti and Diane Gioia also provide appropriate original music.

Though "Whoa-Jack!" is well written, the acting leaves something to be desired. Michael D. Brown as Jackson is not strong enough to garner the emotional weight needed to make this tragic hero a significantly poignant figure. He is also difficult to understand at times and so we miss some of the most significant monologues in the play. Genie Sloan (Mary) tends to overact in her dual roles of femme fatale and victim. Peter Shaw as the white major who beds Mary is right in character but he, too, swallows his words. The best performances are by Roy Barnitt as a hateful colonel who constantly needles Jackson and Andy (Marcuis W. Harris), who tries to hold the private back from the abyss that lies in wait for him.

Nina Winthrop & Dancers

Reviewed by Lisa Jo Sagolla

Self-produced under the administration of Danspace Project, at St. Mark's Church, 131 E. 10th St., NYC, Feb. 11-14.

Nina Winthrop's choreography makes emotions visible. Presented through Danspace Project's DANCE: Access series at St. Mark's Church, Winthrop's intensely psychological work is ingeniously nestled within lulling sound environments that hold us captive. The internally focused dancing of her commendable performers also proves riveting.

In the hour-long solo "Stalling Into Elation," Amanda Loulaki responds organically to invisible forces that surround her body and disturb her psyche. As the unsettling energies assault and tug at her‹bending her torso or yanking at her elbows‹she reaches, stretches, gazes, pulls, and punches, making moves that seem too real to be labeled dance or choreography. They are physicalizations of a personal struggle against relentless currents of emotions.

Loulaki is a warm mover who elicits deep empathy. Unfortunately, pitted against the power of her live performing presence, the videotaped images of Loulaki's dancing projected behind her look flat and gimmicky. The live saxophone accompaniment, however, composed and performed by Jon Gibson, is yummy, its strident, wailing tones comfortingly complemented by a recorded score of low, rumbling sounds.

In "Three Lives and Something" four dancers, moving in parallel lines, each execute individual task-driven choreographies that are too engrossing! Rarely do the dancers work in unison, yet their distinct phrases cannot be observed simultaneously. Their movements conjure absorbing scenarios from which you are disinclined to avert your eyes. One grows repeatedly angry at having spent too much time with one dancer whose intriguing motions have caused you to miss lots of other good stuff. Alas, this piece must be seen four times‹one entire viewing for each dancer. In addition to the wonderful Loulaki, the cast includes Brad McKenzie, the sprightly Bou, and the manly Jennifer Nugent, a strong, engaging mover with an unusually pretty face. Again, Gibson provides enticingly soothing music, this time playing a bass flute on top of a recorded score of clinks, drips, and falling rain.

Beautiful Thing

Reviewed by Victor Gluck

Presented by Roy Gabay and Ron Kastner, in The Famous Door Theatre Company (Chicago) production at the Cherry Lane Theatre, 38 Commerce St., NYC. Opened Feb. 14 for an open run.

Although British playwright Jonathan Harvey's "Beauti-ful Thing" has already arrived on these shores in an acclaimed film, its original stage version is now reaching New York in a production by Chicago's Famous Door Theatre Company.

Constricted by its realistic setting designed by Robert G. Smith‹the front door stoops of three council flats in a working-class neighborhood of South East London‹the first act with its many blackouts is slow, and the British accents and slang are off-putting. However, by the second act the sensational ensemble acting directed by Gary Griffin and the subtle storytelling of this coming-out story becomes a beautiful thing.

Jamie, Leah, and Ste are teenagers from dysfunctional one-parent families who live next door to each other in May 1993. Leah has been kicked out of school and hasn't found a job. Jamie refuses to attend gym class and fights with his barmaid mother, and Ste, an athlete, must deal with daily beatings from his alcoholic father and abusive brother. When friendship between the boys turns to love, Ste has the bigger problem of dealing with the repercussions of having his family find out.

In the central role of Jamie, red-haired Matt Stinton, a brilliant mimic, is wonderfully able to shift mood on the rollercoaster of his life. Daniel Eric Gold is heart-breaking as the inarticulate, confused Ste. No less remarkable is Susan Bennett's Leah, who worships the Mamas and the Papas and sits around drinking and dabbling in drugs.

Kirsten Sahs, who won Chicago's Joseph Jefferson Award for Best Actress with this subtle performance, plays Jamie's mother‹a woman in her 30s hiding her needs and unhappiness under a rough exterior. No less moving is Kurt Brocker, as the sensitive 27-year-old painter who loves her more than she loves him.

Rigg on RADA

Dame Diana Rigg was nominated earlier this year for an Olivier Award for her performances in "Britannicus" and "Phedre," at London's Almeida theatre. She attended RADA in the 1950s.

"There were those on scholarships, like me, who could not have afforded to go otherwise, and there were some whom you felt had made a choice between Constance Spry [noted flower arranger, 1886-1960] and RADA, and regarded the place rather as a finishing school.

"We had voice, verse, fencing, and movement lessons. I couldn't wait to get out and act. My instincts were right because you learn most when you are surrounded by people who are better than you.

"We just had to accept what we were told and, in a sense, acting is not really like that. You have to distil for yourself, use what is valuable for you and discover it for yourself.

"For sheer fun we went to coffee bars. Somebody would be playing a guitar, and we'd sit on cushions on the floor, and not a joint in sight. It was pre-drugs. [Tutor Wini-fred Oughton] said I didn't have a vestige of talent and the best thing I could do was find another job. My parents were very upset, but I just thought she was an old bag."

‹D. McG.

RADA on Acting

Before you pay your fee to audition for a British drama school, you could do a lot worse than buy a new book‹"Teach Yourself Acting," by Ellis Jones, vice-principal of RADA. It's the only book aimed at both Brits and Americans who want to study in the U.K.

Jones is a former actor and has worked not only in theatre, but also on screen and radio. He answers most of the questions you may be asking yourself, for example, "What can I expect from training?" and "How important is the choice of audition material?" He even shows you how to lay out your first C.V. (resume). There's a glossary of technical terms and 13 pages of contact addresses.

"Teach Yourself Acting" is now on sale in the U.S., or write to NTC/Contemporary Publishing Company, 4255 W. Touhy Ave., Lincolnwood, Chicago, IL 60646-1975.

‹D. McG.

Caesar and Cleopatra

Reviewed by Irene Backalenick

Presented by the Jean Cocteau Repertory, at the Bouwerie Lane Theatre, NYC, Jan. 15-March 6.

Once again, that incomparable husband-wife team of the Jean Cocteau Repertory, Craig Smith and Elise Stone, have carried it off. They have turned George Bernard Shaw's "Caesar and Cleopatra" into a delightful romp, as it was meant to be, without ever sacrificing its more-serious meanings. The astute observations on the nature of man are all there, seasoned and salted by humor. Words tumble out, particularly in a lengthy prologue by the Egyptian God Ra (delivered painlessly by Harris Berlinsky). But then Shaw gets down to business, opening with the wonderful Sphinx scene. Stone is revealed as a kittenish Cleopatra, in hiding from the Roman invaders whom she believes will eat her. She meets and confides in an unknown stranger (Smith as Caesar), who comforts her. In no time, the young girl and middle-aged man are the best of friends. It begins a relationship in which he will become advisor, mentor, friend, lover.

Director Robert Hupp (the Cocteau's artistic director) sets this play in Shaw's own time, which emphasizes its wry Shavian outlook. Robert Klingelhoefer's set also reflects that era, more Victorian than Pharaonic. Margaret McKowen's costumes, too, are intriguingly turn-of-the-century. Smith strides on stage, looking dapper in an African explorer's attire, and later garbed as a dashing 19th-century soldier.

This Caesar is not the heroic figure of Shakespeare's tragedy, but rather a Shavian man, one to whom we can relate even today. This is a complex Caesar, neither good nor evil, but with traits which serve both himself and the Roman Empire. Craig Smith gives the character full measure, endowing him with wisdom, wit, and dignity‹but with shrewdness and selfishness as well. Intellectually, he towers above his subordinates and offers a sharp contrast to the childish Cleopatra who will mature under his instruction.

Though Stone is no 14-year-old in real life, she can portray any age believably. And this time around she is a luscious teenager, trembling on the brink of womanhood. Others in the cast who give solid portrayals are Harris Berlinsky (who plays Cleo's foolish tutor, when he is not Ra), and Christopher Black as the stodgy Britannicus.

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rants and tips about software

We're still far away from being a decent cosmic civilization

or... How capitalism and communism both failed in search for the system that would advance the human race most efficiently.

Looking at the state of the world today, all the protests, economic downturn, debt problems, etc. prompted me to write an analysis of how capitalism works using simple model with a few actors. I'm a graduated Economist turned computer programmer, but that's beside the point...

Imagine a simple world with only 2 people living in it. One of them has learned how to produce food, the other how to produce clothes. Let's imagine they both start with the same amount of money emitted by the central bank.

At first person A produces enough food for himself and for person B to consume. Person B does not own a land, so he cannot produce food. He produces clothes instead. They trade food and clothes on par value, and have equal amount of money after each day.

One day, person A invents a way to produce clothes for himself. The new process enables him to produce all that he needs and even produce food required by person B. Person B is out of customers, so he starts losing money. Soon, person B has no cash left, while person A is mightily rich. Person B, seeing no way to survive, starts to get angry. Person A sees that he would lose his only customer, so he invents welfare. Even if person B cannot contribute to community, person A sets aside some of his money each day and donates it to person B so that he would be able to survive.

As you can see in this example, the consequence of liberal capitalism is that rich would become richer, and poor would become poorer unless poor are able to invent or produce goods and services that community requires. The main problem with this is that chances of poor inventing anything are really low: poor have less money for education, and by definition don't have resources to finance things like scientific experiments, which are often required to invent useful technology. There might be some very smart and bright people who are able to have a great idea on their own, but percentage of those are really low. Result of this is that most of the population in capitalism would remain poor. To paraphrase the movie In Time:

Many have to be poor for some to be rich

Now, I would't have anything against capitalism, as long as I'm on the rich side ;)

Free market and fair market

In today's markets all the companies are fighting for profits. Fighting to survive is the same as fighting to get rich. Most successful companies build products and services that most of the people want. Now, you can get bigger stake by either growing the markets share against you competition or creating new markets. Looking at the most profitable legal industries, you can see why for example oil companies and pharmaceutical companies are really not incentivised to advanced the human race. It is better if patient is never cured, because he stops being a customer. Who in their right mind would give a customer a product that would make him leave? Oil companies have all the incentive to prevent any non-oil engine entering the car market. In fact, many of them are actively searching for and tracking inventors that might develop alternatives, and are then either buying or destroying patents. Of course I have no proof for this, but it is expected. Anyone running such company would have a really big incentive to do so. Remember from the last post, capitalism is all about swimming or sinking. This makes market leaders fight and slow down invention, even when they are inventors themselves. They want to milk the cow as long as it's possible, before allowing the human race to progress further. A popular quote says that the solar energy would become prevalent as soon as the electric companies figure out how to put a meter on the Sun rays.

Is there a solution to this problem? I don't know. As long as we live on a planet where resources are scarce, it's questionable. Some might disagree with me. Famous engineer Jacque Fresco says we could automate almost everything and all live happily. I'm not sure about automating dentists, doctors and engineers. Also also technicians that would need to keep all the engines running. And it still does not show where the inventions would come from, if everyone can live their life fully without any incentive to invent new stuff. Except for, maybe, someone being proud of his invention and showing it off the world.

Communists tried to solve the problem the other way: limit the amount of wealth one can accumulate. When nobody can get too rich, they won't be incentivized to do bad things. However, Soviet Union economy showed another problem with this line of thinking: without capitalist incentive, there is no desire to invent. In 1990. they were still producing same models of cars, guns, trains that were invented 40 years before. The progress halted. So, communism does not advance the human race either.

In short, both capitalism and communism fail to give us efficient way to advance the human race. Communism gives no incentives to anyone, and capitalism makes the most innovative companies slow down the pace in fear of running out of fresh ideas and being overrun by competition. Having the most powerful companies slowing down innovation is even harder problem, because they do have the resources to do so easily. They can influence lawmakers, buy out sole inventors and small companies that could become future competitors. Given the fact that they are the only interested party in most cases, they win easily.

Is there a solution?

It seems to me that the only way to fix this problem would be to reset the human race and have someone implant different principles in a new generation of humans to come. A generation where greed, jealousy, laziness and similar traits would be shun upon by everyone and person would be socially excluded if he tried to exert such behavior. Some records state that there were civilizations that worked that way: Mayas and Inca in South America. But, as we all know, conquistadors destroyed them.

Now, I'm not saying that history should be erased from our heads. In fact, we need to know it and know why it was wrong and why we need to prevent such thing happening again. We should be armed against further conquistadors should they ever come (maybe from outer space, who knows). I just don't see us transforming our society to this new level gradually without some cataclysmic event. There are too many powerful stakeholders today that wish to maintain the status quo. Even experiments like communism would never had happened if it wasn't forced upon nations by victors of wars in the first half of XX century (namely WWII and the Russian Revolution).

In the meantime, quit bragging, embrace capitalism and focus on your education and inventing new useful stuff. This is the best system we've got so far.

Milan Babuškov, 2012-08-24
Copyright © Milan Babuškov 2006-2015

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Rodney K. Fujita
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If you ask Rodney Fujita about his career path, he’ll tell you he’s always loved to figure things out. A born problem solver who likes helping people, he sits back, listens, and then manages to come up with just the right solution.

Rod is a native Seattleite and heads Bader Martin’s tax practice.

His work integrates tax compliance and planning with business consulting services for closely held businesses and their owners.

It includes an emphasis in tax and transaction planning, retirement planning, business entity selection, tax-deferred exchanges, stock options consulting, and liability protection.

Although Rod works with businesses operating in a broad range of industries, his practice focus includes professional firms, real estate, retail, and wholesale/distribution.

FIVE STAR Best Certified Public Accountant: Taxation, Business Planning, Accounting, Seattle, 2010, 2012, 2014, 2015
  • Strategic tax and transaction planning
  • Multi-state taxation of corporations and partnerships
  • Mergers and acquisitions
  • Real estate
  • Family and closely held businesses and their owners
  • High net worth individuals and families
  • Certified Public Accountant (CPA), Washington
  • American Institute of Certified Public Accountants
  • Washington Society of Certified Public Accountants
  • ArtsFund, Board of Trustees, Executive Committee, Finance Committee Chair
  • Past Board Member, Vice Chair and Treasurer, Seattle Chinatown International District Preservation Development Authority
  • Past (Founding) Member, Japanese American Chamber of Commerce of Washington
  • Bachelor of Arts in Business Administration, with honors, University of Washington
Bader Martin, P.S. Certified Public Accountants + Business Advisors


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Casey Christie / The Californian

CSUB guard Stephon Carter drives towards the basket to take a shot against Westmont's Mantas Drungys, left, Tuesday in Bakersfield.

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Casey Christie / The Californian

CSUB players Zach Lamb, left, and Mo Hughley, right, and Westmont's Cooper Damron, center, of Bakersfield, all try for the ball control Tuesday evening in the Icardo Center during game action.

3 of 3

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Casey Christie / The Californian

The CSUB Roadrunners mascot puts on a good show for some of the spectators before Tuesday nights basketball game against Westmont College.

Happy, tired, and relieved. Those were the three words Cal State Bakersfield men's basketball coach Rod Barnes used to describe his feelings after the Roadrunners earned their first win of the season Tuesday night.

After digging another deep first-half hole, CSUB escaped with a 77-74 victory over Westmont College at the Icardo Center.

Playing catch-up for nearly the entire game, CSUB (1-4), led by the hot outside shooting of Tyrone White, waited until late to gain control.

The 'Runners led only one time briefly, before Brandon Barnes' 3-pointer from the top of the key put them up for good with 1:24 remaining in the game.

"I was hoping we would just get the win," Barnes said. "I didn't care whether it was at he buzzer or whatever. I kept saying 'Hey Lord if we have to shoot a 3 to win it, I just want to get out of here today with a win.'"

While the game counted as a win for CSUB, it goes down as an exhibition loss for Westmont, an NAIA school.

White led CSUB with 28 points. The 6-foot-7 forward was 7-for-10 from behind the arc and also had a team-high eight rebounds.

"We'll take a win anyway we can get it," White said. "... Now we have some momentum going forward. We should be good for the rest of the season."

Brandon Barnes, who made several other key shots down the stretch for the 'Runners, added 24 points and five rebounds. He admitted being nervous as the game wound down.

"But we had to dig in," he said. "We couldn't lose again on our home floor."

The win came with a price for CSUB as starting point guard Zach Lamb crumpled to floor with an apparent right ankle injury early in the second half and had to be carried off the court.

The severity of Lamb's injury wasn't immediately known.

Preston Branson had 22 points and Christopher Miller chipped in 17 points and 10 rebounds for Westmont, which shot 51 percent from the field. The 'Runners shot 41.5 percent on their home court.

Former Bakersfield High and Bakersfield College player Cooper Damron was the Warriors third-leading scorer with 14 points.

The 6-foot-6 senior forward made his first three field goal attempts, including a quick transition basket inside that gave Westmont an early 10-4 lead.

"It's fun to be back," said Damron, who fouled out with 50.6 seconds left. "You watch teams play here your whole life growing up. ... I wish we could have come away with a win.

Westmont (4-1), ranked No. 8 in the NAIA Division I Men's Basketball Coaches' Preseason Top 25 Poll, led by as many as 12 in the first half.

CSUB struggled early on against the Warriors' zone defense, making only 3 of its first 15 shots..

The 'Runners' offensive woes continued until White came off the bench and connected on three 3-pointers over the final 3:02 of the first half, including a long bomb from well beyond the top of the key just before the first-half clock expired.

"It's really not me," White said of his big night. "It's my teammates. You go over the gameplan. Their screens, the passes, everything. It's the little things that you don't look at. It's not the shots."


text:
Sue Vallejo

Website: members rajahstevens1992

Occupation: Railroad switch operator

The the best possible trading expertise begins with a volatile industry. Not plenty of volatility makes a scenario that can make it more difficult to have significant enough good days to offset the detrimental days. On the similar stage far too a lot volatility makes an atmosphere in which it is extremely tricky to maintain positions for large gains. Image a heart monitor. If the heart is beating to gradual the individual will not have sufficient blood move or power or stock movement or forex movement to get a leap on its competitiveness. If the heart is beating also quickly that is incredibly risky for the patient as as well a lot volatility decreases the chance of becoming ready to adhere to a stock or forex on it's accurate route for an prolonged period of time of time. The quote about the pattern currently being your close friend is not anything to be taken lightly. It is nevertheless one thing that should be definitely comprehended to be successful in investing in any sort of predicament. Let's say for example that "ABC" stock or commodity or forex opens up fifty cents and closes up twenty five cents. If you are lying on the beach front and at the conclude of the buying and selling day you hear that your very long time period investments rose twenty five cents for the day you would be extremely content. If, nevertheless as a day trader you acquired into that placement when it was beneficial forty five cents and marketed it when it was constructive 28 cents you would not be a very pleased camper. This is wherever a wonderful indicator known as 'net given that the open' will come into play. When I glance at a quote of a placement or likely placement I look to see the existing value and what the situation is up or down for the day. On the other hand, far more importantly I glance to see how significantly the placement is up or down considering that soon after the opening bell. This can help me to determine the relative energy or weak spot of a position primarily based on what it has carried out for me recently and not what it has accomplished overnight to trigger an up or down open. This enables us to view the most up to the second strengths or weakness's. As a day trader you need to have to be appropriate for the initial couple of minutes that you are in your position. The moment you are in the as well as column then you can establish how substantially of the profits you are willing to risk to allow your self the opportunity for a huge get though shielding a percentage of the by now established profit margin. After you have set up the latest course of the industry which is merely performed by speedily looking at the latest course and momentum you get all the positions on your display and appraise them. Are a bulk of them web optimistic and trading up due to the fact right after the market has opened? Are they web beneficial however investing reduce due to the fact the open up? Are they net detrimental and buying and selling even reduce given that immediately after the open? Or are they internet adverse however trading bigger because the open up. The least difficult situation is to have an up industry with a lot of upwards momentum and you are prolonged positions that are internet constructive on the day and trading larger because the open. Or to be brief a down marketplace that is continuing downwards with positions that are web adverse and persevering with to trade decreased considering that the open. Recall the trend is your close friend. However it is not always so basic. Positions, and markets reverse tendencies quickly. They can flip a negative bounce into a monster up day or conversely they can turn a beneficial day pullback into a spiraling transfer to the draw back. This is wherever the following set of placement indicators grow to be quite practical. They are referred to as 'net from high' and 'net from the low'. A weak place really should not all of a sudden be 30% off the low of the day as conversely a extremely robust placement to the upside must not retrace 30% on its private. These indicators will assist give you the jump (and a whole lot of pleasurable) on a market place or position reversal and give you the likelihood to reverse course. For additional facts examine out www.winningedgesystem.internet/

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Dorothy Sieben

Website: profiles KennethKeller2005

Occupation: Localization translator

Perhaps the circumstance of the Indian reserves on a countrywide foundation represents the accurate impact of forex binary options. It was documented that there was a slump of $4.29 billion by the seventeenth of September. The existing amount of $316.49 billion is reduced than the all time substantial of $320.78 billion which happened in the earlier week. That implies that many folks are merely reluctant to transact on account of the uncertainty.The international forex property stand for a really major part of the general kitty for a nation. The gradual decline in the Indian portfolio has meant that the Rupee faces an unsure foreseeable future. It also limits the skill of the central financial institution to intervene just in situation the value of the financial units towards the dollar declines drastically.The fx issues dealing with the Reserve Financial institution of IndiaThe RBI will will need to arrive up with concrete methods which are meant to reassure the industry or else they will be faced with an progressively irrational overall economy. Other significant global currencies that have put strain on the Rupee involve the JPY and GBP. Why are these belongings declining fast? The distinctive drawing rights or SDRs dropped by $sixty nine million.It is accurate to conclude that the flexibility of the fx binary alternatives will be afflicted. The new amount for the SDRs is $4.54 billion. The portfolio that is held by the Worldwide Financial Fund IMF was down by $45 million so that the new determine is $2.93 billion. Excellent news happens in the gold reserves which ended up stable at $28.32 billion. However we have to don't forget that they had enhanced by $2.97 billion in the prior week.Is it accurate that people today are now concentrating on gold alternatively of utilizing the Rupee? That may possibly effectively be the scenario if you think about the simple fact that investors are typically wanting for approaches to maintain their value on a prolonged term basis. The revaluation in prices is also very likely to have an impact. This has implications on the looking at for the NZD, EUR, AUD, JPY, GBP and CAD.Fiscal insurance policies in line with forex expectationsYou should view out for the T Bond. In certain you should look at how a firmer possibility sentiment will aid to raise strain on bulls. There are unique revolutions such as the Operation Twist which will affect on the development of your technique. It is also important to take not of progress on the backups because they are connected with these dynamics.Business owners truly need to make investments in a tactic bundle so that they can link all their transactions to the current market realities. Alternatively they may possibly make a decision to review the Current market Bulletins. The foreign exchange binary possibilities are unable to be dealt with if you have no components for producing your responses.

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text:
• Cooking Time:
  • Servings:
  • Preparation Time:

  • 2 boneless skinless chicken breasts, butterflied & cut in half
  • Sea salt
  • Freshly ground black pepper
  • All-purpose flour (for dredging)
  • 6 Tbsp unsalted butter
  • 5 Tbsp extra-virgin olive oil
  • 1/3 c. fresh lemon juice
  • 1/2 c. chicken stock
  • 1/4 c. brined capers, rinsed
  • 1/3 c. fresh parsley, chopped

  • Season chicken with salt & pepper. Dredge in flour and shake off excess.
  • In a large skillet over med-high heat, melt 2 Tbsp butter with 3 Tbsp olive oil. When butter and oil start to sizzle, add 2 pieces of chicken and cook for 3 minutes. When browned, flip and cook for another 3 minutes. Remove and transfer to plate. Repeat instructions for other 2 pieces of chicken.
  • Into the pan add lemon juice, stock, and capers. Return to stove & bring to a boil, scraping bottom of pan for extra flavor. Check for seasoning and adjust to taste. Return all chicken to the pan and simmer for 5 minutes. Remove chicken to platter. Add remaining 2 Tbsp butter to sauce and whish vigorously. Pour sauce over chicken and garnish with parsley.

Categories: Dairy  Dinner  Main Dish  Pasta  Poultry  Stove

Author Credit: Giada De Laurentiis

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text:
• Cooking Time: 20
  • Servings:
  • Preparation Time: 5

  • 8 oz Cream Cheese Softened
  • 16 oz Sour Cream
  • 16 oz Can Refried Beans
  • 8 oz Pepper Jack Cheese
  • 16 oz Cheddar Cheese
  • 2 pkg Taco Mix

  • Mix Cream Cheese, Sour Cream, Refried Beans and Taco Mix. Stir Well.
  • Add 1/2 of Cheeses, Mix well. Spread into 9x13 Baking dish
  • Sprinkle remaining Cheese over top.
  • Bake at 350 for about 20 Min until cheese is bubbly.
  • Serve with Chips.
  • You can't mess this up, I have used only pepper Jack or Colby & Monterrey Cheese. I was out of Taco Mix and used Enchilada Mix I even forgot to put the mix in once and it is still good. Try the flavors you like most, add your own toppings. It is always good.

I have made this for so many years it is hard to remember the first time I tried it. I know the original recipe was brought to a pot luck in the late 70s. The original is long lost but this is as close as I can remember it.

My kids, my sisters and I have all added our own twist to it and it is different every time we make it. The first time my daughter had a party she made this, she forgot the taco mix, it was still great. We also use many different cheeses and in all the years we have made this I have not heard of a combo that didn't work.

I now use a homemade taco mix and refried beans, low fat cheeses, sour cream, black olives and we add chicken or ground beef. You can't go wrong. Add what ever your family enjoys.

Author Credit: Unknown

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text:
• Cooking Time: 30 mins
  • Servings: 6
  • Preparation Time: 20 mins

  • 2 cups (8 ounces) Elbow Macaroni Dry
  • 2 cups (8 ounces) Shredded Cheddar Cheese
  • 2 cups (8 ounces) Shredded Pepper Jack, divided
  • 1 can (12 fluid ounces) Nestle' Carnation Evaporated Milk
  • 1/2 teaspoon ground black pepper
  • 1/2 to 1 cup broken tortilla chips crushed up
  • 1/4 to 1/2 teaspoon crushed red pepper (optional)

  • Preheat oven to 350 F Lightly grease 2 1/2 quart casserole dish.
  • Cook macaroni in Large suacepan according to package directions; drain return to saucepan.
  • Add cheddar cheese, 1 1/2 cups pepper Jack cheese, evaportated milk and black pepper to macaroni; stir until combined. Compbine remaining 1/2 cup Pepper jack cheese, toritilla chips, and Red pepper (optional) in small bowl. Sprinkle over top. Cover tightly with foil. Bake for 20 mins. Uncover; bake for an additional 10 mins or until lightly browned.

Im a single Mom,and have a son who is picky eater, but loves Mac & Cheese. I love spicy foods so I tried to incorporate both so that we both

could enjoy comfort food. He loves it and so does everybody who tries it. bsbaby

Categories: Casserole  Christmas  Easter

Author Credit: unknown

© 2006-2015 BakeSpace, Inc. All Rights Reserved


text:
Quick Black Bean Soup
  • Servings: 4
  • 1 c diced onion
  • 2 cloves garlic, minced
  • 1.25 c vegetable broth
  • 2 15 oz cans black beans, undrained
  • 1 15 oz can diced tomatoes
  • 1 c diced, peeled russet-type baking potato
  • .5 tsp dried thyme
  • .5 tsp dried cumin
  • .5 tsp Tobasco, or to taste
  1. Combine onion, garlic, and .5 c of vegetable broth in a large pot. Simmer about 5 min until onion is softened. Add remaining cup of vegetable broth, beans, tomatoes, potatoes, thyme, and cumin. Simmer covered for about 25 minutes until potatoes are tender. Thin soup with more broth if desired. Season with Tobasco and garnish with cilantro, diced onion, or cheese.
This recipe is from Everyday Cooking with Dr. Dean Ornish. Don't let that scare you! This soup is super easy and tasty - the healthy part is a side benefit.


text:
Monday, September 12, 2011

Almond-Cranberry Scones

Paul and I were actually home on Labor Day this year. We visited his family at the lake at the beginning of the weekend but came back home so that we could both serve at our church on Sunday. It was a much needed day of rest in which I spent most of the day in the kitchen. It was a beautiful day (only in the 50’s when I got out of bed!) So when I got home from the gym, opened the windows and made some French press coffee, I just couldn’t help craving a sweet fall-inspired treat for Labor Day!

There are so many wonderful scone recipes out there but this one loudly called my name when Mother Thyme posted it recently. I love almond flavoring in baked goods and I eat dried cranberries by the handful. They are a pantry staple at our house and they definitely remind me of fall. I loved these. They had a silky texture and the almond flavoring was present but not too strong. I changed up the glaze a little bit and next time I think I will sprinkle a little course sugar over the top as the scones bake. They were truly wonderful and fully worthy of a special breakfast!

I haven’t posted a workout in a while for two reasons: it’s been so nice outside that I’ve been doing a lot of outdoor walks/jogs but when I do hit the gym, I’ve been doing this treadmill workout:

-15% incline at 4.3 mph for 5 minutes
-3% incline at 6.3 mph for 5 minutes
-Repeat 3-5 times
It’s tough but keeps my heart rate fairly steady and it’s a calorie burner!

Questions for today:
-what are you most looking forward to this fall?
-what is first on your “must-make” or “must-bake” list for the fall?

PrintPrint Recipe

Cranberry Almond Scones Recipe

2 cups all-purpose flour
1/2 cup sugar
1 Tbs. baking powder
1/2 tsp. salt
6 Tbs. unsalted butter, cut into small squares. (Refrigerate until ready to add.)
2 large eggs
1/2 cup heavy cream
1 1/2 tsp. almond extract
1/2 cup dried cranberries

1/4 cup powdered sugar
2 tsp. milk
1/2 tsp. almond extract
1/4 cup slivered almonds or crushed whole almonds

Preheat oven to 375 degrees F.

Combine flour, sugar, baking powder and salt in a large bowl and whisk to combine. Add butter and combine with a pastry cutter or two forks until the mixture resembles sand. Add eggs, heavy cream and almond extract and stir until well combined. Add in dried cranberries and stir.

Transfer dough to a lightly floured surface and roll out until the dough is 1/2 inch thick. Shape the dough into a circle and cut in similar fashion to a pizza, creating 8 scones. You could cut them smaller if you wish or use a cookie cutter to cut specific shapes.

Transfer the scones to a large baking sheet lined with parchment paper and bake for 16-17 minutes. The tops will be slightly golden brown. Transfer to a wire rack to cool.

Meanwhile, combine the ingredients for the glaze. Glaze the cooled scones and top with almonds, if desired.

Adapted from Mother Thyme

46 Responses to “Almond-Cranberry Scones”

  1. #
    Courtney @ Sweet Tooth, Sweet Life — September 12, 2011 @ 7:08 am

    These are RIGHT up my alley! I love anything almond…YUM! :)

  2. #
    Chris @ TheKeenanCookBook — September 12, 2011 @ 7:13 am

    These look great! Much better than my boring oatmeal this morning :)
    My must bake this fall is Apple Pie. It isn't Fall until I've had a slice of home made apple pie. :)

  3. #
    Curt — September 12, 2011 @ 7:15 am

    These sound very good. My favorite was Cherry & Sultana scones when I was in the UK over Labor Day. I brought back 3 different varieties. Unfortunately, they're all gone now.

    I'll have to try making these for sure!

  4. #
    chefpandita.com — September 12, 2011 @ 7:25 am

    Lovely scones! I haven't been to the gym since I got back from vacation, need to get on my feet asap. I am a fan of interval training so I'll try your workout, need to lose a few ice cream pounds…

  5. #
    Alan Cooke — September 12, 2011 @ 7:47 am

    Those look great! I have requests for scones a lot, but never seem to make them. Not sure why…lol These just may cause me to take the plunge! :)

  6. #
    Bev Weidner — September 12, 2011 @ 8:10 am

    Yuum, girl face!

    I'm not a baker, but you just make MAKE ME A BELIEVER YET.

  7. #
    Nelly Rodriguez — September 12, 2011 @ 8:14 am

    Love this combination of flavors in scones! And thanks for the workout, I'm lately loving interval training and should get my butt off to the gym now!

  8. #
    dinnerordessert — September 12, 2011 @ 8:38 am

    These look so good and I love that you added a glaze…I wish I was eating one for breakfast!

  9. #
    Three-Cookies — September 12, 2011 @ 9:20 am

    Never seen scones with a glaze and with cranberries, brilliant idea.

  10. #
    Kim Bee — September 12, 2011 @ 9:26 am

    These would make a lovely breakfast. The taste combo on these is wonderful. I bet they taste out of this world with that glaze too.

  11. #
    carlyklock — September 12, 2011 @ 9:39 am

    These look great, Cassie!

  12. #
    Stephanie @ Eat. Drink. Love. — September 12, 2011 @ 9:39 am

    Wonderful, Cassie! I'm a sucker for a good cranberry scone and yours are no exception! Love that almond glaze drizzled on top!

  13. #
    S.V. — September 12, 2011 @ 10:39 am

    The scones look perfect! I also love almond in baked goods. I love the fall, even if that means a ton of rain in Seattle. I love that it's cool enough for mid-day baking and I look forward to wearing sweaters. My must make/bake for fall that I'm looking forward to is mummy cupcakes for Halloween for my son. :)

  14. #
    Samantha @ Ferraro Kitchen — September 12, 2011 @ 11:20 am

    Love scones! But I can never get them just right? Hmmm…I cant wait for fall..but here in So Cal that just means wearing jeans! Ha! I honestly cant wait to do some comfort cooking..soups, stews, cobblers..I love comfort cooking!

  15. #
    Marina — September 12, 2011 @ 12:11 pm

    I am first time at your blog and I have to say that you have some awesome recipes. Can't wait to try them!

  16. #
    Erin — September 12, 2011 @ 1:17 pm

    This look wonderful! I have yet to make scones, but I really need to soon! These might be one I try. Debating now between these and your cinnamon roll ones!

  17. #
    Beth Michelle — September 12, 2011 @ 1:28 pm

    I love scones and am always looking to add a new one to the mix. These look so lovely and the glaze is such a nice touch.

  18. #
    Jennifer @ Mother Thyme — September 12, 2011 @ 2:11 pm

    Cassie, I am truly honored and flattered you tried these! Thank you so much for sharing these!

  19. #
    Jennifer — September 12, 2011 @ 6:08 pm

    I also like almond flavoring in baked goodies, Cassie. This sounds like a winner paired with dried cranberries.

  20. #
    Maggie @MaggieCooks — September 12, 2011 @ 6:15 pm

    I've been dying to try scones! I dont know how do they taste like! :O
    but they sure look yummy!

    -what are you most looking forward to this fall?
    Im looking forward to bake!!!

    -what is first on your “must-make” or “must-bake” list for the fall?
    Cinnamon rolls!!!!! 😀

  21. #
    Reeni — September 12, 2011 @ 7:28 pm

    Your scones rock! I eat cranberries by the handfuls too and love them in baked goods. I can't wait to bake pumpkin goodies!

  22. #
    CJ @ http://healthy-happy-whole.com/ — September 12, 2011 @ 7:43 pm

    those look better than starbucks!!!
    and i need a pumpkin cookie ASAP! I love when they are moist and dense almost like the outside of a whoppie pie! in fact that might be a great weekend project…any good recipes :-)

  23. #
    Ann — September 12, 2011 @ 8:30 pm

    Cassie…these are incredible! Cranberry and Almond is one of my favorite flavor combinations! What a great job you did on these – they look so delicious and flaky! Any leftovers?

  24. #
    Baking Serendipity — September 12, 2011 @ 11:16 pm

    These scones sound fantastic! Waking up to 50 degrees, french press coffee and a day of baking would be wonderful. I am envious! My first batch of pumpkin bread is in the oven as we speak…love fall!

  25. #
    Hester @ Alchemy in the Kitchen — September 13, 2011 @ 5:46 am

    Cassie, I hear you on almond baked goods and I too am guilty of eating dried cranberries by the handful. Love that you've combined the two in these gorgeous scones.

  26. #
    Lizzy — September 13, 2011 @ 6:34 am

    Mmmmmmm….perfect scones!!! What a delicious way to start the day :)

    I've made my apple pie and first loaf of bread…I think an apple galette will be next~

  27. #
    Katherine Martinelli — September 13, 2011 @ 8:19 am

    These scones look amazing! I will have to try them. And I'll give your workout a try too! I need to switch things up more :-)

  28. #
    Elyse @The Cultural Dish — September 13, 2011 @ 9:31 am

    Mmm I love cranberry scones (I actually just made another batch yesterday) and I love the addition of the almond flavoring. Delicious!

  29. #
    kitchenarian — September 13, 2011 @ 1:06 pm

    I love scones and haven't made them in ages. I am so inspired after seeing your beautiful pictures.

    I'm looking forward to baking with pumpkin soon!

  30. #
    Kelly @ Eat Yourself Skinny — September 13, 2011 @ 3:00 pm

    Ooo Cassie these scones look delicious, love your pictures!! Also, just wanted to let you know that I'm passing on the Butterfly Award to you and your fabulous blog, have fun! xoxo

  31. #
    Courtney — September 13, 2011 @ 3:35 pm

    These look so yummy!! ps I hope to see you soon also :)

  32. #
    Leslie — September 13, 2011 @ 7:37 pm

    Your scones look fabulous! I love scones of all sorts! I am looking forward to being able to be outside without sweating to death!!!

  33. #
    Anne@frommysweetheart — September 13, 2011 @ 7:45 pm

    Cassie….you do such a beautiful job with scones! These look fabulous! I just bought a bag of dried cranberries today…but only needed a handful. I think you are such an amazing baker! As for me this fall…I am going to work to perfect my apple pie!

  34. #
    Sandra — September 13, 2011 @ 7:58 pm

    Sending you a buzz for these yummy scones.

  35. #
    Baker Street — September 13, 2011 @ 9:34 pm

    Love the combination of flavors! Your scones look perfect C!

  36. #
    Nami | Just One Cookbook — September 14, 2011 @ 2:16 am

    I used to love blueberry scones and almost always order it. But ever since I discovered cranberry scones… I'm really in love. I don't know why I didn't try it before. Adding almond only makes it even better. I wish I have this for breakfast tomorrow morning with my coffee. I love the glaze and they look beautiful!

  37. #
    Parsley Sage — September 14, 2011 @ 5:38 am

    I'm so envious of your weather right now! I'l love an excuse to break out a sweater (which I pretty much never get to do.) These scones look absolutely lovely! Buzzed

  38. #
    Dulce Dough — September 14, 2011 @ 9:20 am

    Great recipe! I love scones but don't make them often. I'm going to have to add this to my "must bake" list!

    I am looking forward to the beautiful fall colors! I have a long list of things I want to make. I'm especially looking forward to soup and stew type recipes this fall.

  39. #
    kita — September 14, 2011 @ 9:26 am

    I already started my fall baking (which goes against all my seasonal rules of waiting until its actually the season! but I couldn't help it!!!) I am looking forward to tons of apple and pumpkin posts. I can already smell the yumminess! Cranberries are another one of my favorites and these scones sound out of this world tasty!

  40. #
    Peggy — September 14, 2011 @ 4:59 pm

    I'm definitely looking forward to the comfort foods of fall! These scones sounds amazing – and once I stock up on some cranberries – they'll be in my oven for sure!

  41. #
    Juliana — September 14, 2011 @ 5:25 pm

    The scones look beautiful and I like the flavors of it. Great paired with a cup of coffee :-)
    Hope you are having a great week Cassie!

  42. #
    Sarah — September 14, 2011 @ 7:23 pm

    these look fantastic. i made a batch of pumpkin chocolate chip muffins today. i love fall!

  43. #
    Taste and Tell — September 15, 2011 @ 12:44 am

    These look like the perfect way to ease into fall!

  44. #
    Val — September 16, 2011 @ 7:21 am

    Almonds are incredible when baking. I love their edition to your scones plus the cranberries. This really reminds me that I should be baking more scones!

  45. #
    Christine's Pantry — September 17, 2011 @ 12:08 am

    These sound great. Love scones.

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Beautiful but poorly made and not durable We purchased this rug last year to placed in our newly remodeled kitchen when the project was completed. The rug wasn't down 6 months and started falling apart. It's only my husband and I and we hardly sit at the table since we enjoy sitting at our big island. We paid over $700.00 for this rug and its now rolled up because it looks so bad. We will have to spend more money to have the rug rebounded, this rug is not durable and we would not recommend it to anyone. January 30, 2015
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Papoose – Alphabetical Slaughter Part 2 (Z to A) (Music Video)

By BallerStatus Staff   /   Published 2 years ago

With his long awaited The Nacirema Dream debut dropping March 26th, Papoose hits fans with a visual for "Alphabetical Slaughter Pt. 2 (Z to A)". Beginning with a girl singing the National Anthem, the rapper makes his way to a school class and takes young versions of stars like Lil Wayne, Drake, Jay-Z, Nicki Minaj, and Rick Ross to school with his crazy lyrical skills.


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Orioles suffer 7-6 walk-off loss to Blue Jays

TORONTO — Inside a mostly empty Orioles clubhouse Friday night, reliever Tommy Hunter replayed out loud the at-bat that shifted momentum in their 7-6 loss to the Blue Jays at Rogers Centre.

“I'm going to throw it again tomorrow,” Hunter said of the 1-1 cutter he threw to Blue Jays light-hitting shortstop Munenori Kawasaki that landed over the right-field fence for his first major league home run. “We'll just come back tomorrow. We're not down. That's definitely not the way we are. We'll bounce back.

“Hopefully, I get in there tomorrow and you'll see the same thing again. So good luck.”

Kawasaki's two-run homer — the last of six homers the teams hit Friday night — tied the game in the seventh inning off Hunter, who hadn't allowed a homer in his last 11 outings.

The Blue Jays went on to win with two outs in the bottom of the ninth in walk-off fashion on Rajai Davis' single off Pedro Strop to seal their ninth consecutive win.

That's just life in the AL East.

“I think they're hot right now,” said Orioles first baseman Chris Davis, whose three-run homer in the sixth gave the Orioles a 5-3 lead. “Obviously they're playing good baseball. This was a game we wanted to have to open up the series and maybe break their stride a little bit, but we battled all the way to the end and they were able to come through.”

The Orioles hit three homers off Jays knuckleballer R.A. Dickey, including Davis' majors-leading 27th homer of the season and right-hander Jason Hammel, who missed his last start after battling the effects of a stomach virus gave a gritty effort, overcoming two homers and striking out seven to leave with a two-run lead after six innings.

Orioles manager Buck Showalter watched most of the game from the visiting clubhouse after he was ejected in the second inning by home plate umpire Angel Hernandez for contesting a call in which Hernandez revered a foul-ball call with a strikeout on Davis. It was the first ejection of the year for Showalter. Bench coach John Russell managed the remainer of the game.

The loss dropped the Orioles (42-32) two games back of AL East-leading Boston.

The thorn in the Orioles' side was Kawasaki, the Blue Jays' No. 9 hitter. He drove in three runs, adding a two-out single in the fifth to his first homer in 246 career major league at-bats . A .229 hitter who is only starting because of the ankle injury to shortstop Jose Reyes, Kawasaki has driven in eight of his 17 RBIs this season against the Orioles.

“In the American League up and down the lineups, guys in the American League have power, especially in the American League East,” Showalter said. “That's nothing new. … Mistakes go places other than the outfield grass. Sometimes they go where you can't catch them. They made some mistakes too that we made them pay for.”

The Orioles fell behind early 3-1, but the club's power-driven offense turned the tables quickly in a familiar way.

Davis changed the game on one swing, capping a four-run sixth inning with a three-run homer to left.

Following his two-homer, five-RBI afternoon in Detroit on Wednesday, Davis has eight RBIs and three homers in his past two games. He has homered in four of his past five games and has five homers in that span.

Shortstop J.J. Hardy hit a solo blast in the second, his 15th of the season, and Flaherty hit his third, a solo shot in the seventh that landed in the second deck in right.

“I think it was just trying to continue to put pressure on the other team. Both teams swung the bats well,” Davis said. “I felt like they were matching us swing for swing. When we got a little cushion they came back and put up a couple runs. It was definitely a battle all the way to the end.”

Hammel fell behind 2-0 in the first inning. After striking out the first two batters he faced, Edwin Encarnacion dropped a hit that fell between Flaherty and Nick Markakis in right and bounced over Markakis' head for a double. The next batter, Adam Lind, then hit a two-run homer off Hammel on a 1-2 pitch.

Leading 5-3 after the Orioles' four-run sixth, Hammel battled Encarnacion through a 10-pitch at-bat with one out in the sixth, but Encarnacion won the battle with a solo homer to cut the lead to one. Flaherty later homered to give the Orioles a 6-4 lead.

“Stuff-wise, it was comparable to the best I've had all year,” Hammel said. “I never want to say that a stomach virus helped me, but overall I felt awesome, my body physically, mentally, I felt good today. It was a pretty good outing.”

The play Showalter was ejected on opened the second inning when Davis swung and missed a knuckleball from Dickey on a 1-2 count. The pitch got by catcher Josh Thole and Davis began running to first as if it was a dropped third strike. But Hernandez called the play dead, ruling it a foul ball. Dickey and Blue Jays manager John Gibbons argued with Hernandez, who gathered the umpiring crew together and ultimately called Davis out.

Showalter jumped out of the Orioles dugout and launched into an animated argument with Hernandez before being ejected for the 25th time in his career.

Replays showed that Davis never made contact with the pitch. But Showalter's likely contention was how Hernandez could overrule his initial call and credit a strikeout when he never gave Davis an opportunity to run the ball out. Once Hernandez raised his hands to call the ball foul, it became dead.

“He called a dead ball,” Showalter said. “You can't have an out on a dead ball. It's pretty obvious. … I asked them to reconvene again and be fair. The final result is it's just not fair to the Orioles. It didn't [have] any effect on the game though. I don't know. He might have hit the next pitch out of the park. I don't know.”

Copyright © 2015, The Baltimore Sun
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In the new sci-fi movie "Oblivion," Earth's most precious resource is Tom Cruise. But running a close second (spoiler alert) is water. Aliens want it. All of it. This is old hat, science fiction-wise. In "The War of the Worlds," H.G. Wells had Martians coming to Earth to quench their thirst. The extraterrestrial lizards (cleverly disguised as human catalog models) in the 1980s TV series "V" came here to steal our water too -- though they wanted it in part to wash down the meal they intended to make of us. In the more recent "Battle: Los Angeles," pillaging Earth's oceans was the only motivation we're given for why aliens were laying...


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COMMENT: Interesting times ahead for us and our politicians

COMMENT: Interesting times ahead for us and our politicians

COMMENT: Interesting times ahead for us and our politicians

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THEY are two words guaranteed to send shivers down the spines of most county politicians: Unitary status.

The mere mention of them is enough to provoke a defensive reaction not seen since the French built the Maginot Line.

That didn’t help the French much. Nor will ducking the unitary debate do anything to stop it now that county council leader Ian Hudspeth has let the cat out of the bag.

He hasn’t said as much, but Hudspeth may envisage a countywide unitary authority sweeping away the five districts, bringing savings galore and a greatly streamlined system of local government.

It would also outflank the last bastion of the left in the county, Oxford City Council, at a stroke by absorbing it into a Greater Oxfordshire. There will be many in Oxford choking on their breaksfasts over that one this morning.

Canny city leader Bob Price is well aware of that and has already set out his own vision of a unitary Oxford.

It is not impossible that both the city and county could become unitary authorities, which would leave the other districts as cannon fodder in what could be a long and bloody political battle.

Leaders such as Barry Norton in West Oxfordshire and Matthew Barber in Vale of White Horse may well be stockpiling food and filling sandbags today in readiness.

But forget the vicious infighting that is imminent. Ultimately, any decision must be based on what is right for the council taxpayers, from the point of view of value for money and quality of service.

Things may get rough but, like it or not, this is a debate we simply must have.

Let battle commence.

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Old January 29, 2013, 02:36 PM
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Is this the worst Part?? Or the Root weakness of BCB as an organization??

“The way the BCB operates, whenever there's an event on, everybody is involved so nothing else happens. I'm just waiting until all these events finish and then we get some decisions made, which is unfortunate because most of those proposals need preparation time and they need to be ready for the start of the academy programme,” said McInnes
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Originally Posted by nadim 98
we r paying 12.99p/m, which includes all the channel from Zee network. and its a one yr contract so you cannot cancel it before that. Also had to pay £12 connection fee. It might have changes now. Better call them up
Do you know if they will cover the Zimbabwe series? If so, might go for it as don't fancy being tied in for 12 months just for 4days worth of cricket.
Jamie Siddons is at slip, and decided enough is enough. He yells out. "For christ sake, it's not a 'f*ckin test match."
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