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.
Katy Perry is adorable. I realize this is not news. But when you spend several hours in her orbit during her Prismatic World Tour you are stunned by the extent of her Hello-Kitty-meets-Mae-West powers.
Like Madonna before her (only without the hauteur), Perry mines every element of current (and past) pop culture to concoct a cheeky confection that is two-parts 12-year-olds’ slumber party, one-part Bettie Page pinup calendar.
Hot n Cold
Every pop dolly from Britney to Gaga has been after Madge’s crown for years, but I daresay Katy sneaked off with it ages ago with a wink and a smile. Whereas Madonna couches her pop appropriation (theft?) in Marlene Dietrich-style Teutonic frost, Perry zooms in on California sunbeams with a spray of confetti in her wake. But don’t be fooled by the bonbon guise, Perry is just as crafty, intelligent, and witty as her forebear.
Walking On Air
Last night’s show at the Palace of Auburn Hills, attended by a sold-out crowd of crazed KatyCats who braved one of the most torrential downpours in recent memory, was/is an epic tribute to one young person’s (Perry’s) astounding ability to crank out nearly two-dozen top ten hits in half a decade. These are the kind of ubiquitous, ear-wormy, inescapable, platinum(!) sing-alongs that most rock stars would give their eyeteeth to have just once in a lifetime. In this sense, Perry and her prodigious musical output have as much in common with the Jackson siblings – Janet and Michael – as any other singers. Like those two talents, the hits just keep on coming … like you’re being pummeled in a disco-fied prizefight.
Perry’s latest extravaganza is a deceptively lean and efficient delivery mechanism for all of her numbers, running the gamut from ancient Egypt to 80s video games, from LOLCats-inspired memes to hippie dippie flowers and fairies. The show is a technical marvel with nary a misstep. As one might expect from a tour dubbed “prismatic,” COLOR! and pyramids and COLOR! and light and COLOR! and triangles and COLOR! are key visual elements.
The cartoon cavalcade of costumery appears to have been designed by Roy G. Biv on a bender … and it’s exquisite. The lighting scheme is rife with laser beams, pyrotechnics, kitschy/campy video projections, and enough light-pipes to make Tron green with envy.
As anyone who watched (and loved) Perry’s documentary Part of Me (click here) will attest, Perry’s aesthetic may be best described as American Greetings crossed with Andy Warhol, and the front woman delivers it all with wide-eyed wonder, tongue firmly in cheek. In this sense she may be more Jeff Koons than his self-appointed muse Lady Gaga – sorry, Little Monsters.
My high points from the show?
Turning “Hot-n-Cold” into a cabaret number featuring singing/dancing/jazz-handy felines; lightly kinky “Birthday” delivered with zero irony in what appears to be a Chuck E. Cheese party from hell; and closing number (arguably the strongest tune in her canon) “Firework” which she performs alone, amidst, yes, fireworks and wearing a Marie Antoinette gown as bedazzled by Jackson Pollock.
This is How We Do
Every element of the show is meticulously manicured, including opening acts Ferras and Kasey Musgraves, both of whom give the kind of fully-realized performances you rarely see in a warm-up. Ferras is the missing link between Flock of Seagulls and Adam Lambert, strutting about the stage, delivering his new wave hoo-ha in a supremely confident and compelling manner.
Musgraves, though, is the stealth winner of the evening – a twangy Laura Benanti who complements nicely Katy Perry’s Lucille Ball-esque screwball tomfoolery.
Both Musgraves and Perry are adept at torching their own glamazon façades and letting their freak flags fly, directly interacting with their audiences in funny and touching ways. Last night’s production felt as if a female Rat Pack had arrived from somewhere beyond Pluto to stage a Pride parade, bringing too-cool-for-school hipsters, screaming junior high girls, their befuddled parents, random “bros” ashamed to admit how much they love pop music, and tightly wound Walmart shoppers all into one big tent revival of tolerance, expression, and joy. I loved every minute!
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 …
Effervescent. Witty. Intelligent. … Force of nature! These are the best words I can devise to describe Carolina Chocolate Drops’ performance Wednesday night at Ann Arbor’s The Ark.
If you aren’t familiar with this group, stop reading this right now, go to YouTube and check out their stuff. I have never seen so raucous a crowd at The Ark as I did last night, jubilant and joyous and energized by the band’s world-class musicianship and delightfully irreverent intellectualism.
This group of multi-hyphenate performers have mined hundreds of years of musical history: folk, roots, hip-hop, spiritual, blues, country, bluegrass, and even Celtic rhythms to create an intoxicating brew of acoustic, string driven, pop delights.
While the lineup of the group has undergone some changes in recent years, lead singer Rhiannon Giddens is a mainstay. (One of the night’s biggest laughs came when she stated, “A certain pop star came on the scene a few years back [the similarly named Rihanna] … and pretty much ruined my life … I wear clothes, though.”
Giddens is a marvel. As much accomplished actress as she is exceptional vocalist and amazing instrumentalist, she breathes life into songs that veer wildly from a 200 A.D. war chant to Blu Cantrell’s one-hit-wonder “Hit ‘Em Up Style (Oops).” She makes every song her own. With wide-eyed wonder, heartfelt intelligence and charm, and an impish smile, she delivers raw roots vocals with operatic technique, all while playing nearly every stringed instrument on stage from mandolin to banjo. Many of last night’s selections focused on the mistreatment of women through the ages and the essential reclamation of female power. That may sound stuffy. It ain’t.
The talents of this quartet cannot be overstated. The Chocolate Drops’ nearly two hour set flew by. Opening with the propulsive and gripping “Country Girl” through their encore “Cornbread and Butterbeans” (which was aggressively – and quite humorously – requested all night long by one notably vocal fan), the set was a dynamic and earthy array of the group’s best work with a handful of undiscovered gems tossed in for good measure.
I felt like I was at a fabulous party that I never wanted to end. The Chocolate Drops were relaxed and authentic, gracious and inclusive. Their repartee between songs (and during!) was both instructive and hysterically funny, like that of funky college professors whom you adore for making you laugh … and changing your life.
(The Chocolate Drops also gave some local dancers the opportunity to hit the stage and interpret their music as they were playing it. If there ever was a textbook definition of a “happening,” this was it.)
Grace & Tony [Image Source: Wikipedia]
Opening act, alt-country/folk/steampunk husband/wife duo Grace & Tony may have been an acquired taste for some. I loved them! By the time they played their last number, they had completely won me over. (I listened to their CD November in the car today on my way to work, and I highly recommend it – ethereal, zany, and compelling.)
Tony White (brother of The Civil Wars’ John Paul White) knows how to work his hipster winsome charm in service to songs inspired by such diverse topics as Stephen King’s book Salem’s Lot, Frankenstein’s monster, and a couple of serial killers who sold cadavers to universities in the 1800s. These topics sound ghoulish, but Tony (and Grace!) sold these cracked ditties with such saucy glee that the audience was in the palm their hands by the time the Chocolate Drops took the stage.
Thanks to our dear pal Rachel Murphy who introduced all of us to the Carolina Chocolate Drops music. And I, in turn, hooked my parents on the group and have given several copies of their spectacular CDs as gifts.
A plug for The Ark: this is a fabulous, nonprofit venue staffed by volunteers, bringing in internationally known performers many times a week. Definitely check out their schedule, and take in a show there first chance you get!
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.
What a wonderful day! Thanks to Henry Ford Centennial Library’s Henry Fischer for organizing the Big Read Wrap-Up author event. I was (and am) so proud that my mom Susie Duncan Sexton was among so many great writers, that she has an essay included in their book Animal Tales, and that my canine “siblings” Jack and Zelda are featured on the front cover.
Animal Tales book cover
Me reading my mom’s essay
Here’s the book description: “Call of the Wild Dearborn: Animal Tales is a community anthology featuring short stories, poems, and essays about animals, the environment, nature or wildlife.” It will be available to purchase online at the library’s site soon. [All photos in this blog entry by Don Sexton.]
My mom emailed, “What I would add is the ‘moment in time’ that Selfridge [Jeremy Piven tv series] identified in his final installment for this season last night seated around a Thanksgiving table with his entire family … because you, Roy, so poised on that stage reading about Jack and Zelda with that magnificent slide of the book cover was incredibly moving for me! Like nothing ever before! Loved every moment of this event. Super concept! Pleased to have been included … I am delighted to have a story in the book and that my Jack & Zelda are a part of the cover! I once taught the works of Jack London, so I enjoyed the Call of the Wild theme of the presentations at the Saturday afternoon event.”
Rosalie’s in Jonesville
My parents had a marvelous lunch at adorable Rosalie’s in Jonesville, Michigan, on the way to the event, and John and I had such a nice dinner with them and with Terry Branoff at La Pita in Dearborn following – with a quick stop at beloved Dearborn Music. And then Terry and I were off to see Lady Gaga. Here’s my mom’s website: www.susieduncansexton.com – enjoy!
Little Monsters, Mama Monster did you proud in the “D” tonight. Lady Gaga rocked the house at Joe Louis Arena and made me a Gaga-believer.
I freely admit that her last effort ArtPop left me a bit cold. I’d been a fair-weather fan all along, absolutely adoring some of her hook-laden hits and scratching my head on others. Lyrically, she occasionally seemed to be picking at Tori Amos’ or Bjork’s verbally tortured scraps, yet the uptempo accompaniment always kept bringing me back for more.
But that needle skipped the record, quite literally, when I heard ArtPop for the first time, the only cut speaking to me on any level being the incredibly infectious “Applause.”
However, watching Lady Gaga’s ArtRave tour tonight, suddenly all of ArtPop snapped into perfect relief. Like watching a musical after only hearing the cast album, every number made sense in the context of Gaga’s Jeff-Koons-meets-Haruki-Murakami vision.
And most importantly Gaga seemed to be having fun. She was an inferno, dancing with military precision, belting like some Liza Minnelli/Janis Joplin lovechild, and commanding us, like some hippie dippy drill sergeant, to accept and to love and to move.
I fell head over heels in adoration with this talented woman tonight.
Often dressed like The Birth of Venus (by way of the Jersey Shore) or like The Little Mermaid‘s Ursula (by way of Sigmund the Sea Monster), Gaga definitely had a “we’re all in one big aquarium together” vibe going. Her backup dancers were dressed as sea creatures more often than not, and the amazingly tight orchestra seemed to be playing from the inside of a fabulous sand castle onstage.
With my pal Terry (and a Little Monster behind us)
Gaga tore through all the familiar hits – from “Poker Face” to “Paparazzi” to “Bad Romance” – landing on my personal favorite “Born This Way” as an exquisite piano ballad (as opposed to its typical four-on-the-floor sonic blast). The song took on a touching resonance that it never had when Madonna (the queen of swipe-as-homage) called it a “reductive” version of Madge’s “Express Yourself.”
(Really, Madonna, I love you, but that was unnecessary. There’s room for us all in Gaga’s big tent.)
But most notably, Gaga – whether schtick or sincerity or both – opened her heart (sorry, Madonna, couldn’t help it) time and again to the fans surrounding her fabulously asymmetrical catwalk of a stage and to those of us in the cheap seats, imploring us to be kind to one another, to be tolerant of difference, and to be empathetic in every action and deed. She bleeds gratitude for her followers, and to witness that in person is the greatest spectacle of all.
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…