Somehow I got a promotion to “attorney”! Which is ironic since we have THREE actual attorneys amongst us – and I AIN’T one of them! Tomfoolery opens Oct. 2 at Conor O’Neill’s in Ann Arbor. $20 gets you dinner and the show; $10 … just the show. Tickets going fast at pennyseats.org – from Detroit Legal News …
The Penny Seats return to the stage this October with the musical revue Tomfoolery, celebrating the words and music of satirist, mathematician, and cult favorite, Tom Lehrer. The production also includes an opening short—a 5-minute mini-musical called Volcanoes!!—composed by Ann Arbor’s Zach London, who cites Lehrer as an early inspiration.
Brent, Roy, Laura, & Matt
The show will run on Thursdays, October 2, 9, 16 and 23, at Conor O’Neill’s Irish Pub and Restaurant, 318 South Main Street, Ann Arbor. The two companies are partnering to offer a dinner theatre-style show, with dinner seatings available starting at 6:30 pm, and performances each night at 8:00pm.
Audience members can purchase tickets for the dinner-and-show package for just $20, or for the show only, for $10. Advance tickets (which are encouraged) are available online at pennyseats.org or by phone at (734) 926-5346.
Lauren … Charisse?
Featured performers are Ann Arborites Matt Cameron, Laura Sagolla and R. Brent Stansfield, and Roy Sexton of Saline (ME!).
Lauren London (of Ann Arbor) directs the show, with musical direction and accompaniment by Rebecca Biber (also of Ann Arbor).
Victoria Gilbert (of Ypsilanti) oversees choreography, and Stephen Hankes (of Ann Arbor) designed the set and will stage manage the show.
Lauren says of the piece, “This show is a guilty pleasure for us. It’s pure, brash silliness, presented with gusto in a bar setting. So many of us remember Tom Lehrer’s songs from our childhood. In particular, we recall that feeling of not knowing whether our parents would approve, but presuming the worst. We snuck around, giggling and singing these songs to each other eagerly, reveling in their mischievousness; it’s wonderful to celebrate them loudly now, in all their glory. And Zach’s short piece, Volcanoes!!, is a fitting opener. It pays homage to Lehrer in its tone and staging, and will, I think, get patrons in the right frame of mind for the evening.”
The company is also thrilled to partner with Conor O’Neill’s, a cornerstone of Ann Arbor’s downtown scene. “Conor’s has been a delight to work with,” says Lauren. “We’re thrilled at the support they’ve given us at every stage, and can’t thank them enough. It’s gratifying to be able to offer theatre patrons the incredible food, personalized service, and value that make Conor’s such a satisfying place. We can’t wait.”
Bright College Days
The show continues a successful 2014 season for The Penny Seats, who presented an acclaimed production of Elektra this July in West Park. The group is now in its fourth year of operation and continues to be overseen by a volunteer staff from the Ann Arbor area. (Later this fall, The Penny Seats will re-team with 826 Michigan for their annual Five Bowls of Oatmeal performance, featuring short plays written by local schoolchildren in the Ann Arbor and Ypsilanti area.)
For more information, visit the group’s website, pennyseats.org, or call 734-926-5346.
The show, originally conceived by Cameron Mackintosh (Phantom of the Opera, Les Miserables), celebrates the music of Tom Lehrer, a comic misanthrope who makes Lewis Black and Jon Stewart seem like Mr. Rogers and Spongebob Squarepants.
Gen X knows him best as having written the songs for Electric Company (“Silent E”) but he also wrote a number of satirical songs in the 50s and 60s for shows like That Was The Week That Was, The Frost Report, and The Steve Allen Show as well as his own concert performances.
Lehrer observed, “I know it’s very bad form to quote one’s own reviews, but there is something the New York Times said about me [in 1958], that I have always treasured: ‘Mr. Lehrer’s muse [is] not fettered by such inhibiting factors as taste.“
Along with yours truly, the show features talented pals Laura Sagolla, Brent Stansfield, and Matt Cameron and is directed by Lauren London with music direction from Rebecca Biber and choreography by Victoria Gilbert. You can check out all of Lehrer’s music at his YouTube channel here.
Nina Kaur (thanks to fellow Farmington PlayerAmy Lauter for connecting us!) asked me to contribute a guest blog entry to her fun and interesting blog Thirty Something Years in Ninaland. Here’s what she wrote about me – “Every Monday I will have a guest blogger. Today I am featuring a wonderful Movie Reviewer named Roy Sexton. He is witty, charming and great critic! Enjoy reading about his journey!” Wow! Thanks, Nina! Click here for the original post on her blog.
By yours truly …
Movies have always been an important part of my life.
I like to read books (more accurately comic books these days, as I seem to now have the attention span of a tsetse fly), and I adore music. Television is fine, and I’ve spent many hours traipsing the boards of theatres across the Midwest. But movies transport me.
I love the fact that a film is an encapsulated medium. Whether 90 minutes or three hours, a movie tells one story – beginning, middle, and end – introducing you to new friends and enemies and locales in an efficiently designed delivery mechanism. With a good film, you get the experience of reading a novel (whether or not the film is in fact based on any work of literature) in a highly compressed fashion.
Your brain leaves your body for a bit, you take a mini-vacation to places you might not otherwise ever see, and you return to your regularly scheduled life a bit changed, perhaps enlightened, and hopefully re-energized.
I stop reading email, answering calls, or monitoring social media…and just blessedly check out…for a bit.
My parents cultivated appreciation for the arts by filling our home with movies and music and books and love. I’ve groused in the past about wanting, as a child, to play with my Star Wars action figures in the solitude of my toy-lined room and being forced instead to sit in our den with my parents and watch some creaky B&W classic movie on Fort Wayne’s Channel 55. And I am so grateful now for that.
My appreciation for classic cinema resulted from these years basking in the glow of our old RCA color TV. And when we could finally afford a VCR and could now watch any movie of our choosing, I was already hooked on the story-telling of vintage movies with their requisite arch wit, dramatic stakes, whimsical joys, and belief that anything was possible.
However, not everything was high art in our house. The advent of HBO in the early 80s and its repetitive showings of whatever junk Hollywood had most recently cranked out shaped my tastes for better or worse as well. I’m a sucker for the movie train wreck – the more star-studded, over-budget, under-written, and garish the better. Some of my most beloved films are among the most notoriously awful of all time: Xanadu, Sgt. Pepper’s Lonely Hearts Club Band, The Wiz, Popeye, Flash Gordon. The Black Hole, Raggedy Ann and Andy’s Musical Adventure, Willy Wonka and the Chocolate Factory, Return to Oz, Battle Beyond the Stars, Krull, The Neverending Story, and so on.
If it was a flop and it was shown ad nauseum one mid-afternoon following another on HBO in the 1980s, then I fell in love with it. Like self-imposed water torture on my nascent aesthetic.
As time went by and I stomped through my high school and college know-it-all years (some might argue I’m still stuck in them), I learned from both my parents and some wonderful teachers the tools of critique and criticism. What is the intent of the piece? What is the context for its creation? How effective is its structure, composition, impact? Where did it go awry or where did it cross over into something classic?
It’s all highly subjective and a bit arrogant, I suppose, but I can’t help it. I’m entertained by the act of analysis.
In more recent years, Facebook gave me an outlet to connect with my inner-Ebert. I started posting status statements summarizing in glib, condensed fashion my take on whatever flick we had just enjoyed … or endured. My kind-hearted and patient partner John has suffered through a lot of movies over the years, many he enjoyed … and even more he did not.
At wonderful Jim and Lyn’s beautiful wedding
We still bicker about his departure from Moulin Rouge after twenty minutes with nary an explanation. I found him after the movie in the lobby reading a newspaper – I don’t know what is more telling: that he was too kind to want to ruin the movie for me by alerting me how much he hated it, or the fact that I stayed to the end without checking on his safety and security!
My friends and colleagues enjoyed these little “squibs” I posted on social media. I suppose I was aspiring to capture the grace and insight of Leonard Maltin’s “micro reviews” that I consumed voraciously as a child every January when we bought his latest edition. (The paper on those early volumes was always of some strange newspaper-esque stock prone to smudging and was pulpily aromatic. I will never forget that musty, fabulous smell.)
John always asks plaintively, “Didn’t they know this movie was bad when they were making it?!”
Perhaps I keep trying to solve that riddle, with the false confidence that my $10 movie ticket entitles me to a shot at armchair quarterbacking. Perhaps the failed actor in me is still trying to reclaim some artistic glory. Or perhaps I’m just a wise-ass with too many opinions and without the good sense to keep them respectfully to myself.
My pals told me, “Set up a blog. Capture these Facebook reviews for future reference. They’re great; they’re fun! Blah blah blah.” I have to admit that eventually my ego got the better of me, and, one late night, I explored the wonders that WordPress holds (albeit not that many) and set up ReelRoyReviews as a diary of sorts, detailing my adventures in the cinema.
Here’s the funny thing. Nobody read them. Nobody. At least for quite a while.
Well, that’s not entirely true. My mom was an avid reader and supporter and was always the first to offer an encouraging comment: “My son writes the best reviews and everyone should love them.” So there!
But you know what? Something interesting happened along the way. I stopped caring and just started writing for myself. And I started having fun. And people started reading.
Life is way too short (and exasperating) to get too intense about entertainment, so I try to take a light and conversational approach with my reviews. And I try to respect that (for the most part) these are show business professionals putting (ideally) their best feet forward and that they are human beings with hearts and souls and feelings. I hope I never seem cruel. I don’t mean to be. These writings are off-the-cuff and journal-style and come from as positive a place as I can muster.
Approach everything and everyone honestly and with positive intent and offer candid feedback with an open heart and as much kindness as possible.
Please check out my latest reviews here … Dawn of the Planet of the Apes, Transformers: Age of Extinction, Edge of Tomorrow, 22 Jump Street, The Fault in our Stars, and Tammy and more …
Oh, for the love of all things holy, what went wrong with the film adaptation of Jersey Boys? I wish director Clint Eastwood would go back to yelling at chairs. I wasn’t sure he could get any more out of touch, and then I saw his film adaptation of the uber-popular Broadway show.
What is truly disappointing is that the stage musical (see my review of its Las Vegas residency here) is so expertly, effortlessly cinematic in its original incarnation. Intentionally episodic, Jersey Boys (live) glides along like a classic Cadillac from one Goodfellas-ish moment to another on the exquisite chassis of The Four Seasons’ hit songs.
Yes, the book is slight, but theatre director Des McAnuff knows that with enough pizzazz, flashy choreography, smooth-as-silk scene changes, and cheeky wit, the audience will be enraptured. Let the music speak for itself.
Eastwood on the other hand, while a self-admitted music-phile, makes the head scratching decision to bury the fizzy pop tunes under heaps of bad TV movie bio-drama. Seriously, did anyone bother to tell him this is a musical? Aren’t we past the point of self-consciousness over the genre, with ten-plus years of hit tuner films (Chicago, Mama Mia!, Hairspray, Dreamgirls, Les Miserables) – not to mention tv series (Glee, Nashville) – under our collective belt?
Unfortunately, the majority of Jersey Boys‘ musical numbers on film are truncated to a verse and a chorus or used as background (playing on a radio!) while the actors – in bad wigs and later even worse old age makeup – struggle to make the life events of The Four Seasons interesting.
The ensemble cast soldiers through, but only Christopher Walken emerges completely unscathed. At this point in his career, that man could show up on an episode of The Bachelor and make it seem interesting.
Everyone else displays pained expressions as if they know Eastwood has ground this Tony Award-winning show to pulp. I was taken with Vincent Piazza (“Tommy DeVito”) and Erich Bergen (“Bob Gaudio”) who both exude a suitable amount of sparkle and nuance; I just wish they had been in a better movie. Sadly, John Lloyd Young (“Frankie Valli”), who won the Tony for his uncanny vocal pyrotechnics on Broadway, just seems constipated for the film’s entire 2 1/2 hour running time.
The only moment – and I mean the only moment – the movie truly comes alive is during the closing credits (!) sequence. Finally, we get a full-fledged musical number (“Oh, What a Night”), with joy and buoyancy and, yes, some cheesy backlot choreography. It’s like Eastwood grudgingly growled to his cast, “Okay, you can do some of this musical crap now. But it’s only at the end when people are walking out in disgust, popcorn stuck to their shoes. Anyone seen my chair?”
Maybe he’s still nursing a grudge about Paint Your Wagon … and this is how he punishes us all? “Hey, you musical comedy kids, get off my lawn!”
Somewhere between the toxic camp of Dreamgirls and the theme park spectacle that is Motown the Musical, the real story of Berry Gordy and Diana Ross lives.
Currently playing at Chicago’s Oriental Theatre, the Broadway transplant tells the tale of Motown Records’ founding and (ostensibly) the true life story of its chief mastermind Gordy and of his key preoccupation/inspiration call-her-MISS-Ross.
(Yes, this Metro Detroit resident – yours truly – had to travel to Chicago to see a musical about the Motor City. Ah, show biz. Why this tuner isn’t in permanent residence at Detroit’s Fox Theatre I will never know.)
What I enjoyed about the show is how seamlessly it blends all of the magical hits of the Motown era into one narrative, running the gamut from Joe Louis’ historic title bout victory to the Detroit race riots to Motown’s iconic 25th anniversary television special.
The ensemble is unbelievable. A relatively small cast literally portrays hundreds of characters, many of them etched into our collective memories: Michael Jackson, Smokey Robinson, Marvin Gaye, Mary Wells, Martha and the Vandellas, Gladys Knight, Stevie Wonder, The Temptations, The Four Tops, and on and on.
For the most part, the cast – who must have a thousand dressers backstage and racks upon racks of costumes and wigs – avoids devolving into cheap mimicry, giving us fully realized, albeit brief, glimpses into the lives of these pop music celebrities.
A few moments made me wince, particularly the portrayal of a young Stevie Wonder, but that may have just been my oversensitivity at the strange chuckles from an audience who seemed to find Wonder’s blindness a source of amusement.
I don’t know how this cast does this jam-packed, high energy, Jerome Robbins-on-caffeine-pills show night after night. They must have the aerobic health of decathletes.
Clifton Oliver as Gordy and Allison Semmes as Ross acquit themselves in a lovely fashion with roles that are just a bit too idolatrous. Given that Gordy is a producer, I guess that adoration is unsurprising.
Semmes gives a nuanced performance, introducing as much critique of Ross’ famed ambition as she was likely allowed, evolving from 17-year-old hopeful to seasoned diva before our very eyes.
Other standouts are Nicholas Christopher who gives us a sweet-hearted, nervous-headed Smokey Robinson (providing the show’s best comic moments) and Jarran Muse whose Marvin Gaye is both epic talent and maddening flake.
This isn’t a bad show. In fact it’s quite delightful. However, it is too long by at least 30 minutes. And at times the manner in which fairly significant historical moments are reduced to song and dance amidst pretty fantastic digital projections is a little goofy.
I wanted to love this show. I wanted to leave the theater with all of these marvelous songs dancing through my head. At times, however, I felt pummeled by Gordy’s self-mythologizing, to the point I wanted to spend the rest of my life listening to hair metal.
Go for the spectacle, the amazing costumes, the brilliant use of light and minimalist set pieces, but prepare yourself for a marathon. The talented cast redeems a marginal book and does yeoman’s work reminding us why Motown’s canon was and is such zippy, socially incendiary fun.
For all intents and purposes, Sting has musicalized what is arguably his greatest album The Soul Cages – full of warmth and sadness and Celtic rhythms – in his new show The Last Ship in previews at Chicago’s Bank of America theater.
It is a thing of beauty.
Directed expertly by Joe Mantello (Love! Valour! Compassion! and Wicked) with an efficiently insightful book by John Logan (Gladiator, Skyfall) and Brian Yorkey (Next to Normal), The Last Ship paints the hardscrabble tale of an English community (based on Sting’s hometown experiences) whose sole industry – shipbuilding – has seen better days.
Against this backdrop, Gideon, who fled this life and the girl he loved (Meg), returns to find the son he never knew and the life he never wanted. Narrative tension comes from the “will they, won’t they” of Meg and Gideon resuming their romance. I won’t spoil the surprise, but I was pleasantly heartened by the believable outcome of that particular storyline.
The ensemble does marvelous work with Sting’s hypnotic score. The title song will be stuck in my head for weeks. And the key themes of class and faith and honoring one’s past will resonate with every viewer.
In fact, that is what works most wonderfully in this new production. Yes, the show anchors around a rather conventional love triangle, but the anxiety of a town trying to find its footing again as its chief economic foundation erodes is compellingly told.
Using minimalist design that evokes a number of locations (think “Jersey Boys” in the U.K.), Sting and Logan and Mantello populate this seaside village with a cast of characters that would not be out of place in Popeye’s Sweethaven.
Standouts in the cast include Michael Esper (“Gideon”), Rachel Tucker (“Meg”), Sally Ann Triplett (joyously Emily Watson-esque as cheeky “Peggy”), Jimmy Nail (sounding uncannily like Sting himself as “Jackie”), and Fred Applegate (“Father O’Brien”).
I’m not sure if it is kosher for one to critique a show still In previews … so don’t consider this a review. Rather, think of it as a shameless plug to go check out this fabulous, grounded, melodic production either in Chicago or when it magnificently sails to a town near you. It will be on Broadway soon.
You might recall last fall that I was a staunch defender of NBC’s production of The Sound of Music (click here), which I thought suffered unfairly from a lot of social media-fueled schadenfreude. The one element that did not need defending, by me or anyone else, because it was universally lauded as perfection, was the performance by Laura Benanti as the Baroness.
Roy and Susie with poster
I am happy to report that she is even more terrific in real life.
Benanti with my dad
Throughout her fizzy cabaret show, not a note is missed – musically, comedically, thematically. She is one of the most engaging performers I’ve ever had the privilege to observe.
But even more importantly, she is kind and down-to-earth and real.
My mother and I accidentally ran into her at the elevator right before her performance. Rather then keep her distance, she walked right over to us, and with an effervescent smile, queried, “You’re coming back, aren’t you?” Of course we were! And, even though she had a two hour set to get herself psyched up for, she stood there and talked to us for several minutes.
I might add that she is just as gracious with all of her fans following the performance in what otherwise can be sometimes awkward for both audience and performer: the dreaded meet and greet. She takes time with each and every one and genuinely connects with all.
Almond with me and my mom
With my starstruck gushing aside, what about the performance itself? It is such great fun – a brilliant blend of soaring vocals, crack comic timing, cheeky irreverence, and poignant character analysis. The essence of what makes cabaret such a viable art form.
The Big Room
Benanti is marvelously aided and abetted by her amazing musical director Todd Almond who is as much sidekick and partner as accompanist, composing the original tunes, vocalizing with Benanti, and offering the periodic witty aside. And, by the way, he is equally personable, following the performance, happily taking my loony suggestions of pop nuggets they can skewer in their act – notably, my latest obsession Ariana Grande and Iggy Azalea’s “Problem.”
Why, might you ask was I so bold to suggest such a silly song for these accomplished musicians to perform in their act?
Susie and Roy Capone
Well, for someone like Benanti who moves seamlessly between My Fair Lady‘s “On the Street Where You Live” to Beyoncé’s “Single Ladies” to Nine‘s “Unusual Way” (mesmerizing!) not to mention Sisqo’s “The Thong Song,” it seems a logical addition.
What you may gather from the preceding paragraph is that Benanti’s show is a gutsy synthesis of her tastes and style and identity. She wears all these songs easily … which is a remarkable gift. She is always herself yet simultaneously channeling a wild array of characters.
Benanti and me
This tour is captured live on her album “In Constant Search of the Right Kind of Attention,” recorded at 54 Below, formerly the iconic disco Studio 54. My recommendation? Buy this album now, and enjoy it like you would a cast recording before going to see a Broadway show. The album is remarkable, but seeing Benanti act and sing these songs live is something not to be missed. There are enough variances between the album and the show to keep things interesting, and I won’t spoil the surprises here. If she comes to your town, run (don’t walk) to see her.
Most compelling is the manner in which Benanti paints a picture of her life as a perpetual (though fiercely independent) underdog. About someone so talented and beautiful, that may be hard to believe, but the reality is she has always been a quirky theater kid on the outside looking in. Amusingly, she lays bare the personal turmoils of a young girl listening to cast albums, learning to play the ukulele, and dressing up as obscure musical theater characters for Halloween.
(She also isn’t afraid to go off script, poking gentle fun at the more provincial elements of the Hoosier-land where she was performing. I love my home state, but I give Benanti many props for gently reminding her audience that tolerance and compassion and humanity are essential regardless your background or beliefs. And if one can get that message across with a smile on one’s face, it makes an impact.)
I leave you with a clip of her singing “Mr. Tanner,” a forgotten gem by Harry Chapin. This number was a highlight for me both when I first listened to the recording as well as during the live performance. It definitely gives you a sense of her empathetic philosophy and ebullient heartache. Enjoy!
Facebook is fun! As some of my colleagues might tell you, I fought social media tooth and nail about five years ago, but now I can’t imagine a world without it. It breaks down barriers, opens minds, and disseminates interesting information like no other channel.
My pal Nick Sweet, a crime novelist born in England and now living in Spain, tagged me in a blog chain and asked me to answer the following questions. You can read his original post here.
But me being me … I can’t just do what I’m told. So I’m going to intersperse my answers with pages from another one of the “reviews” I wrote in my toddler years – this time about an episode of my beloved Captain Kangaroo. In fact, I adored the show so much I have my own autographed photo of Bob Keeshan as the Captain. (And you can check out Baby Roy’s take on The Bullfighter and the Ladyhere – thanks to my mom for saving these whimsical pages from my youth.)
Part of my task as assigned by Nick is also to “pay it forward” and acknowledge some bloggers that I love – please check out their work …
My mom Susie Duncan Sexton’s fabulous free-thinking blog about animals, culture, empathy, and understanding here.
Lovely Kat Kelly Heinzelman’s thoughts on family, friends, and baseball at RedSoxLady35.
Gabriel Diego Valdez’ careful analysis of film, culture, and social politics at Basil Mariner Chase.
And my fellow thespian JP Hitesman’s energetic romp through local theatre offerings at Theatrical Buddha Man.
All five blogs are engaging and challenging and informative and rich – written by kind and thoughtful souls, hoping for a better, kinder world.
And here are my answers to Nick’s questions …
What am I working on?
What am I not working on? Between my daily life as a legal marketer, communicator, and strategic planner and my “free time” writing this blog, getting the word out about the Reel Roy Reviews book, proudly promoting my mom’s marvelous output as an author and a columnist and an animal rights activist, trying to be a good friend and family member, sharing a loving home and minding two nutty mutts, keeping up with my weekly comic book addiction, acting in and supporting local theatrical efforts, going to concerts and movies and plays, buying an ungodly amount of cds and dvds, and on and on, I’m not sure which end is up most days!
How does my work differ from others in its genre?
Stealing this from the press release about the book … “I try to respect that (for the most part) these are show business professionals putting (ideally) their best feet forward and that they are human beings with hearts and souls and feelings. I hope I never seem cruel. I don’t mean to be. These writings are off-the-cuff and journal-style and come from as positive a place as I can muster….Approach everything and everyone honestly and with positive intent and offer candid feedback with an open heart and as much kindness as possible.”
Why do I write what I do?
Also stealing from the release (lord, I’m lazy today) … “Film is an encapsulated medium. Whether 90 minutes or three hours, a movie tells one story-beginning, middle, and end-introducing you to new friends, enemies, and locales in an efficiently designed delivery mechanism. With a good film, I feel you get the experience of reading a novel (whether or not the film is in fact based on any work of literature) in a highly compressed fashion. … In the best movie-going experience, your brain leaves your body for a bit, you take a mini-vacation to places you might not otherwise ever see, and you return to your regularly scheduled life a bit changed, perhaps enlightened, and hopefully re-energized.”
How does your writing process work?
John laughs that he thinks I write my reviews as we’re still in the parking lot of the theatre. There is some truth to that. I’ve always been annoyingly analytical while watching a movie or a play or a concert – what choices were made, why, what do they say about the artist or about our culture? So all of that stuff is swirling in my head, and I quite literally have to purge it when I get home, or I lose track of the ideas and find myself on the cranky side. So, the minute we walk in the house, I grab the laptop, head upstairs, plunk myself on the bed, and exorcise these crazy thoughts.
With references to forgotten Broadway musicals and even more forgotten films (Buckaroo Banzai or Time Bandits, anyone?), analysis of my ongoing “war” with the Cher-army, many funny asides, boffo binge-book-buying by all in attendance, and a whole lot of zany fun, yesterday’s book signing/singing event was a hit!
With Peter Blackshear [Photo by Don Sexton]
Magic to do [Photo by Don Sexton]
[Image Source: Wikipedia]
Songs were sung: “Corner of the Sky” from Pippin, “Pure Imagination” from Willy Wonka and the Chocolate Factory, “Send in the Clowns” from A Little Night Music, “My Funny Valentine” from Pal Joey, and “This is the Life” from Golden Boy.
Film musings were read: both entries from the book on the beautiful black and white comic weepie Penny Serenade – one by my mom, author and columnist Susie Duncan Sexton and one by yours truly.
And we got to catch up with some wonderful, kind, supportive friends (photos here)…
[Photo by Megan Blackshear]
With accompanist Rebecca Biber [Photo by Don Sexton]
John Mola, Susie and Don Sexton, Sean Murphy, Jim Lynch, Melynee Weber, Lauren M. London and the London kids, Angie Choe and Sean and kids, Matthew Theunick, Zaida Hernandez, Karen Southworth, Beth Kennedy, Jenna Jacota Anderson, Sarah Rauen, Marjorie and Patricia Lesko.
Thanks to Rebecca Biber for the wonderful accompaniment and witticisms. And thanks again to Bookbound and Peter Blackshear and Megan Andrews Blackshear (and Chester!) for hosting such a fun event.
[Thanks to BroadwayWorld for this coverage - click here to view.]
With actress Sarah Rauen [Photo by Megan Blackshear]
[Image Source: Wikipedia]
Here is Bookbound’s write-up:
“Bookbound (1729 Plymouth Road, Ann Arbor) hosted local community theater actor, blogger, and author Roy Sexton for an afternoon of laughs and music. He read from his new book of cheeky movie reviews, Reel Roy Reviews, and entertained with movie themes and show tunes with Rebecca Biber accompanying.”
[Image Source: Wikipedia]
Finally, what an honor and a privilege for us to be included in dear and talented and beautiful Beth Kennedy’s fantastic blog I Didn’t Have My Glasses On.
Here’s a quote: “there were so many sextons, so little time……and i was so happy to be a part of it all, and in awe of the heartfelt and mutual support shared by all.” We love you, Beth! Read the rest by clicking here.
ReelRoyReviews is officially launched, y’all! Time for me to collapse…