Eversheds Sutherland’s Dominic Ayres – as well as my precious mom Susie Sexton! – joined us to chat today about business development and client engagement in this new age.
We had a rich and robust conversation about the power of client teams, bringing humanity into your conversations with clients, anticipating their needs through empathy, being aware of social issues and expectations, the importance of diversity and inclusion in those conversations, and proper data and reporting being essential to the process.
Shout outs in the show to Brenda Pontiff, Timothy Corcoran, Mari Hutchinson, Don Sexton, Stefanie Marrone, Nancy Slome, Joe Biden, trains, Star Wars, beloved dogs, kids, Legal Marketing Association – LMA International, and Greatest Showman.
Show description: This week our guest on Legal Marketing Coffee Talk is Dominic Ayres, the Senior Client Development Manager – Industrials Sector at Eversheds Sutherland. He and Roy Sexton will discuss the approaches Dominic and Eversheds have taken to supercharge client development in these quarantine days. Dominic will address Eversheds’ Global KAM with its greater focus on protecting and investing resources in a smaller set of clients.
Dominic and Roy will also talk about developing content with which clients actually want to engage, getting closer to the clients in ways meaningful to them, firms becoming more than just “external lawyers” but connected advisors, and the rapidly evolving value and roles of Business Development and Marketing professionals in those processes.
They may also talk about what it’s like to work from home with three little ones in England during this pandemic, Dominic’s love of Star Wars and superheroes, building a home gym in one’s garage, and playing Greatest Showman dress-up with one’s children.
For kids of all ages – the #PiedPiper – with yours truly reading the title role. Thank you, Debbie DeCeco Lannen and Pass The Time Players, for having me. NOTE: no (virtual) rats were harmed in the making of this #Zoom event. You’re welcome. 😊 🐀 🎶
The Pied Piper of Hamelin Narrator: Debbie Lannen / Orlando, FL Merchant: Sally Daykin / DeLand, FL Erich – Kyle Coykendall / Wixom, MI Advisor: Tomothy Majzlik / Westland, MI Mayor: Joe Lannen / Orlando, FL Pied Piper: Roy Sexton / Saline, MI
Only I would take this beautiful day, and spend most of it indoors, working my way through the very long Zack Snyder’s Justice League. But it was worth it. Even if every 30 minutes John wandered through and said “Is this still on?”
I can barely remember the theatrical version, which is likely for the best. What I found in this updated version is that Snyder had room to explore ideas and relationships. And that made all the difference. I am not a fan of his work. By any stretch. But, perhaps because of what he has lived through the past few years, this film had something many of his previous efforts did not: heart.
My mom Susie Sexton’s take on Carey Mulligan’s Promising Young Woman:
GOOD GOD ALMIGHTY…already loved this actress … discovered her on PBS in a Dickens entry years ago. Outstanding!
This movie upends with its surreal treatment of a very real truth bedeviling this globe since the appearance of manKIND walking on its own evolved two feet – astounding, disturbing and so true and sad that it hurts, haunts and breaks any heart that is the least bit human.
The barbie doll sets and clothes simply enhance the deep damage done to humanity as we have all looked the other way and endured unnecessary heartache. Give it a look, enjoy!
No nudity, and only one supposed murder. An oddly wholesome at times comedic treatment of a tragic problem. Bravo!
Threw this viewer for a loop (which most all of us have existed within for all of eternity). Truth on film if there ever ever was. Whew?
If classic playwright Dario Fo wrote for Saturday Night Live in these technologically insular COVID days, I suspect he would have come up with something like Ron Riekki’s 4 Genres. That is a compliment BTW.
From Theatre NOVA’s press release: “Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a new play written specifically for the Zoom format each month (January through April) with their PLAY OF THE MONTH series. 4 Genres by Ron Riekki, the second offering in the series, will be performed live on Zoom on Wednesday, February 24th at 8pm and available ON DEMAND for Series Pass holders through May.
“In 4 Genres, four characters reveal what they’ve learned after being trapped within four respective film/theatre genres (musical theatre, documentary, slapstick, and horror). A hilarious comedy exploring the role of art in life and society, 4 Genres is directed by Theatre NOVA Founding Artistic Director, Carla Milarch and features Jennifer Felts (An Almost British Christmas), Nate John-Mark (A Hero of Our Time, 2020), Dan Johnson (Kill, Move, Paradise) and David Moan (I’m Streaming of an Alright Christmas).”
The show uses its “high concept” as a lens to address (lightly) the existential dread we have all been experiencing for one year now under COVID – this week being the anniversary of first going into lockdown, if I recall correctly. My mind feels as rattled as those of the characters in this piece.
4 Genres moves briskly. More than a few technological mishaps (I’m assuming unintentional) – dropped sound, internet wobbles – aid and abet the viewing experience. We ain’t looking for polish in quarantine.
The four performers are marvels of commitment. John-Mark has the showiest role, and he doesn’t miss a trick. He mines comedy gold from the anxiety of being trapped in a “summer camp/asylum/orphanage” populated by werewolves, witches, chainsaw killers, but NO orphans. The richest laughs come from his exasperated delivery of quips aplenty.
Moan has a ball leveraging his musical comedy chops. Ironically, singing seems to cause his character physical pain, even as his dulcet tones delight the viewer. Spoiler alert: you may never hear “You Will Be Found” from Dear Evan Hansen the same way again. And Moan’s “Rose’s Turn”-style nervous breakdown medley at the play’s conclusion is pretty damn brilliant. For that moment alone, this is one of the few Zoom shows I wouldn’t mind seeing staged IRL when and if this quarantine ever ends.
Felts and Johnson do reliably fine work in their respective roles. If Riekki were to make any revisions to the script, I might recommend taking another pass at these characters. These two roles don’t benefit from the same comically sharp definition as the others, so the piece suffers a slight imbalance. Again, that isn’t a result of Felts’ and Johnson’s performances. They both go all in, but they don’t have as rich of material to explore.
Director Carla Milarch knows how to position new works effectively. She has a marketer’s eye for pulling out a unique hook that will engage the audience. She leverages the immediacy of Zoom with its inherent isolating limitations – literally everyone is in a box – to provide a proper framework for the narrative. However, she also gives her actors *some* free reign, pulling the camera back a bit so that they each exist in three dimensional space, be it a charnel house, B&W soundstage, or velvet curtained cabaret. This offers the actors refreshing opportunity for physical business, in addition to the more typical “lines delivered directly at the camera” that we see so frequently in the ever-evolving pandemic-remote staging style.
I must admit that one of the things I find most appealing about this Zoom-based delivery mechanism for theater is that I can watch it on a Sunday afternoon, a week and a half after the premiere, knowing that my review can still benefit the overall experience, not only of this production but of the series. Will we ever go back to showing up collectively at one start time on one date and committing an evening to viewing theater? I hope so, but I don’t hate that this show is only 30 minutes and I could enjoy it while wearing my pajamas.
The show is a helluva lot of fun, as witty as it is thought-provoking, and serves as a nifty little showcase for four very talented local performers. Definitely check it out. If nothing else, it provides a lovely waiting room distraction as we all still figure out how in the heck to get vaccinated.
Tickets are $10 each month, or $30 for a Series Pass, which includes admission to four plays for the price of three and the opportunity to view all four plays ON DEMAND if any of the live performances are missed. Purchase tickets online at www.TheatreNova.org. For more information, pleaseemail email@example.com. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic. This activity is supported in part by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.
MEET THE CAST OF 4 GENRES:
Nate John-Mark (Horror) is originally from Grand Rapids, MI. He attended Western Michigan University where he pursued a degree in Organizational Communication. Nate has always had a passion for performance and poetry which he satiated by hosting events on campus to create platforms for artists like himself to be heard and seen. After undergrad Nate began an Audience Development Assistantship at the Oregon Shakespeare Festival where he was later introduced to performing Shakespeare with the OSF school tour. He has since joined Universes Theatre Ensemble, performed in Shakespeare tours around the country and is now living as an actor and playwright in Detroit, MI.
Dan Johnson (Doc) returns to Theatre NOVA after previously appearing in James Ijames’ KILL MOVE PARADISE (Winner, 2019 Council Cargle Wilde Award) and has been fortunate enough to work in SE Michigan theatre for the past decade, including recently winning 2020 Wilde Awards for Best Supporting Actor in a Play (MISS BENNET: CHRISTMAS AT PEMBERLEY) and in a Musical (MAN OF LA MANCHA). Along with his partner, Ashley M. Lyle (blaqn.org), Dan has also co-created “Toward An Anti-Racist Michigan Theatre,” a statement and workshop meant to help facilitate the work of positive, transformative change in 2021 and beyond. Many thanks to the cast and crew, to Mom, Dad and Angela for their love and support and (now more than ever) THANK YOU for supporting live Michigan theatre and theatre artists. Enjoy!
David Moan (Musical) is honored to be back on the virtual NOVA stage as part of 4 GENRES. Originally from Pittsburgh, David was most recently seen as the Big Man in Red in the 2020 panto, I’M STREAMING OF AN ALRIGHT CHRISTMAS at Theatre NOVA. In the before times, David could be seen on real stages throughout southeast Michigan most notably as John Wilkes Booth in ASSASSINS and SWEENEY TODD at the Encore, God in AN ACT OF GOD at the Dio, and Martin in CANDIDE with the Michigan Opera Theater. Until Theatre is back in full, you can find David “performing” while playing video games at twitch.tv/davidmmoan. David would like to thank “everyone at Theatre NOVA for finding a way to make theatre happen, Monica and Kim for keeping me sane in quarantine and all of you for supporting the arts in the time we need you most.”
Jennifer Felts (Slapstick) is currently a lecturer of Theatre at Eastern Michigan University and received her Master of Fine Arts from The London International School of Performing Arts. She directed TROJAN WOMEN and THE BIRTHDAY PARTY at Eastern Michigan University and VENUS IN FUR at the Performance Network Theatre. She has created movement, choreography and stage combat for many productions including SPRING AWAKENING, ONE MAN, TWO GUV’NORS, FIDDLER ON THE ROOF, URINETOWN, JULIUS CAESAR, ANGELS IN AMERICA, DEAD MAN’S CELL PHONE, BUD, NOT BUDDY and EQUUS (Wilde award for Best Movement Direction). As a performer, she has worked at the London Gate Theatre in the UK, Tipping Point, Andiamo Theatre, Theatre NOVA, and Performance Network. She also enjoys devising and collaborating on new work such as SIMONE: AN EVENING IN CHAPTER TITLES at Detroit’s Planet Ant Theatre or SHOULDER TO THE WHEEL at the Riverside Arts Center.
Hoosier author Susie Sexton is featured in the Henry Ford Centennial Library “Big Read” Tree Anthology. The book is available for purchase on Amazon. Sexton’s work was published in the organization’s prior three “Big Read” collections Call of the Wild Dearborn: Animal Tales (also providing the photographic cover art), Dreaming Dreams No Mortal Ever Dared to Dream Before, and What’s In A Name? The program has been running since 2015, and Sexton has been included in each edition.
Sexton has three essays in the book: “Sunshine on My Shoulders,” a poignant and funny reflection on the healing effects of the sun and the relentless passage of time; “All We Know of Heaven,” assessing the divisive effects of modern political discourse; and “Compassion Does Contain the Word Passion,” reviewing the conflict of commerce and nature and the importance of attending to our planet’s needs.
“Writing heals my soul. It has offered me a safe harbor from which to reflect on a life fully lived, on the influences and history of living in Columbia City, Indiana for the bulk of my life, on my appreciation for my kind and gracious parents Roy and Edna Duncan, on my love of movies and theatre and animals, and on my interests in the environment and political life and the intersection of the two,” Sexton observes.
“I’ve been fortunate over the past twenty years to have others take an interest in my thoughts, to be able to publish across a wide spectrum of outlets, and to have the support of my son Roy Sexton. I’ve dubbed him ‘Maxwell Perkins,’ the editor and sometimes muse of my beloved Thomas Wolfe. Thank you especially to Henry Fischer and the Dearborn Public Library for continuing to honor me by including my work.”
The Big Read is a program of the National Endowment for the Arts in partnership with Arts Midwest, designed to broaden our understanding of our world, our communities, and ourselves through the joy of sharing a good book. For a third time, Dearborn Public Library is one of 75 organizations nationwide that received this grant to host a Big Read program in their community. Tree Anthology focuses on nature and ecology as primary themes.
To help bring this massive project to life, Dearborn Public Library has partnered with many institutions and organizations, including DFCU Financial, AAUW-Dearborn, The Henry Ford, the Arab American National Museum, the Dearborn Community Fund, Dearborn Public Schools, the City of Dearborn Department of Public Information, Artspace, Dearborn Public Library Foundation, Dearborn Library Commission, Friends of the Library-Dearborn, University of Michigan-Dearborn (UM-D) Mardigian Library, Henry Ford College Eshleman Library, Beaumont Medical Library, East and West Dearborn Downtown Development Authorities, Dearborn Inn, Green Brain Comics, and Dearborn Heights Libraries.
Susie Duncan Sexton grew up in small town Columbia City, Indiana. After graduating twelfth in her class at Ball State University (winning the first ever John R. Emens award for “most outstanding senior”), she returned to her hometown where she has worked as a teacher, a publicist, a museum curator, and a health lecturer.
She is a prolific writer. She has written two columns: “Old Type Writer” for a popular local blog Talk of the Town and “Homeward Angle” for the Columbia City Post and Mail newspaper. She has been a frequent contributor to the literary journal Moronic Ox, and her poetry was selected by poet Charles Michael Madigan and by Wayne State professor M.L. Liebler to be featured in Poetic Resonance Imaging: Behind the Door. She also has been featured in Our USA, Writing Raw, Where Writers Write, and InD’tale magazines. Her books Secrets of an Old Typewriter and its sequel Misunderstood Gargoyles & Overrated Angels are currently available in paperback (as well as download formats) at www.amazon.com and www.susieduncansexton.com. Her son Roy Sexton published two books of film, theatre, music, and pop culture essays, Reel Roy Reviews, 1 & 2 (www.reelroyreviews.com).
Describing her work, Susie says, “I willingly share nostalgic trips to the past as I have now achieved such an old age that no one remains who can question the authenticity of my memory of places, people and events that were very much never what they were cracked up to be.”
Always an observer of events and human traits, Susie Duncan Sexton offers without apology her thoughts and observations as they are and once were, and fitting her persona into pigeonholes is impossible. “I have searched for the ‘We of Me’ since toddler days and have always come up wanting,” she says, “though I trust that in my next life I shall finally have figured out how to make this world a better place full of tolerance and inclusiveness and understanding for all forms of life.” Find out more about Susie and read her latest columns at www.susieduncansexton.com.
This may be one of our wilder shows but rich with great content, pun intended! There is singing, there is dancing (sort of), there is personal reflection, there are quips, and there is a really robust and informative conversation about the power of data and relationship intelligence for marketing and business development.
Shout outs to Ricco Mashatt, The Late Show with Stephen Colbert, Tom Hanks, Denzel Washington, John Kerry, WandaVision, Firefly Lane, Agatha All Along, Dearborn Public Library, and more. Thank you, as always, Rob Kates, Kates Media: Video Production, Jessica Aries, By Aries, for putting up with me!
The Tree Anthology – featuring Susie Duncan Sexton – is now available for purchase on Amazon for $16 per copy here.
“We are ordering a limited number of copies to sell at our library branches for $10 per copy (we had to charge more for online orders). Those will likely be available in the next few weeks. Any funds raised will go towards our next Big Read in Dearborn.
“We are also going to add copies to the collection for checkout, so with a Dearborn Library card, you will be able to check out a copy for free. Please visit bigreaddearborn.org and dearbornlibrary.org for updates.
“So sorry for all the delays. We tried to publish the book in early January, but there were some issues that we had to fix. That’s why the book shows a publication date in January, but it was actually just made available.”
Thank you, dear Brenda Meller of Meller Marketing and Social Media P.I.E., for having me on today! We unveiled “C.A.R.” – an acronym I devised about 20 minutes before 🤣 – to help people become #socialmedia superfans. Celebrate. Advocate. Reciprocate. In retrospect, I should add an “E” for “elevate,” because I really do “C.A.R.E.” See what I did there?
In addition we discussed my hair care regimen, the power of silly tshirts, my favorite songs, and the goddesses Deborah Harry and Miley Cyrus.
Find out more about – and purchase! – Brenda’s best selling new book Social Media Piehere.
Shout outs in the show to Susie Sexton, Jay Harrington, Nancy Leyes Myrland, Gina Furia Rubel, Jessica Aries, Renee Branson, Heather Morse-Geller, Susan Ahern, Megan McKeon, Clark Hill Law, Mark Ostach, Kathy Kvasnak, Tina Marie Wohlfield, MiVida Burrus, Mosaic Youth Theatre of Detroit, Ronald McDonald House Charities Ann Arbor, Legal Marketing Association – LMA International, Beth Kennedy, and more!
P.S. Today’s chat inspired this blog post from Brenda as well. “Have you noticed that when you’re commenting in a live stream on LinkedIn, your photo is a gray avatar? It may be one of two items in your privacy settings. Here’s how to fix it.”
“Who’s zoomin’ who?” Detroit great Aretha Franklin once queried in song. Little did we know how prescient that sassy lyric would be some 30 years later. Here we all remain in our homes waiting for the cloud of pandemic to hopefully/eventually pass, anxious not only for our health and safety but for the chaotically mercurial state of a society that spins off its axis on a daily basis. How do we remain connected? Will human contact be forever limited to misleading social media messages and Zoom-enabled video jail cells? Only time will tell.
This existential dread hovers atop playwright Jacquelyn Priskorn’s incisive two-hander Whatcha Doin? The play is delivered via, yes, the ubiquitous Zoom, but makes effective use of the surreally detached intimacy that the platform provides.
From Theatre NOVA’s press release: “In Whatcha Doin?, a film student interviews a former child star turned voice over actor for a documentary project. Thrilled to witness Marnie’s work-from-home recording studio in action, Raven is surprised to learn about the difficulties Marnie had while portraying the goofy, unattractive kid on a TV series, but even more so, Raven is curious about why Marnie is now unable to leave her home. Whatcha Doin? is directed by Theatre NOVA Producing Artistic Director, Diane Hill and features Kate Stark and Megan Wesner.”
Stark and Wesner are compelling presences, defying the inherent limitations of webinar acting, with bright and engaging but wholly natural styles. Given Zoom’s challenges, the performer has to “pop” beyond a gauzy digital haze … but not *too* much. Not quite film, not quite stage, effective characterization has to break through the uncanny valley, remaining humanistic, yet not becoming flat. Stark and Wesner both excel, building a dynamic relationship in a brisk 20 minutes that is compelling, believable, poignant, and deeply affecting. To capture the ephemeral spark of unfolding friendship is tricky business on stage or screen, so it is a rare, almost voyeuristic thrill to watch Stark and Wesner’s nuanced work here.
With Hill’s expert direction, there is a beautiful embrace of the awkwardness inherent in online conversations. I haven’t really seen anybody capture as well the strange dance of smiles and pauses and sidelong glances that Zoom inspires. They nail it here. The script which is deceptively clever addresses the fluidity of identity in this modern age, supercharged as that can be across the bits and bytes of a computer screen.
Whether we realize it or not, we all are engaged in a minute-by-minute act of reclaiming, shaping, and reimagining who we are across digital platforms and IRL. This pas de deux of identity and belonging is deftly depicted in both script and production without hitting the viewer over the head. Highly recommend.
Tickets are $10 each month, or $30 for a Series Pass which admits ticket holders to a new play each month, January through April, 2021. Purchase tickets online at www.TheatreNova.org. For more information, please email firstname.lastname@example.org. All proceeds benefit Theatre NOVA’s ongoing efforts to stay alive through the pandemic.
Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents its new PLAY OF THE MONTH Zoom Play Series, featuring new plays written specifically for the Zoom format each month.
Due to the success of their Zoom Play Series Festival that ran in October, 2020, and in keeping with their mission to raise awareness of the value and excitement of new plays and playwrights, Theatre NOVA will present a new short play (20-40 minutes long) each month, January through April, 2021. The series opens with Whatcha Doin? by Jacquelyn Priskorn, performed live on Wednesday, January 27th at 8:00pm and available on video for the month of February.
Jacquelyn Priskorn(Playwright) has been writing plays since she took her first class with playwright Kitty Dubin in 1997. She has had several plays and screenplays produced since that first class, including the award-winning short film, “The Guest Room” (shown at the Strasbourg Film Festival in France), as well as a screenplay, “Love & Plutonium,” which is currently available on DVD. Her play “Love Shackles” was published in “Quick & Painless: Saturday Night Lites 2004-2005 Season” distributed by Original Works. “Glass Slipper, Size 8 ½,” “The Rot,” “The Reckless Romantic” and “Off Center” (Best Play at the Oakland University Actor Showcase) are currently available through Brooklyn Publishing. “Good Morning, Miriam” received the Jury’s Choice Award at the Detroit Fringe Forward Festival, along with Best New Play from New Plays from the Heartland, and The Chameleon Theatre Circle’s 17th annual one act play contest.
Diane Hill (Director) is a Producing Artistic Director at Theatre NOVA and was founder and Artistic/Executive Director of Two Muses Theatre, a nonprofit, professional theatre in West Bloomfield. Diane was a professor at University of Detroit Mercy and Oakland Community College, where she originated and designed the Theatre degree program. She has a Ph.D. in Theatre from Wayne State University and a Bachelor of Music and Master of Arts in Theatre from the University of Michigan. At Theatre NOVA, she directed “Clutter,” “Follies in Concert” and “Kill Move Paradise” (Council Cargle Award for Excellence in Diverse Storytelling).” Theatre NOVA audiences saw her play Olympe de Gouges in “The Revolutionists” (Wilde Award Best Production), Penelope Easter in “The Totalitarians,” Zelda in “The How and the Why” (Wilde Award Best Actress), and Sherri in “Admissions.”
Kate Stark (Marnie) is a dancer, actor, singer, choreographer, and voice over artist based out of Cincinnati, Ohio. She holds BAs in Biological Anthropology and Broadcast Journalism from Miami University and in a previous life was a TV news producer. Kate performs and teaches with companies like Cincinnati Ballet, Carnegie Center for the Performing Arts, Cincinnati Landmark Productions, Cincinnati Shakespeare Company, The Know Theatre, Dancing with Parkinson’s, InBocca Performance, and Pones Inc. Favorite roles: Judy Turner (“A Chorus Line”), Jean MacLaren (“Brigadoon”), Phyllis Dale (“42nd Street”), Nellie (“Nellie Bly: A Menace to Propriety”), and Texas (“Cabaret”).
Megan Wesner (Raven) is excited to be working with Theatre NOVA for the first time. They have previously worked as an actor, director, scenic painter, and stagehand for various Michigan theaters including the Wharton Center, Wild Swan Theatre Company, All-of-Us Express, the Purple Rose Theatre Company, and Hope Summer Repertory Theatre. Megan graduated from Michigan State University with a degree in Arts & Humanities and Theatre. They currently reside in Chelsea, Michigan.
“How are law firms using CRM and other marketing and business development software increasing the ROI on these technology investments? Christopher Raymond of Intapp, Chris Fritsch, JD of CLIENTSFirst Consulting, and Roy Sexton (ME!) of Clark Hill Law share real-life stories of how they overcame these obstacles.”
Thank you to Rob Kates of Kates Media: Video Production for the video support and to Martha Lord and Sarah Goldfuss for their assistance throughout.
ICYMI – LMA Midwest Your Honor Awards were hosted today by yours truly. And only about eight technical snafus this time. 🤣 Thank you, LMA Midwest Region, Maureen Fechter Farr, Liz Highley Boehm, Megan McKeon, Laura Toledo, Rob Kates for the opportunity and for putting up with me.
Original event description: “Let’s celebrate! Please join us on Wednesday, January 13 at 11:30am CST/12:30pm EST to recognize the winners of our 2020 LMA Midwest Your Honor Awards. The virtual program will be live streamed courtesy of Kates Media: Video Production. Hosted by Roy Sexton, LMA International Treasurer and Director of Marketing at Clark Hill PLC, the program will feature video clips and visuals from award winners. What better way to start off 2021 than by showcasing the great work of legal marketers in the Midwest!
“THANK YOU TO OUR SPONSORS: A special thanks to Rothschild Marketing for sponsoring the 2020 Your Honor Awards. Rothschild Marketing solves firms’ promo problems – and puts the fun back in swag! The company produces super cool client gifts and unforgettable events for professional services companies. We also thank Rob Kates of Kates Media, producer of high quality, high value, high ROI video content and live steaming programming for the legal industry, for his role in making the live program possible.”
Thank you for helping celebrate my birthday month (December 28 to be exact!) by helping others! Your contributions make an impact, whether you donate $5 or $500 – here is the link to the fundraising page: https://lnkd.in/eQ_NVZD
I’m a proud board member of RMHCAA and have seen firsthand how every little bit makes a huge difference. Thank you SO MUCH for your incredible support! Love you. ❤️
Happy New Year!
Thank you to these wonderful donors! (Apologies to anyone missed – these are screen captures from the record Facebook provides.)
Wonderful miscellany …
Going through the week’s mail, and I spy this gem! Another hidden Wabash College connection or two: the Blue Bell plant manager mentioned here was my grandfather Roy Duncan, and JoEllen Adams, Jim Adams’ daughter, was a close friend of my mother Susie Sexton. JoEllen was a big influence on me choosing Wabash as was Bob. The Lilly Fellowship I received helped too. 😊
Congrats, Ellen and Bob Kellogg, on this well-deserved recognition – and thank you for your support of Wabash! Happy New Year and Wabash Always Fights!
Love this, David Troutman, Scott Feller, and team!
Thank you, Holly Maurer-Klein, SHRM-SCP, for this inclusion in HR/Advantage Advisory LLC, Powered by Clark Hill PLC’s year-end newsletter. Happy New Year, all! #Gratitude is more essential than ever these days.
“Throughout the year, Clark Hill Law PLC (HR/AA is a division of Clark Hill) holds Town Hall Meetings where the firm communicates and celebrates promotions, business wins, and goal achievement. For the year-end meeting in 2020, the firm decided to do something different. As Roy E. Sexton, Director of Marketing, described it recently, ‘our executive team at Clark Hill identified gratitude as the core theme for our year-end Town Hall. We organized a survey to collect examples in our colleagues’ own words and had them submit video shout-outs.’ Employees–the IT team and administrative staff who kept the firm’s wheels turning, fellow attorneys who had been quick to jump in to help when someone was sick or absent–heard heartfelt, personalized, and public descriptions of the impact of the ‘behind the scenes’ work that they had done. As an observer, it was uplifting. As Roy described it, ‘the results were phenomenal. People felt seen and heard and, most importantly, appreciated.’”
There is good in this world. We were blown away, Megan McKeon and Eric Lewandowski, by this incredible Christmas gift. John and I are big Supernatural fans, and Mark Sheppard’s “Crowley” is a particular fave. But even more, what he says here in his message is so heartfelt and kind and inclusive and loving. We were both incredibly moved by his words, and I suspect others will be as well. Megan and Eric – and Mark! – we love you very much. Our hearts are full.
Joe: You’re Norma Desmond. You used to be in silent pictures. You used to be big.
Norma: I am big. It’s the pictures that got small.
From Sunset Boulevard
“If you dream it, you can achieve it.” – Maxwell Lord (Pedro Pascal) in Wonder Woman 1984
“Nothing good is born from lies.” – Diana (Gal Gadot) in Wonder Woman 1984
Sadly, this seems to be the season of watching big ticket blockbusters crammed onto a home screen. Furthermore, this seems to be the season where all of your Facebook friends march like lemmings to tell you what you’re supposed to think of said offerings before you even have had a chance to view them for yourself. Being the good-natured contrarian that my parents raised, I find myself in direct opposition to much of the feedback I’ve observed. To me, The Prom was kind-hearted escapism-with-attitude, Ma Rainey’s Black Bottom was a stagy self-indulgent slog, Midnight Sky was a resonant Truman Capote-meets-Ray Bradbury short (long) story, and Wonder Woman 1984 was a candy-coated (admittedly overstuffed) confection.
I loved The Prom. I, for one, like unapologetic musicals, and this Ryan Murphy production reads like Hairspray, The Greatest Showman, High School Musical, and Bye Bye Birdie had a socially progressive movie baby. Much needless ado has been made about (formerly?) beloved Carpool Karaokemaven James Corden playing a gay character, claiming his take is offensively stereotypical. Many critics’ descriptions have been as troubling as what they accuse Corden of perpetuating, if you ask me.
To me, it is one of Corden’s better and more thoughtful performances, layering broad comedy in a compelling gauze of pathos, to effectively depict a man struggling to find his path in the margins (in career, physicality, and, yes, sexuality). Corden is part of a free-wheeling quartet of Broadway narcissists (all compensating for respective ghosts of failures past) who descend on a small Indiana town to “rescue” it from its own prejudices after the local PTA shames and embarrasses a young lesbian (luminous newcomer Jo Ellen Pellman) in a way that would make even John Travolta’s character in Carriecringe.
Meryl Streep (channeling a caustic yet charming mix of Patti LuPone and Susan Lucci), Nicole Kidman (at her most winsomely fragile), and Andrew Rannells (all bounding and puppyish joy) are Corden’s partners in well-intentioned, occasionally misplaced crime, and they have fabulous chemistry. Kerry Washington is suitably evangelically vampy as the rigid PTA president, and Keegan-Michael Key is a pleasant surprise (both as a singer and actor) as the high school’s show tune loving principal. Tracey Ullmann pops up as Corden’s regretful Midwestern ma, and their reconciliation scene is a lovely little masterclass in heightened understatement.
Oh, right, I did say the movie is kicky fun, but nothing I’ve written here much indicates why. Working from Matthew Sklar’s buoyant Broadway production, Murphy and team overdo everything in all the right ways, juxtaposing all-too-real intolerance and heartache (basically everyone in the film is guilty of uninformed prejudice of one kind or another) with the metaphysical joys of unhinged singing, dancing, glitter, and sequins. All ends (predictably) happily, almost Shakespearean (if Shakespeare listened to Ariana Grande), and I dare you not to sit through the end credits with a stupid, hopeful grin on your face.
Ma Rainey’s Black Bottom is also adapted from the stage, as legendary director George C. Wolfe brings August Wilson’s play to the screen. I suspect my disappointment is more to do with the source material than Wolfe’s sure-handed if claustrophobic direction. To be honest, I wanted more of Viola Davis’ dynamite Ma Rainey and less of … everyone else. Davis has one scene worthy of the Hollywood time capsule, eviscerating the misogynistic and racist capitalist machine that steals artists’ voices (quite literally as Rainey is committing her vocals to vinyl) and tosses people to the curb when they’ve outlived their usefulness.
The film depicts one day in a Chicago recording studio as Rainey fights with, well, anyone who crosses her path in defense of her vision and to retain her integrity in a world that reduces her to a commodity. THAT is the movie I wanted to see, but Wolfe gives preferred time to Rainey’s studio musicians, a group of men whose primary purpose seems to be representing inter-generational animosity among those with a Y-chromosome. Perhaps I’ve just had my fill for one lifetime of toxic male posturing, but I grew weary of their (endless) scenes.
In total, the film feels like it never really escapes the confines of the stage, and I may be among the few viewers underwhelmed by Chadwick Boseman’s performance. His work seems hammy and like he is in search of another movie altogether. I could be wrong, but the overwhelming praise for Boseman here feels like groupthink rhapsodizing given that he is no longer with us. I’m going to hell. See you there. Boseman remains a singular talent, but I don’t think time will be kind to this particular role, Oscar-winning as it likely will be.
Wonder Woman 1984 follows the loping narrative style of all inexplicably beloved films made in, well, 1984, and thereby is a kind of referendum on the cardboard excess and shallow instant gratification of that hollow era, nostalgia for which continues to plague us in insidious ways to this very day.
I found it nicely character driven with a strong cast and with a warm and (mostly) light touch, but plagued by some script/logic problems in its final act. All in all, it met my comics-loving expectations, and I enjoyed what they were doing. Gal Gadot remains a commanding presence in a way we just don’t see in screen stars these days. She’s not an actor per se, but she is a star.
Director Patty Jenkins has great Rube Goldberg-esque fun with one improbable action sequence after another. All were clearly nods to similar films of the 80s featuring, say, Superman or Indiana Jones but enhanced through modern Fast and the Furious-style tech and suspension of disbelief. I’m not looking for pragmatism in a movie like this. Sometimes I just want to be entertained, and WW84 did that for me
Jenkins makes the smart choice of casting talent who will connect the dots in a wafer-thin script. In the film, Kristen Wiig consistently makes smart acting choices as her character progresses from heartbreakingly nerdy sidekick to sullen and insolent supervillain, never losing the heartache of exclusion underneath it all. I thought she was a refreshing and inspired choice to play Barbara Minerva/Cheetah.
Dreamy/witty Chris Pine doesn’t get much dialogue/plot to work with as newly resurrected love interest Steve Trevor, but he shines nonetheless, wringing laughs from fish-out-of-water nuance without ever belaboring the joke.
Pedro Pascal balances Trumpian satire and Babbitt-esque tragedy as a gilded charlatan who believes 80s greed is the key to self-acceptance. He’s grand until the dodgy final act strands him somewhere on manic Gene Wilder-isle, and the film limps to its inevitable world-saving resolution.
I also think if people had watched WW84 on the big screen, they would have walked away with a different vibe. Some may disagree, but there’s a hidden psychological bump to paying for a ticket and investing time away from home (one WANTS the movie to be good) that is erased by the small screen – which has little to do with what is actually being viewed. IMHO.
The global warming parable Midnight Sky (directed by and starring George Clooney), however, benefits from small screen viewing. That said, the film’s outer space, nail biting, race-against-time elements have all been covered (sometimes better) in The Martian, Interstellar, Ad Astra, and George Clooney’s own Gravity. Hell, throw in Event Horizon, Sunshine, and The Black Hole for good measure.
Rather, I enjoyed the film’s quiet moments with Clooney as the sole (maybe?) survivor on an ice-covered Earth, as he fights the elements, time, and his own failing health to deter a deep-space crew from returning to their certain death on an uninhabitable planet. I didn’t give two hoots about the space mission, which included Felicity Jones, Kyle Chandler, David Oyelowo, and Tiffany Boone, all doing their level best to make us care. However, I was transfixed by an almost unrecognizable Clooney who checked his golden boy charm at the door and exquisitely projected the exhaustion and anxiety and fear of someone nearing the literal end. So, in other words, how most of us feel in 2020.
If it were up to me, I would edit out all of the space-faring scenes and leave the film’s focus on George Clooney alone in a post-apocalyptic arctic, yielding a transcendent hour-long Twilight Zone episode.
Now, let’s see how I fare in the Twitterverse when I finally turn to watching Disney’s/Pixar’s Soul …
Postscript …what follows is an email sent to my mother Susie Sexton this afternoon about 1960’s classic Cimarron. They don’t make movies like this any more, and that’s a shame.
From IMDB’s synopsis: “The epic saga of a frontier family, Cimarron starts with the Oklahoma Land Rush on 22 April 1889. The Cravet family builds their newspaper Oklahoma Wigwam into a business empire and Yancey Cravet is the adventurer-idealist who, to his wife’s anger, spurns the opportunity to become governor since this means helping to defraud the native Americans of their land and resources.”
I just finished Cimarron and liked it very very much. I do think that Edna Ferber captures perhaps somewhat formulaically but absolutely effectively, the passage and snowballing magnitude of time and life, with a lovely progressive sensibility (pun unintended).
Maria Schell is exquisite. I don’t think the film would’ve been half as good without her in it. I really like Anne Baxter too. Their one scene together is quite understated and powerful.
Glenn Ford is of course great too, but Maria Schell really got to me. She acts in a style ahead of its time. It’s a beautiful film, but at least in the first ten minutes I kept expecting them to burst into song. When it really digs into their struggle and unpredictable relationship, it’s very powerful. The supporting cast was of course great since all of those people had been in one million films already.
Thanks for recommending this! Love you!
My family loves movies. We always have. It is our cultural shorthand, and every holiday – until this one – has been spent in communion over what movies we saw, how they made us think and feel, and what these films might say about our culture and its advancement. That is in short why I write this blog. I can’t imagine watching a movie without having the opportunity to share how it speaks to my heart and mind.
Thank you for reading these thoughts of mine for nearly ten years (!), inspired as they are by a lifetime of loving movies.