"The Babysitter," the first in a Series by Paul McCarthy & Scott C. Forrest-Allen

(READER DISCRETION IS ADVISED.)

“The Babysitter”

by

Scott C. Forrest-Allen & Paul McCarthy

            I had always thought I knew what the meaning of “pitch-black” darkness was,

Amy thought to herself. That was until tonight. That was until just now. My digital watch

tells me it’s just after midnight. 

            I can’t see a damn thing.

 A moment ago, I tripped over something that felt like. . . if I had to describe what that “something” felt like, I’d probably have to compare it to what it is like to stumble over a small rock wrapped in a sponge. It is a more bothersome pain than an agonizing pain. If it weren’t for the annoying sensation currently in my ankle, I wouldn’t be able to tell if I were asleep or not.

It is too dark.

I’m not afraid of the dark, but I’m the type of clumsy girl that if there is something in my way, I will find a way to trip over it. If something is NOT in my way, I will find a way to trip over it.

As Amy began to massage her ankle, she tried to take in her surroundings, but she couldn’t because all she could see was black.

Black.

It was as if she were in a large container of black dust, and she was becoming a part of it. She tried her best to remain calm so that her eyes could adjust, but this was taking longer than usual. She felt as if she were inhaling black dust and that the dust was inhaling her.

Of all the rotten luck, she continued to herself, a simple babysitting job. Mum said “Don’t worry: I started babysitting when I was your age.” Then the ageless mother line: “You’ll do fine!” She grimaced to herself. Of course, things were a lot different when Mum was my age, when dinosaurs roamed.

Leave it to me to pick the one night this week when the power goes out. It was so beautiful all this week, and today we get a heat wave. Everyone was using their air conditioners and their fans, so the power went out.

When are my eyes going to adjust?

Well, I’m in the cellar now, and there is no light, and the wind blew the door shut, and I can’t see a thing.

Still no flashlight. Not that I would know where it is. The brats’ parents told me to look in the basement for the flashlight if there was a problem…who keeps a flashlight in their basement?

On all fours Amy began to make her way across the cold, damp basement floor. She realized the next best thing to do was to try to find her way back to the stairs and finish putting Bobby and Baby Carl to bed.

“They’re nice people,” Mum told me. “How do you know?” I asked her. “We just moved here two weeks ago!” Why did I have to take this babysitting job? Why did the lights go out? Why do I have to be clumsy? Why can’t my eyes adjust?

THUD.

Amy felt around and figured that she must have found the first step.

Joy! Finally! I can get out of here, put the brats to bed, and watch my movie!

Amy began her climb up the basement stairs. At one point, she tried to stand, felt for a banister to her right, but her arm felt nothing. No banister on these steps. Is that even legal? She felt around to her right and felt cold, hard stone mixed with something that must have been cement. She concluded this must be the wall and stayed close to it.

She quickly recalled that there must have been around eight – ten steps to the basement. This shouldn’t take too long. She felt around for the next step and with both hands and knees pressed herself up and continued in this fashion until she counted the ninth step. She breathed a sigh of relief.

I’d better stay on all fours to keep my balance. Here. This must be the tenth step. Oh, boy! The door must be…wait, another step, ok, I must’ve counted wrong; I’ll just keep climbing these stairs until I get to the door. 11. 12. How many steps are there? I could’ve have…13, 14…sworn there were only about 10.

15. 16.

Amy tried to feel around for the bottom of a door, but each time she did, she came upon another step.

17. 18. 19. 20.

Oh, this is crazy! How many…

STEP. 

What was that? Amy thought to herself. Unless her mind was playing tricks on her, which was likely as she over-analyzed everything, it sounded like a foot on the bottom step.

My mind. My mind…21, 22…playing tricks on me…23…there’s nothing…

STEP.

There it was again. By Amy’s guess they were on the second step.

“Bobby?” She quivered out loud. “Is that you?”

Silence.

A long period of silence.

“Bobby, if that’s you, say something.”

Silence.

Another long period of silence.

“Bobby, if this is your idea of a joke, I’m not laughing! This isn’t—“

STEP-STEP-STEP.

She now heard the footsteps in rapid succession.

These did not sound like the footsteps of a small child, even one playing a practical joke. A sick and cruel practical joke.

STEP.

Amy’s insides turned cold. She heard and felt herself breathing more heavily than before. The harder she tried to calm down, the more rapid her breathing became.

She needed to get out of that basement and upstairs RIGHT NOW!

STEP.

Oh, no! Where…24, 25.. where is that damn door?

STEP-STEP-STEP. 

On all fours Amy continued her climb…

STEP.

…until finally…she felt the bottom of the door. Amy quickly released a sigh of relief.

STEP.

With trembling hands, she felt her way…

STEP-STEP-STEP.

…up the door until she found the knob.

Locked.

As Amy’s breath quickened…

STEP.

…she began to hear…

STEP.

…something else.

STEP-STEP-STEP.

The footsteps were getting closer. She could feel them getting closer. She could feel each step echo in the pit of her stomach.

That was when she heard the scratching coming from the other side of the door.

STEP.

It’s the kids.

“Don’t worry, Bobby and Carl! I’m coming”

STEP.

Oh, my God, please! Why won’t this door open??

STEP-STEP-STEP.

Amy could feel someone breathing behind her, and made the entire of her back shrivel and cringe. She heard the Snickering behind her. Her skin shriveled and cringed.

That was when she heard banging – loud, repetitive banging – from the other side of the door. Amy shot back in response. She heard the Snickering again. She tried again to get the door open, but it wouldn’t budge.

“Don’t worry, Amy,” the Voice whispered slowly behind her, “the boys are alright.”

At the sound of the Voice, Amy lost her balance, let go of the door know and fell off the stairs to her right.

Screaming as she fell, she thought this would be the last thing she’d ever be doing.

That was when she landed on a hard, metallic surface. She felt as if all of her tensed muscles would break. Her momentum allowed her fall hard – back down on the cold, damp basement floor.

Trembling and quivering, Amy tried to assess her damages. She must have broken something, but she had no time or means to tend to her wounds. She felt dizzy and disoriented from her fall. As she tried to collect herself, her mind began again.

Where am I now? I need to get back to the stairs. Who was that behind me? How did he know my name? How am I sure it is a “he?”

Some part of Amy realized that the Voice sounded either like a man sounding like a woman, or a woman sounding like a man. Either way, she hated it. She hated it so much. If this were a practical joke, she’d never forgive those brats.

I’ll never forgive those bastards. I wish I were back in Algebra right now.  I wish I were at the movies seeing something funny. Something to make me laugh. Don’t cry, Amy. You’re being childish. You’re being a silly, little girl. But I want to cry. I want to cry so badly. So damn badly. I want out of the basement. I want out NOW! I want to be upstairs with the boys asleep, and I want to be watching my movie. I want to call my friends. I want to be with them right now. I want to call my Mum and tell her how much I hate her for forcing me to do this. It’s all her fault. It’s all her fault that I’m here. I want out. I want out RIGHT …

Through her tears, Amy could make out the Figure of a large person appear in the darkness. Amy inhaled a quick gasp.

I can’t speak. I can’t ask this…thing who they are and what they want? And what did I fall on? I hurt. I’m in pain. I think I cut myself.

The Figure just stood there, motionless, appearing to be staring in Amy’s direction. Amy realized that she probably would have been less scared had the Figure ran into the basement. Instead, it just moved into the space in front of her. And stared. It stared long and hard at Amy.

It was at this point when some light began to make its presence in the basement, largely due to the two small windows straight ahead near the ceiling. It was so dark outside. Had the windows been open, Amy might have heard the night sounds. Can she climb to the windows to escape? Can she get there with this Figure in the way?

With the small amount of light entering the basement, Amy could make out The Face. Sneering and snarling at her. Eyes piercing into her very soul. Amy released another gasp.

“Why are you so afraid, Amy?” the Figure demanded slowly and with a hushed sound. “You’ve hurt my feelings!” The Figure spoke in a slow, sinister, singsong manner. Amy hated it. She hated it so much. She tried to scream, but couldn’t.

Silence.

Another long period of silence.

As Amy was mustering up enough courage to ask the Figure something, it asked her, “Are you ready?”

The Figure then walked quickly past Amy, and Amy felt a small gust of wind as it did. If it weren’t for that, she probably would not have felt any air at all in that basement.

Amy heard a door open behind her.

Oh, my God! Oh, my God! Someone else is coming in!

“Just remember, Amy,” the Figure whispered in her direction, “this is OUR sport!”

SLAM!

She felt the door behind her slam shut.

She was left in empty darkness again.

Who else is here? Where did It go? Ready for what? What sport are you talking about?

As Amy began her crawl along the floor, she found it more and more difficult to remain calm. She began to have images in head about the boys.

She saw Bobby and Carl sleeping soundly in their room. Bobby in his bed, and Carl right next to him in his cradle.

Yes, yes, peaceful thoughts. Think happy thoughts. The boys are alright, and I am on my way back up there, and this whole thing will be over.

Amy’s vision added the Figure entering the room.

No! No, Amy! Stop! It is not in the room! The boys are safe!

Amy “saw” the Figure produce a chainsaw.

Amy, stop! Stop it RIGHT NOW!

She heard the chainsaw rip into action. She felt the rumbling of the chainsaw in the very pit of her stomach.

AMY, FOR GOD’S SAKE STOP!!

Amy saw the Figure raise the chainsaw and descend it upon the boys.

“STOOOOOP!” Amy screamed out loud.

Someone must have heard me. Someone has to be on their way. Bobby! Carl! Can you hear me?

“BOBBY! CARL!”

Nothing. Silence. She waited and hoped that one of the neighbors had heard her scream. They are on their way right now.

Amy “saw” the boys again.

Amy, please stop it! Please, oh, please don’t do this to yourself! The boys are alright! The boys are…

            In her mind she “saw” the boys sleeping soundly.

            She “saw” the Figure produce an axe.

            Amy! There’s no one up there! No one is harming the boys.

            A large axe.

            AMY, STOP IT!

            She “saw” the Figure raise the axe above its head. It swiftly lowered the axe toward the boys.

            “AMY! STOP! THE BOYS ARE ALRIGHT! THE BOYS ARE…”

            She “saw” the boys yet again.

            Oh, no!

            The worst thing, Amy realized to herself, if it weren’t for these visions, I wouldn’t be able to see anything at all!

            This time she could not see the Figure. All she could focus on were the boys’ faces looking at something. Their happy, smiling faces turned quickly into something else. They could see something that was frightening them. She saw it in their faces. She saw it in their eyes. They were trembling. They were both beginning to cry. They were both…

            THUD.

            Amy felt the bottom of the steps again and tried to sigh in relief, but she felt no relief. She wanted out. She needed to get out. She hadn’t even realized she was crawling along the floor all this tiem. She wanted to get to the boys. She needed to get to the boys.

            She thought she heard the sound of Bobby screeching from somewhere above her. Amy shuddered and tried desperately to hold back her tears. This was no ordinary scream. This was long. This was painful. This was the sound of something else. Something was happening to the boys.

            On all fours she began her ascend of the stairs as quickly as she could. She still could not recall that there were so many steps, but there was no time to count. There was no time to worry about that. She just needed to try the door again.

            To her shock, the door was slightly ajar.

            Now I think I can breathe a sigh of relief.

            Still battered and bruised, she pushed the door open and began her quest to the boys’ room.

            All of the lights in the house were still out, and all of the lights in the neighborhood were still out.   

            As she made her way through the house, she caught a glimpse of the front door.

            It was slightly ajar as well.

            Someone else broke into the house. Someone else made it into this house.

            Someone else is still in this house RIGHT NOW!

            No time to think about that. I have to find the boys.

            I hate my Mum. I can’t wait to see her again so I can tell her how much I hate her for getting me into this.

            Stop thinking about your mother right now. You will deal with her later. I need to find the boys!!

            Amy made it up the stairs and to the boys’ room.

            They were not there.

            There’s no time to search the house. They’re gone. I know it. It’s my fault. I’m a bad babysitter. I’m a bad person.

            Amy raced into the living room and picked up the phone and dialed 9-1-1.

            Answer! Please answer! What is taking you so…

            “Oh, help me! Please help, me!” Amy panicked into the receiver. As she was trying to explain her situation, she was interrupted.

            “I know where you are, you silly, little girl,” was the response on the other end of the phone.

            She knew that voice.

            It was the Voice.

            Amy tried to breathe but this time could not.  

            “You silly, little girl. The boys are downstairs. They’ve been downstairs in the basement all along!”

            OH MY GOD!! WHAT IS GOING ON??

            Before she hung up the phone, the Voice asked, “Are you ready?”

            Amy slammed down the phone and made it back to the basement stairs and back to the basement floor. She started yelling out,”BOBBY! CARL! WHERE ARE YOU? IT’S AMY! I’LL SAVE YOU! I’LL…”

            She felt the Hands on both of her shoulders. She had nothing left in her at this point. The Hands were surprisingly gentle on her shoulders, which upset her even more than had she been handled abruptly. The Hands were guiding her carefully backwards. Amy stumbled along, feeling too weak to fight back, until she felt her back against the wall.

            The Hands released.

            “Yes,” the Voice whispered, “she’s ready.”

            Ready?! Ready for what?! Please, oh, please let the lights come on! This was all one big practical joke. A sick and cruel practical joke.

            She found it impossible to breathe.

            The next thing Amy felt was a cold, sharp blade against her neck.

           

* * * * *

            Amy awoke suddeenly just as Bobby and Carl’s parents came home that hot summer night.

            It was a dream!! It was just some horrible nightmare!!

            The lights in the neighborhood were back on.  

            The boys were sleeping soundly in their beds.

 

Copyright 2006 Paul McCarthy & Scott C. Forrest-Allen

           

           

            

EVIL DEAD @ GHOST LIGHT THEATER

This pundit did not what to expect having never seen the movies but was put at ease during the opening number, complete with impressive portable car.

Kevin Tracy's sophisticated direction invites the audience to the party immediately. While the production will be scary-fun, we are informed that none of it is meant to be taken seriously. Yet, Tracy grounds the production with a sense of credibility permitting the subsequent camp to have places to go.

Joe Van Allen as Ash hams up the role perfectly with a blend of self-awareness and raw sexuality. Literally throwing himself into the part, he pulls off (if you'll pardon this expression) the demanding physicality effortlessly. As does Colin Allen as Scott who is equally paired with Van Allen. He knows how to control his character's over-the-top quirkiness while never going over-the-top.

Emily Eaton's charming portrayal of Shelly is refreshingly less stereotypical airhead and more sweetly innocent. Erin Fitzgerald is smooth and consistent as the grounded Linda. Samantha Hinds takes the role of Cheryl seriously which makes her interpretation so much fun. Her timing and delivery are appropriately hysterical.

The rest of the cast rounds out the ensemble with equal caliber.

Karen's Webb's costume design offers the audience a sense of time and place with color palates and individual styles matching the unique personalities. Her trees in the woods are a marvel to be seen.

Musical Director Eric Johnson succeeds at providing the right amount of spookiness and fun to the complex score.

Bartlett Doty and Tracy's set design is solid, as is the intricate lighting design by Tracy and Webster Marsh. The technical challenges are successfully met, especially the splatter factor, which is done with professional precision and ease.

Sarah Devine's choreography is fun to watch, and everyone looks like they're having a great time, in spite of the goings-on in the woods.

While this show may not be for everyone, if you dare visit The Shea Theater, you will have a ghostly good time!


http://ghostlightmass.org

KINKY BOOTS @ THE OPERA HOUSE

Broadway's Tony-winning hit parades into Boston with a high-spirited good time.

Based on a true story and movie of the same name, it is comforting to see that a friendship between a straight dude and a drag queen is becoming mainstream. This is due to the well-structured book and impressive set design, most notably in the fight sequence. The costumes and choreography are as bright and fun as a summer afternoon.

Lola is played with effortless confidence by Kyle Taylor Parker, and the handsome Steven Booth brings a sincere vulnerability to his character finding his own self-awareness.

Lindsay Nicole Chambers is the delightfully insecure Lauren who practically stops the show with her rendition of "The History of Wrong Guys."

Then we have the Tony- and Grammy-Award winning score by Cyndi Lauper, whose songs are refreshingly conservative but exuberant, balancing the show's effervescence. She can convey her messages effectively in one song rather than five of them and four reprises. Plus, she offers each character their own voice to their numbers. Charlie's songs cannot be sung by Lola, and his can not be sung by Lauren, and so on. Cyndi can raise the roof with "Sex Is In The Heel" but portray the pain behind the pumps in "Hold Me In Your Heart." The acoustic-driven "Take What You Got" is properly balanced by the piano-flavored "Not My Father's Son." She also has the ability to slip in some wordplay that almost goes unnoticed, such as "First Step" and "Soul of a Man." It is intended as a compliment to note that this is not a collection of Cyndi Lauper songs on stage. Cyndi has created an original Broadway Score.

The self-accepting message of the piece is clear but never feels redundant. It just is.

GO GO's GREATEST!

5. "Head Over Heels"

Back in 1984, the band announced that they would return with a harder sound. In today's terminology, they would be in danger of "jumping the shark," but the Go-Go's are smarter than that. They simply showcased what had been bubbling in them all along in this catchy, vibrant tune that was the lead single from their third release TALK SHOW. This song is definitely edgier, the guitars were razor-sharp, and it peaked at #11.

4. "Vacation"

The Go-Go's have never strayed from irony, and this first single from their sophomore album was proof. It has become an annual summer anthem, despite the fact it really has nothing to do with a traditional vacation. The "vacation" here is time away from a boyfriend. Set against a bouncy beat, Belinda Carlisle sings of regretting her decision, and this solid song peaked at #8 like its album.

3. "Our Lips Are Sealed"

As cliched as it sounds, here is the song that started it all. A perfect blend of pop and sass, the girls had announced their arrival. Writing their own material and playing their own instruments, they let us know that this girl band would not sing of broken hearts and waiting around for their handsome prince. They would be the ones doing the heart-breaking and would rock strong doing it. Belinda's vocals are perfectly feminine but with an edge. Although their debut single peaked at a humble #20, they still managed to kick down the door of the boys' club.

2. "Worlds Away"

Even though this overlooked gem is the antithesis of the band's hard-rocking exterior, we get a glimpse of what is underneath in this rare ballad. As the title suggests, this is a longing for a simpler, easier life which is more relevant now than ever. Instead of becoming a pity party, the girls keep their edge with concrete lyrics "slip into bed, the sheets are cold and smooth/my tension melts to a quiet warm." By the time the song reaches its crescendo, nothing is resolved, as in real life.

1. "We Got The Beat"

The second single from their debut album BEAUTY AND THE BEAT is less of a party song and more of an exclamation of their arrival. Peaking at #2, the song demonstrates the strengths of the band, including the complex guitar riffs, solid songwriting, Belinda's don't-mess-with-me Soprano, and Gina Shock, who can play the drums better than the best of them. The tune is rare in that it starts off strong but still manages to build until it reaches its delirious climax. Blended with an early 1980s pop and a 1960s sensibility, the girls prove that they still got it!

SATURDAY NIGHT FEVER @ NSMT

Director Richard Stafford understands that Saturday Night Fever is not a traditional book musical, and he knows how to balance the repressed daily lives of the characters with the dynamic dancing in the club.

His direction never hides the grit and turmoil of the era, making the contrasting disco moves that much more exuberant.

The entire ensemble is perfectly cast, especially  the smart and sexy Sam Wolf as Tony and the beautiful and clever Tessa Grady as Stephanie. Her accent never strays, even when singing!

Making a name for himself at the theatre, Nick Kenkel's choreography is nothing shy of dynamic. He recognizes that the dancers are there to both hide from their daily lives and to be noticed by everyone and anyone.

Haley Swindel as Candy, the singer in the club, has a gorgeous voice and legs to match. She is paired with Pat McRoberts with an equally impressive voice, and he is a fun DJ to watch.

The set is beautifully constructed, including the bridge that becomes another character - both significantly and symbolically - in the play.

When the lights come up on this incredible production, there is reason to dance!

nsmt.org

Random Thought 94

Stop watering things in your life that were not meant to grow.

- Mike Cutz Saki

Random Thought 93

The word "routine" contains the word "rut,"

and the world "challenge" contains the word "change."

Random Thought 92

When you come out the light,

the light might be the same,

but it will feel much brighter.

Random Thought 91

You can not change the way other people act and react.

You can only change the way you act and react,

and sometimes that means doing neither.

Random Thought 90

When you come out of the dark, the light might be the same,
but it will feel might brighter.

Top 10 Productions of 2014!

Good morning! Yes, it's that time again!

Now, when I began doing the countdown I deemed "repeat" performances ineligible which might or might not be fair.

However, proper credit shall be given to shows I see multiple times.

Having said that, let's begin!


HONORABLE MENTION #1
THE NUTCRACKER (Northeast Youth Ballet)

A staple in the community, it is a privilege to enjoy and grow up with this tradition in the various venues lucky enough to present it.

It is always a joy to see the guest artists and the local talent share their gifts as they tell the story of the magical, mysterious journey of Clara and her Nutcracker Prince.

That is the best aspect of the production is that director Denise Cecere knows how to tell the story. Beneath the consistently gorgeous costumes and magnificent dancing, there is an arc which is always told effortlessly and beautifully.

And how can we forget Mama Ginger who all but brings down the house in her own handmade Gingerbread house?

This pundit always looks forward to this production, and for many, many reasons!


HONORABLE MENTION #2
A CHRISTMAS CAROL (North Shore Music Theatre)

David Coffee never ceases to amaze me.

The anchor of this consistently pleasing production, Coffee knows how grab a hold of each and every one of us and bring his along on his journey.

David make Scrooge's redemption and beg for forgiveness come from someplace real.

The sets, lights, costumes, and music are all glorious, and David's flawless performance prove time and time again why this is a tradition to behold.


10. AVENUE Q. (Arts After Hours)

This is one professional production of a contemporary musical dealing with hard issues, but told so effortlessly.

The cast and crew bring to life the lovable characters of the local block and are so believable and relatable that we cannot help but be brought in.

In addition to the amazing set, the actors are sexy and vibrant but know how to make the tender moments sincere and thoughtful.

Knowing how to laugh at life's struggles while still finding your purpose is what it's all about!


9.  AS YOU LIKE IT (Shakespeare in the Pub)

Kudos to the Emerson College graduates for bringing us something new by presenting something of yore.

What a fun evening of frivolity as these talented actors re-create works of Shakespeare as they have been presented in the past - in a bar complete with audience participation, noisemakers, food, and drink.

Of course, none of this would mean anything if the production can't stand on its own, which of course it does. It is incredible to believe that the cast has but one full rehearsal prior to performance!

Theatre is being presented as we love it!


8. VENUS IN FUR (Huntington Theatre Company)

This sexy thriller by David Ives belongs to Andrea Syglowski, whose complex, multi-layered character is a marvel to watch unfold on stage.

As sophisticated as it is erotic, the blurred lines between reality and fantasy are as much fun as they are unsettling.

Rich in texture and depth, this production goes deep into one's dangerous psyche.

Audiences were wrapped up in this great production earlier this Spring.


7. MIDDLETOWN (Emerson Stage)

Sam Terry's profound disappointment at the collapse of his house of cards at the beginning of the play is a major draw into Will Eno's dark, deep exploration of humanity and loneliness.

J.Wylie Allen sets the scene with his introductory list of people which becomes progressively poignant and less random.

The cast and crew handle the difficult and mature script with sincerity and credibility.

One never knows when one is in the middle, but we know when we are experiencing an incredible thought-provoking performance.


6. PETER AND THE STARCATCHER (National Tour @ Providence Performing Arts Center)

It is easy to be hooked into a show when a piece of rope becomes a major character.

This whimsical yet intelligent script and production know how to create a perfect pace and avoid going out-of-control.

The backstory to Peter Pan is as exciting as it is insightful.

The small cast portrays multiple characters and flies off with superior entertainment.


5. NECESSARY MONSTERS (SpeakEasy Stage Company)

Every now and then a cute little show with a conventional nice outline breezes into town.

This isn't one of them.

John Kuntz's bold and dark, daring and brash look into the very depths of our souls bravely explores the monsters in all of us through various interlocking tales perfectly told out of order.

Even if we don't know what's going on in the show, one cannot help but to applaud the theatre company's necessity to present new and exciting, fresh and insightful productions.


4. CHICAGO (North Shore Music Theatre)

Director/Choreographer Nick Kenkel has created and re-created an incredibly sizzling, dazzling production that is both true to its original (revived) form but definitely stands on its own.

From the very beginning we are promised a sexy, electrifying night that does not falter at any point, especially in the choreography department.

The actors found original ways of making the unlikable characters likable and believable.

With so much potentially going against it, Kenkel has found many things going for it.


3. LES MISERABLES (North Shore Music Theatre)

Again, it is impressive to take a well-known piece and make it seem fresh and invigorating when expectations are high.

And delivered the goods they did recently this Fall with an intense-directed production that never let up nor felt overdone.

The vocal harmonies captured on stage are a gift to behold.

Les Miz has never been known for being a feel-good musical, but we felt great after experiencing this masterpiece of a production.


2. ONCE (Broadway in Boston)

Guy meets Girl, and they make beautiful music together.

This deceptively simple musical is simply beautiful, and it's nice to see a show stripped of glamor and glitz to focus on the story.

A great opportunity comes along once in a lifetime.

It is important to grab hold and hang on!


1. THE COLOR PURPLE (SpeakEasy Stage Company)

Only Paul Daigneault knows how to take an epic production and pare it down so the message and the music are even that much stronger!

The story of struggle and strife comes to vibrant life on stage with minimal cast but maximum results.

Celie's journey is proof that once one has gone through the worst, one can appreciate the best.

Because guess what Kids?

After all we've been through -- WE'RE STILL HERE!!

Nuncrackers @ Theatre Company of Saugus

This harmlessly fun series has always been deliciously innocuous. Director Becky Rush knows how to find the leverage in the material to anchor the show in true human emotions so that the humor comes from someplace real and the tender moments shine through while maintaining the evening's light atmosphere.

The talent on stage is second to none, and this is evident upon arrival. The cast members engage in conversation to the patrons in the cabaret-style setting to make us feel welcome and part of the show.

When performer Steve Russo isn't making us laugh non-stop during his cooking monologue, he is warming our hearts with his preceding ballad.

The women in the ensemble work extremely well together as evident by their spot-on harmonies. Their individual personalities and characters ( too many to mention at the risk of spoiler alerts ) are consistent and credible.

The children's ensemble brings additional joy to the show, especially with the impressive dancing during the ballet.

Audio enhancement for the puppet will make her number even stronger.

Making us laugh and smile until it hurts is a good thing. Doing it while reminding us what the season is all about is a true gift.


tcsaugus.org

A...My Name is Alice with the Wellesley Players

Director Celia Couture has created a wonderful evening with A...MY NAME IS ALICE, an empowering look at women.

The evening is off to a great start with the clever, colorful set that is as youthful as it is mature. The incredible ensemble of eight takes us through every step of a woman's life with vignettes both serious and hilarious and musical numbers that segue in and out of each other with ease and grace.

All of the songs are important statements of self-awareness, and musical director Art Finstein allows the talented chanteuses to deliver their messages with subtle charm. The band of musicians is rock solid.

Dance Captain Kelly Murphy has established fun, innovative movements that are impressively liberating in a black box.

The lone source of testosterone, David Kimmelman, blends in with this female counterparts. He provides perfect male images for them to work with.

This revue will make you laugh, and it will make you think. It might make you cry, and it might make you reflect.

It should also make you realize that "A" is for "appreciation."


http://www.wellesleyplayers.org

Random Thought 89

There is a difference between putting up with something and tolerating it.

Les Miserables @ NSMT

There are many reasons why Les Miserables has been resonating with its audiences since 1987, and Marc Robin's brilliantly intense direction reminds us why. He brings to life all of the guts and turmoils these characters endure, and we travel the journey with them and appreciate their resistance to give up. Never allowing the drama to overtake the story, Robin keeps the momentum going at a breathless pace.

All of the personalities are fully realized and richly developed; almost too many to mention. Will Ray's Jean Valjean is deep and complex, and his "Bring Him Home" is quietly devastating. Danny Rothman as Javert and his powerhouse of a voice light up "Stars" as never heard before. The vocal talents of Siri Howard (Cosette) and Daniella Dalla (Fantine) are as beautiful as the actresses are. Gary Troy and Tregoney Shephard as Monsieur Thenardier and Madam Thenardier do not play "Master of the House" for laughs, but this works as it further accents the tragedy of their situation. Fortunately, Gavin Swartz creates the perfect blend of spunk and childlike innocence to the role of Gavroche. Handsome Blak Stadnik anchors this world's confusion with his own self-conflicts, and his rendition of "Empty Chairs" along with some clever staging can break anyone.

The lighting design by Dan Efros is just about as spectacular as it gets. His complex patterns of spotlights and shadows create dramatic, emotional texture, and his somber moods are consistently thrilling.

Music Director Andrew Bryan knows how to bring forth some dazzling harmonies. His understanding of the score is evident from the very first note, and the vocals we hear are a gift.

The costumes (Kurt Alger) and scenic design (Bert Scott) complete this epic piece.

Les Miz has never been known for being a feel-good musical, but we can feel great after experiencing this masterpiece of a production.


www.nsmt.org  (978) 232-7200

Random Thought 88

People do not make mistakes on purpose, which is why they are called "mistakes."

Forgive.

Young Frankenstein @ Exit 7 Players

   

     Inside the intimate and beautiful Exit 7 Theatre in Ludlow MA, the company bringing to life an energetic and professional production of Young Frankenstein by Mel Brooks.

     Initially, one is impressed by the level of talent on stage, led by Ben Ashley as Dr. Frederick Frankenstein. It's a physically demanding role that Ashley accepts effortlessly. When he isn't offering us his many humorous facial reactions, he is dancing across the stage with both ease and comfort. He and Brian Freeman as Igor complement each other's comic timing quite well. Freeman provides emotional depth to his character, strengthening his physical comedy.

     Attractive Megan Hoy is also hilarious and comfortable with Inga's bawdy humor. The projections used in her "Roll In The Hay" number are clever and inventive. Projections can make or break a production, but those utilized in this performance are both subtle and effective. Becca Green-Van Horn's dry delivery as Frau Blucher continues the laughs. One comment -- when she plays the violin, please, let us hear sounds coming from it.

     Choreographers Alison Hackworth Forance and Stacy Ashley wow the audiences in "Transylvania Mania" and electrify the stage in "Puttin' On The Ritz," beginning with the Monster's shadow dance portrayed by the impressive Joshua Osborne. The non-stop precise tapping in "Ritz" is jaw dropping.

     Costumes by Karen Webb display impeccable attention to detail, specifically Frau's dark, angular dress vs. Inga's soft, flowing wear. Her consistent and appropriate color palates throughout the show do not go unnoticed.

     The sets are admirable with their working lights, gadgets, moving pieces, and steam. Kudos to the team for making the revolving bookcase work so well.

     Please note, however, that when one is on a gurney, he should wear briefs under his boxers.

     Extra applause is offered to the cast and crew for handling a difficult situation the night of this viewing. A medical emergency during intermission forced director Chris McKenzie Willenbrock to make a last-minute decision that resulted in forgoing one scene. The actors handled this change to the point where one wondered if this scene were ever in the show in the first place. One or two cast members arrived slightly late, but covered so it looked deliberate. Here's hoping a speedy recovery to the cast member!

     With a polished and professional production, Exit 7 makes sure that Young Frankenstein never gets old.


http://www.exit7players.org

Fleetwood Mac Top 10

10. PETER GREEN'S FLEETWOOD MAC (1968)

Here it is! This is the album that started it all and established the foundation for many more great things to come! The combination of Mick Fleetwood on drums and John McVie on bass is heard here for the first time, but the album belongs to founder Peter Green. Creator of the famous blues band, the down-and-dirty, raw-and-real songs are as enjoyable now as they were many years ago. Sharing lead vocals and songwriting credit is Jeremy Spencer. A perfect mix of covers and original material, it is fun listening to how it all began.

Standouts include "Shake Your Moneymaker" and "I Loved Another Woman."

9. TIME (1995)

There are some things that you need to know about this album. Bekka Bramlett replaces Stevie Nicks but does not attempt to imitate her. Dave Mason replaces Rick Vito and fits in quite nicely. You might remember or recognize his solo hit "We Just Disagree." 

Additionally, this album is not as bad as you think it will be. Nor is it as bad as you want it to be.

Anchored by some of Christine McVie's fresher, more honest work, she bookends her songs with a longing to to get away from the hectic pace of her then current life in "Hollywood (Some Other Kind of Town)" and her prophetic yearn to get away from it all in "All Over Again."

Bekka makes her contributions with her own style combining a powerhouse of a voice complemented by some tender lyrics in "Winds of Change" and "Dreamin' the Dream."

Billy Burnett continues to add fun country flavor to the mix with "Talkin' to My Heart." Dave demonstrates the harder side of FM with "Blow by Blow."

John McVie is still playing the bass better than the best of them!

Perhaps the biggest and most satisfying surprise is Mick Fleetwood's "These Strange Times," a poignant masterpiece that covers everything from missing the good old days, self-awareness, redemption, and Spirituality. It is a haunting and intense piece that closes the album, but one cannot help but be moved by his candor. 

Even though the group hit rocky terrain at the time of its release, it justifies that they have always and will always stand the test of time.

Standouts include "I Do" and "Sooner or Later."

8. TANGO IN THE NIGHT (1987)

If there were ever a Rumours II, it would have been Tango. The reason is because the band is able to capture the essence of the 1980s in their music while re-creating the alluring tension of its predecessor. The main songwriters are in top form, and they know how to open an album! We begin with Lindsey's "Big Love," Stevie's "Seven Wonders," and Christine's "Everywhere." All  songs scored well on the charts due to their pop sensibility and musical craftsmanship.

Lindsey explores balancing a quiet verse with an explosive chorus in the title track, a technique he will continue to have fun with in songs to come. "Little Lies" is truly one of Christine's best as she brings out the best in her band mates. Stevie is back again with the openly candid "When I See You Again." 

You can't disguise the talent in this quintet.

Standouts include "Isn't It Midnight" and "Mystified."

7. FUTURE GAMES (1971)

This is probably the mellowest of all Fleetwood Mac albums, and it can ease away your tension. Just give it a listen, and you will know. At the core is John and Mick per usual, and they are joined by Danny Kirwan who continues to contribute atmospheric melodies such as the opener "Woman of 1000 Years." 

Bob Welch makes his official appearance as a member of the Mac, exploring the world of the unknown, most notably in the title track. It is a haunting and melodic tune, and despite its length, goes by all too quickly.

Christine McVie also receives credit as officially being part of the band, although she has performed with them on prior releases. Her debut "Morning Rain" is indicative of her ethereal music complemented by that honey-coated voice of hers.

"What A Shame" is one of several impressive FM instrumentals, and is kind of an inside joke. Just over two minutes, the band recorded it for the record company who had claimed they would not release an album with only seven songs on it.

While the future of Fleetwood Mac would become uncertain, they always have fun playing games.

Standouts include "Sands of Time" and "Show Me A Smile."

6. BARE TREES (1972)

This is a beautiful collection of early 1970s soft rock that is anchored in the blues. With lush, melodic scores and distinctive, haunting melodies, the band hits the mark yet again.

"Some Kind Of Heaven" demonstrates the strength behind the group's instrumentals. 

It is easy to hear why "Spare Me A Little Of Your Love" has become one of Christine's early favorites. 

The big solo hit for Bob Welch "Sentimental Lady" is heard here for the first time, backed by Christine's vocals.

The title track and "Child of Mine" contain some of the group's stronger guitar riffs and the drive that their songs have.

"Thoughts On A Grey Day" is a sweet, tender way to close this thematically consistent album. 

Even though some of the songs might lean towards a pop flavor, Fleetwood Mac knows how to remain true to their roots.

Standouts include "The Ghost" and "Homeward Bound."

HONORABLE MENTION.

THE DANCE (1997)

Before I continue (and just for the record), please note that I am focusing on studio releases for my countdown. Regretfully, this will negate such recordings as live releases and compilations.

However,

when a live album is as stellar as THE DANCE, one does have to stand up and take notice. Billed less as "Greatest Hits Live," it is more "Old Meets New." The group is reunited and regrouped, and they are recharged and refreshed. Arguably, they have never sounded better.

All of at least most of the tension that had made them overwrought twenty years prior has been released, and there is a definite relaxed atmosphere. For the first time, they can re-play and re-imagine their songs and not worry about the drama behind them. Christine announces the "new twist on an old song" for the banjo-flavored "Say You Love Me." Stevie slows down the tempo to make "Landslide" more powerful and relevant. Even Lindsey gets to enjoy himself in "Big Love," pared down to but his guitar.

It is so much fun hearing the USC Trojan Marching Band in "Tusk" and "Don't Stop." No one will forget how the piano introduction strengthens the already powerful "Rhiannon."

This is the album that made the long overdue "Silver Springs" a household name and earned them a Grammy nomination for it. The song "The Chain" and the album itself were also nominated, proving they are a force to be reckoned with. The new material also fits naturally in their catalog.

Dance on!

Standouts include "Temporary One" and "Sweet Girl.

5. TUSK (1979)

Brave and bold, dark and daring. TUSK is everything that it should have been at the time,

but nothing the public was prepared for.

This album truly demonstrates the strength of the songwriting team and how well they work together. Lindsey's contributions are unique and personal such as "Not That Funny" and "I Know I'm Not Wrong." In addition to having fun with his guitar, he is experimenting with some funky percussion here. It shows that the group is not afraid to stray away from convention.

Stevie allows her intimate, emotional side to shine through with the candid ballads "Beautiful Child" and "Storms." The former showcases Christine's piano while the latter highlights Lindsey's guitar work, and both let us know how vulnerable Stevie can be.

With her blues background, Christine lets us know she can be feisty in "Think About Me" and produce album-oriented rock in "Over and Over," the opener. I have always found this quiet song a courageous choice to launch a double-album.

In addition to "Think," the albums' Top Ten singles include Stevie's classic "Sara," and Lindsey's classic "Tusk" complete with USC marching band. The album runs the spectrum of song styles, but that is why they succeed, over and over.

Standouts include "Angel," "Brown Eyes," and "Walk A Thin Line."

4. KILN HOUSE (1970)

When Peter Green hands the baton to Mick, John, Danny, and Jeremy, they know how run with it and work together. Still faithful to their roots, this is one of the more consistent albums as the songwriters know how to make their talents blend together nicely.

Danny contributes another winning instrumental with "Earl Gray." He also has fun writing with John and Mick to create the funky "Jewel-Eyed Judy."

Jeremy plays homage to the 1950's in "This is the Rock" and "One Together." His is a soothing voice that also harkens back to the days of yore.

And, yes, your ears deceive you not. That is the one and only Christine McVie receiving credit for her backing vocals and piano. This is clearly a good sign of great things to come. She is heard for the first time during the folksy "Station Man."

When you hear this collection, you will want to move in. 

Standouts include "Tell Me All The Things You Do" and "Hi Ho Silver."

3. THEN PLAY ON (1969)

Here is the album that officially launches Fleetwood Mac into a polished, stylized blues band with Peter, Danny, John, Mick, and Jeremy. They definitely find their groove here and have so much fun in the process.

Danny's mellow approach to soulful, thoughtful songs such as "Coming Your Way" and "When You Say" are perfectly balanced by Peter's harder edge. This can be found in "Rattlesnake Shake" and "Showbiz Blues," one of the most electric, spontaneous tracks on the album.

Instrumentals are still part of the band's strength, and the boys enjoy some inside humor with John's "Searching for Madge" and Mick's "Fighting for Madge."

The CD includes Peter Green's masterpiece "Oh Well" in all of its eight-minute glory. The first half is raw and raucous, and is counterbalanced by the latter portion with its lonely guitar and lonelier flute. Somehow it all works. The boys are in great form.

Standouts include ""Although the Sun is Shining" and "Before the Beginning."

2. FLEETWOOD MAC (1975)

If there were ever justification that endurance and perseverance pay off, it is in the revamped and re-energized line-up that is Fleetwood Mac in the mid 1970s. When Mick and John went looking for a new frontman/guitarist, they got more than he could have ever imagined.

With Lindsey Buckingham came Stevie Nicks. Both have proven to be powerful singers and songwriters that magically fit in with the rest of the gang. Lindsey can not only play a mean guitar, but his songwriting talents of the lonely "I'm So Afraid" and upbeat Monday Morning" both fold in quite nicely. 

I read somewhere that when asked to join the band, Stevie went out and purchased all of the previous FM recordings to see what she could bring to the party. Her symbolic songwriting and unique alto are perfect fits. You might have heard the non-stoppable "Rhiannon" once or twice on the radio, and her self-reflective acoustic "Landslide" is now more relevant and important than ever.

Staying true to the band's and her own original formula, Christine has the sweetly soft "Warm Ways" and the fun little ditty "Sugar Daddy." Hers was the first song to reach the Top 40 (#20 to be exact) with "Over My Head", and "Say You Love Me" (#11) is still a show-stopper. "Rhiannon" also peaked at #11 on the Billboard Singles Chart. The two diverse songwriting and vocal talents of Christine and Lindsey combine perfectly on the spunky "World Turning."

Turning the world is just the beginning.

Standouts include "Crystal," and "Blue Letter"

1. RUMOURS (1977)

It is hardly a secret that Rumours was born out of the internal turmoil within Fleetwood Mac. Although it is true that from suffering can come great art, the fact remains that the strength of this album relies on the indefatigable talents of the strong, independent artists that are Mick, John, Christine, Stevie, and Lindsey.

Ironically, this self-expression of anguish sounds upbeat and lively on some of the tracks, but that is how we work through it. Some listeners feel that the music has strayed from the band's original concept, but that is not entirely true.

Take Christine's "Oh Daddy" for example. In addition to being a melodically beautiful homage to Mick, musically it is reminiscent of the blues/folk sound they had created in the early part of the decade. Her gorgeous piano-driven "Songbird" reminds one of her famous ballads of yesterday. However, being the mature professional she is, Christine is hardly afraid to create contemporary classics such as "Don't Stop" (which reached #3 on the Billboard Singles Chart) and "You Make Loving Fun" (#9).

Lindsey continues the tradition of lead guitarist, and he more then demonstrates what he can do with the strings on "Second Hand News" and "Never Going Back Again." His explosive "Go Your Own Way" (#10) shows he can rock the house as well.

Fleetwood Mac has never been a stranger to singing about the unknown, and Stevie does it better than the best of them in the haunting "Gold Dust Woman" and the melancholy "Dreams" (#1). Her sunshine-inspired "I Don't Want To Know" offers what else she can do. This album is so good, that there wasn't any room for "Silver Springs," which appeared on the flip side to "Go Your Own Way."

Penned by all members, "The Chain" has become a symbol of Fleetwood Mac and their impressive longevity. Rumours has sold more than 19 million copies in the US according to the Recording Industry Association of America. 

What almost tore Fleetwood Mac apart only brought them closer together.

When the rain washes you clean, you'll know.

Standouts include "Second Hand News," "Dreams," "Never Going Back Again," "Don't Stop," "Songbird," "The Chain," "You Make Loving Fun," "I Don't Want To Know," "Oh Daddy," and "Gold Dust Woman."

Blondie's Top 10

For more information visit www.blondie.net


10. "The Tide Is High"
      (Autoamerican, 1980)
 
      At this point in the band's career, they have already proven that they could cover anything from punk to disco; from rock to ballads. Now it is time to explore Reggae with their low-key, accessible cover of The Paragons's 1967 classic penned by John Holt. What could have been a radical departure from their image only strengthens their musical integrity by including another style to the mix. The tune rode the wave to #1 as the lyrics suggest.

9. "X Offender"
    (Blondie, 1976)

     Blondie has never shied away from irony or controversy, and their naughty debut single establishes just that. The original title needed to be changed for better marketing, and the tune is a delicious combination of mid-1970s punk and 1950s flavor. Debbie sings of a dangerous love with unapologetic confidence. The band is having fun playing Gary Valentine's song, and it's a sure sign of things to come.

8. "Picture This"
    (Parallel Lines, 1978)

    Jimmy Destri's surreal but concrete approach to music is perfectly matched with Chris Stein's  pop/rock sensibility. Debbie Harry's dreamlike verses are balanced nicely with her wake up during the chorus. Becoming both a gentle and intense yearning for simple things like a "telephone number" or "freezing cold weather," this gem cements why its album became the breakthrough it is. It is both a UK hit and fan favorite in the US.

7. "In the Flesh"

    (Blondie, 1976)

     Leave it to Debbie to perform a love ballad with a sneer and make it work! The song is attitude ("Hands off this one sweetie/This boy is mine") meets candid emotion ("I couldn't resist you/I'm not deaf, dumb, and blind"). Debbie and Chris know how to make the title less provocative and more sensual. With quiet beauty and sensitivity this rare slow tune is both "warm and soft" and "close and hot."

6. "One Way or Another"

     (Parallel Lines, 1978)

     Frank Infante's razor-sharp guitar introduction sets the scene, and the song immediately kicks into full gear as Debbie sings with a purpose. Perhaps less singing and more biting is accurate. This tale of obsession has an intense momentum and drive that runs on all cylinders. Debbie deals with topics that female rock stars didn't deal with back in the day -- or today for that matter. She does so with such confidence and attitude that we know right away that it is she who is in control of the situation. A perfect, strong message for women (and men) everywhere. Watch out! She's gonna getcha!

5. "Dreaming"

     (Eat to the Beat, 1979)

     With its pump-and-go rhythm and Clem Burke rocking it on the drums, this is the perfect showcase why the group is a force to be reckoned with. Debbie can effortlessly handle the high notes and then gradually slide down the scale like nobody's business. Burke's intricate percussion solidifies his unique contribution to the band. The first single off their fourth album will continue their popularity. Part new wave and part pop, the song has a flow and ease as suggested by its title. 

4. "Maria"

     (No Exit, 1999)

     Blondie's triumphant comeback proves that not only are they current but they can remain true to their original sound. Jimmy Destri's imagery ("smooth as silk; cool as air"/"won't come in from the rain; she's oceans running down the drain") is his best work. Debbie's vocals are so fluid and seductive, especially when she opens up for the chorus. The band isn't afraid to suggest spirituality, and the results have been heard around the world. Literally. When fans hear this song, it is easy to go insane and out of your mind!

3. "Call Me"

     (American Gigolo Soundtrack, 1980)

     Debbie Harry and Giorgio Moroder's driving tune about, well, a man's certain profession propelled the band to #1. And with good reason. Debbie's intense lyrics are as intimate as they are seductive ("roll me in designer sheets/I'll never get enough"). There is also the right amount of urgency and loneliness ("call me any, anytime/call me for your lover's lover's alibi"). Moroder's crisp, crystal-clear production also assists in the single's success. It isn't any secret what this man does for a living, and it helped at the box office for AMERICAN GIGOLO starring Richard Gere. Nominated for a Grammy for Best Rock Performance by a Duo or Group with Vocals, the song remains one of Blondie's most impressive and long-lasting hits. 

2. "Rapture"

     (Autoamerican, 1980)

     Clearly, Blondie has never paid attention to the phrase "comfort zone," and we fans couldn't be happier. As a result, we have this deliciously dark but intriguingly adventurous opus introducing Mainstream America to the genre of Rap, a new style of music back in the day. Destroying all barriers and walls along the way, writing team Debbie Harry and Chris Stein offer us seductively unique lyrics ("toe to toe/dancing very close/body breathing/almost comatose") which are balanced by producer Mike Chapman's hauntingly sparse musicology. 

     After this introduction to the party, we segue to a most original epic consisting of a Man from Mars, cars, bars, and guitars. It was hardly familiar territory for Top 40 Radio in early 1981, but audiences have embraced "Rapture" all the way to #1. This second release from AUTOAMERICAN permits the impressively diverse Blondie to include "Rap" to their diversely impressive resume. Get up!

1. "Heart of Glass"

     (Parallel Lines, 1978)

     When producer Mike Chapman heard the original "Once I Had A Love" penned by Debbie Harry and Chris Stein, he promised the band that he would take the Reggae-flavored song and turn it into a masterpiece.

     Mission.

     Accomplished.

     From the fun and funky popcorn-like sounds in the introduction, to the cool iciness of the "oo-oo/oh-oh" refrain, "Heart of Glass" strikes gold on every note and every measure.

     Debbie sings of a fallen love with the right amount of distance and irony, and the honesty in the lyrics tells all. ("Once I had a love, and it was divine/soon found out, I was losing my mind/seemed like the real thing, but I was so blind/mucho-mistrust; love's gone behind") 

     Much of the credit goes to Clem Burke's precise percussion. His acute attention to detail justifies that he drums better than the best of them.

     The guitars and keyboards complement each other in such perfect harmony that it's as if they were born to play Disco. When the song hit #1 in the Spring of 1979, they didn't just join the club -- they showed everyone else how it is done. 

     The fourth single from their third album PARALLEL LINES took over the world (following "Picture This," "I'm Gonna Love You Too," and "Hanging on the Telephone"). It was well worth the wait. 

     "Heart of Glass" and the rest of Blondie's catalog demonstrate that their talent and endurance are parallel to none. 

I hope you enjoyed this countdown!

Random Thought 87

Taking a risk might set you up for disappointment.

Doing nothing guarantees it.

Random Thought 86

You can not change other people.
You can only change how you act and react.
Sometimes that means choosing not to act or react.
That's okay.

Random Thought 86

You might not find the solution,

but you will find an answer.

Random Thought 85

Borrow a book from the library.

Share your experience with the person who read it before and after you.

Random Thought 84

Think of a friend and what you respect about him/her.

Think of what this friend respects about you.

Random Thought 83

Whenever there is storm and drama --

Party!!

Random Thought 82

Borrow a book from the library.

Share your experience with the person who read it before and after you.

Random Thought 81

Listen to the mountains.