Archive for review

REVIEW: Rocky – The Musical

Posted in REVIEWS with tags , , , , , , , , , , , , on July 8, 2014 by erikball123

*NOTE: These are just a few thoughts from a theatre lover, not necessarily a theatre critic. 




After watching ROCKY-THE MUSICAL, I felt like I truly went 15 rounds with Apollo Creed. I was exhausted, tense, and a bit overwhelmed. Mostly in very good ways. Mostly.

But, I cannot express enough, that where this musical made unbelievable strides as a theatrical spectacle and as an offering of a beloved brand that millions love (Rocky is undoubtable the true underdog story of the ages) I cannot help but wonder if it would be less of a spectacle and more of an impactful wonder if it had been reworked for the stage as a simple play.

The story (as if you don’t know. If you haven’t seen the movie, shame on you. It’s a cinematic masterpiece as the making of the film was an underdog story in itself) finds Rocky Balboa, a beat-up, boxer with a heart of gold. We get a quick shot of who his is with the charming and fun “My Nose Ain’t Broken” in the close confines of his seedy apartment (complete with Cuff and Link his two turtles…who got their own bronx-cheer when introduced. Fun!)

He’s in love with pet store worker Adrienne who is Pauly’s (Rocky’s friend) sister. We find that she’s got a lot in common with her admirer (and Margo Seibert is wonderful as the shy Adrienne) but her ballad “Raining” is very heavy-handed for an exposition song. We don’t know her quite yet…and we have yet to see the quirky charm that is our hero’s love…before hearing a draggy lament about her strife. I don’t know…maybe I’m being too harsh…but I thought “okay, I get it” at least twice during the song.

Rocky is facing hard times, boxing for pennies, barely making ends meat and even acting as a part-time “ruffian,” collecting debts in a shady side-job. (Of course, he’s too good of a guy to actually break thumbs or rough people up.) What is brilliant about this iconic character is how Andy Karl brings him to life without giving us a Stallone impersonation. Many actors turn in stellar performances…but Karl is simply a genius as the down-and-out boxer.  Simple gesturing and unbelievably grounded attention to details throughout are engaging. You find yourself laughing when he laughs, breathing heavier when he runs, and you almost feels the blows he takes in every match. Rarely do I see such touching portrayals…and the fact that he didn’t get the Tony for the role is a crime. (If you struck ALL of the razzamatazz and the technical amusement park that is the set….more on that later….and left Andy Karl onstage all by himself….I would still pay full price.)

Back to the story. Close-up on Apollo Creed, the story’s immediate antagonist and the Heavyweight Boxing Champion. He’s a flashy and rich mover and shaker, who is just as much a promoter as he is an athlete. He doesn’t have a championship match for New Year’s Day because his opponent breaks his wrist in training. So, insert the Italian Stallion, who is perceived by Creed as the perfect “American Dream” promotion opportunity. Think of the publicity! Terence Archie (who plays Creed) is a stoic, chiseled bad guy. He’s as poised and scripted as a WWE wrestler and is so much fun to watch. His number “Patriotic” is fun. Too bad that this is truly his only musical vehicle in the show.

While Creed thinks about the theatrics of the boxing match….Rocky is busy trying to woo Adrianne, make “good” decisions, and train for this once in a lifetime opportunity. Of course we have grizzly Mickey, the curmudgeon boxing gym owner who winds up training Rocky…but this character never really gets a fair shot. TV and movie character actor, Dakin Matthews is SO GOOD in everything he does…but in this, I thought, “eh.” (And frankly….I a little upset that I didn’t hear my favorite Mikey line “you’re gonna eat lightning, and you’re gonna crap thunder!”) And his lone musical moment “In the Ring” is disinteresting and long.

Now lets talk about the technical wonder that is ROCKY. The Winter Garden Theatre has been turned into a playground of discovery, and at EVERY single turn of this show, we are wowed with giant, towering set pieces that fly-in, fly-out, transform before our eyes, and offer giant visuals that will remain with you for a long time. The boxing ring itself is flown in and out, tipped sideways and serves as a movie screen and provides breath-taking, symbolic subtext opportunities. The meat locker where Pauly works consists of rows of GIANT slabs of beef in a cooler that drop from the ceiling on giant meat hooks. So cool! It created an audible gasp from the audience.

The lighting design is unreal, and the projections are taken to an interactive level that is pure genius, and makes the iconic movie moments such as Rocky’s training montages or the Philadelphia Museum of Art moment come to life. Details like rain projected on the entire set, carefully digitally generated so as to look like it’s actually hitting the set pieces are WONDERFUL!


The second act is the real treat however. We eagerly anticipate the big fight…and when it comes time to deliver, the whole room transforms into a giant boxing arena. Ceiling monitors drop and the first 15 rows of the orchestra are redirected to the stage to sit in bleachers behind the ring which rumbles forward and covers the seating area to create a true “theatre in the round” ring-side experience. How they executed the change-over, complete with actors’ entrances, video commentary, and audience participation was something I enjoyed watching as it was choreographed as strategically as the fight scenes. Add some brilliant lighting nuances, and I tell you…I felt like I was at a boxing match. It was unreal.

Of course, the play, our hero and the audience “go the distance” and we all cheer in wild excitement as Rocky screams “ADRIANNE!” at the end of the fight.

You see…the show has the right formula and a willing and able (and I might even say EAGER) audience in waiting. They cast the right people…the spectacle is superb….it’s just the music. (And I hate to say it, because with music and lyrics by Lynn Ahrens and Stephen Flaherty, one might figure “how can you go wrong.”) I think the problem is the same problem I had with Spider-Man….it’s too ballad-y with not enough songs you can tap your toes to.

But, my question is this…should ROCKY be a musical you tap your toes to? I argue that without canceling out ANY of the special effects, technical hoopla and stellar performances, you could make this a theatrical PLAY that would garnish the same type of hype, in my opinion. (I still think WAR HORSE is one of the most amazing spectacles I’ve ever seen and they had musical elements…but I would argue it would suck as a musical.)

I hate to say it…because I love sparkly things….but perhaps the technical elements aren’t needed.

I liked this musical…a lot….but…..what if this story were told….as a beat-up, worn-down, underdog of a story…with underdog set elements…perhaps holding a mirror up to Balboa’s world?

Perhaps that’s why I’m struggling with this one….it’s a BRILLIANT “Rocky” story with a brilliant “Rocky” leading man….but it’s an APOLLO CREED-type of a musical.

Too gussied up.

rocky reviews


REVIEW: Heathers – The Musical

Posted in REVIEWS with tags , , , , , , , , , , , , , , , , on July 7, 2014 by erikball123

*NOTE: These are merely the thoughts of a theatre lover, not necessarily a theatre critic. 




Book, music and lyric authors Kevin Murphy and Laurence O’Keefe know how to write a musical following a tried and true formula. An opening number like “Beautiful” grabs you by the shirt collar and draws you it….and follow-up numbers like “Candy Store” firmly establishes our antagonists and offers a kick of dark comedy. By the unbelievably catchy “Dead Girl Walking”, halfway through Act One, I found myself thinking…..”CRAP! I think this is a musical I’m going to really like.” Which is weird, because before I even walked into the theatre, I was mulling through my mixed emotions about this late 80’s cult movie turned musical.

HEATHERS, (which is widely recognized as Hollywood vehicles for then-freshman Christian Slater and Wynona Ryder) seems to be perfect fodder for a stage adaption. It offers murder, bullying, love, lust, danger and high school stereotypes, cliques and strife….not necessarily in that order. HEATHERS in the end left me thinking “well…it’s not a PERFECT musical, but it’s not a bad musical either.” I found myself whistling a song in the taxi on the ride back…that speaks to its likability. They’re doing something right.

It’s 1989 and we’re blinded at first glance with the neon world of Veronica Sawyer (played this evening by Charissa Hogeland…a first-rate performer in her own right) who’s life is ritualistic in that it sucks pretty bad. Her and her only friend, Martha “Dumptruck” Dunnstock (another brilliant performer Katie Lander) are routinely picked on, humiliated and for the most part treated as nonentities by the elite, the popular and the more athletic. You know, typical high school stuff. We meet “the Heathers” a waxy trio of Barbie-doll like, big-banged divas who rule the school. (The parallels to the popular Lindsay Lohan MEAN GIRLS movie are uncanny. But remember, HEATHERS came first!) Of course they are terrible to Veronica until she saves them from detention by forging a hall pass launching herself into the Heathers’ world as their handy resource. (Like some sort of dressed-up, decked-out human Trapper Keeper.) She’s all too willing to oblige as she is now respected. Of course her friendship to Martha suffers, because while Veronica dresses up nicely, everyone is always mean to the fat girl.

Enter J.D., played by Christian Slater look-alike Dave Thomas Brown. He’s the black trench coat-wearing, hair-tossing hunk of a bad boy that wrestles with authority, breaks the rules, quotes controversial novels and everything else ideal dreamboats do. Veronica and J.D. wind up together (including a fully-clothed but suggestive sex scene, I’m reminded of Avenue Q. Why?) and seem to be poised to answer each other’s life questions. The problem is Veronica has stepped in to defend the loveable but naive Martha one too many times and now socially banished by the Heathers and nearly everyone in school. What does one do in a black musical comedy when they are wronged? That’s right….kill the accuser. Rather predictable, but we are then turned on our heels when the now-dead Heather soliloquies over the shoulder of Veronica as she forges her suicide note. (A clever devise…and good fun. But, much like the “Dear Diary” narration in the beginning of Act One…is quickly disregarded when the plot device is inconvenient and becomes the show’s “wallpaper”…it’s there in the background…but does anyone really care about wallpaper?)


At the risk of giving too much away…let’s just say that the plot thickens and becomes more and more dangerous. J.D. slow-burns into a complete enigma and we wonder at the turning point who is the real villain here. We have a new enemy as one of the remaining Heathers steps up to don the “lead Heather” position of authority (by putting on the infamous red scrunchy….a prop that was terribly ill-used, in my opinion. I know it is a staple of the movie…but the authors could have given it more significance or it’s own moment / song…make it a magical scrunchy, or something….but it serves as a mere after thought and doesn’t carry any gravity).

Iconic lines are delivered (and in some cases given their own musical numbers…”My Dead Gay Son” squeezed every drop of funny you could possibly imagine out of a single one-liner) and we reach a cross-roads when J.D. proves to be way more dangerous that Veronica ever imagines.

We watch Veronica struggle with wanting to be good and do what’s right as she discovers that it’s not necessarily the individual that makes a situation “bad”…and by eliminating that “bad” person…one only creates another “bad” situation. Not a “bad” message, actually. But the problem is the show kinda holds us hostage in the second act when the forward momentum should propel us into even further madness, requiring us to demand a sane outcome (much like Veronica.) Unfortunately…and allow me to point out the problem, like every good bully should….the second act is a veritable see-saw of unbelievable poignant moments (like cheerleader Heather’s “Lifeboat” ballad…one of the highlights of the entire show) and big idea moments like secondary character Ms. Fleming’s flashlight clad dance number “Shine a Light” which is very catchy…but completely out of place and leaves you wondering “what was that all about?” (Who really cares about Ms. Fleming? Leave her as a device.)

The momentum of the second act made me tired…as we hiccuped our way to the final moments. The finale seemed to be well-received by the audience…but I still challenge patrons to consider that it seems a tad unlikely that people “return” after being shot and fall to the ground seemingly dead (ala every corny horror movie)….Martha’s failed suicide attempt and follow-up appearance on a motorized hospital scooter garnishes the absolute wrong reaction to this very likable and tortured character…..and am I REALLY supposed to be believe the final bad-girl Heather has turned-around completely simply because it’s the end of the show and she turns to an awkward ensemble member and smiles? Too convenient. (I had the same reaction after Hairspray. Really? The VonTussels are good guys now? Please.) Everything seems rushed, which is too bad, because the ballad-y closing number, “Seventeen” is quite good. (Although the improvised, super long-winded post curtain call dance party onstage was nothing short of awkward. I just stood there, like an out-of-place high school stereotype at a popular girl’s party.

The show wreaks of LEGALLY BLONDE influences and the costuming, while simple and effective (there are hardly ANY costume changes…they wear the same thing the whole show…but we buy into it) is completely ripped off from the movie CLUELESS. The unit set is minimal (and a smart choice) and while the choreography is perfect for each moment….it certainly wasn’t the cleanest dancing I’ve seen. (Someone behind me actually said “you can tell it’s an Off-Broadway show. Ouch.)

In pontificating about the show, my wife said to me, “yeah…but you haven’t seen the movie. If you had, it would make more sense.” But I see that as yet another problem of the stage adaption…you shouldn’t HAVE to see the movie in order to “buy into” every choice. Theatrical momentum should be presented so as to serve the story on its own.

Overall…I enjoyed it. I’ll get the soundtrack. I do predict, however, that one-by-one theatre patrons will start to die off…and pretty soon the show will close. I do think however, it’ll be reborn again and have a brilliant and much sought-after amateur theatre afterlife.

heathers rating

REVIEW: A Gentleman’s Guide to Love and Murder

Posted in REVIEWS with tags , , , , , , , , , , , on July 7, 2014 by erikball123

*NOTE: These are merely thoughts by a theatre lover, not necessarily a theatre critic.




The perfect poison? Add three ounces of THE DROWSY CHAPERONE’S style/grace and two dashes of Andrew Lloyd Webber’s BY JEEVES…shake rigorously until laughing and then add dynamic character actor Jefferson Mays and a whirlwind of costume changes, cheeky sight gags and a story that could be a castaway from a “write your own British murder mystery” contest…and you have one of the most entertaining musicals in a long time: A GENTLEMAN’S GUIDE TO LOVE AND MURDER. And it’s potent.

It’s sad that so many musicals are considered “unknown.” Take gems like 25TH ANNUAL PUTNAM COUNTY SPELLING BEE or the wickedly clever play THE EXPLORER’S CLUB at the Manhattan Theatre Club, that are both very successful and yet aren’t considered proverbial powerhouses in their own right. Shame.

It’s 1909 and we find Lord Montague D’Ysquith Navarro, (a wide-eyed and perfected Bryce Pinkham, who is romantic, perky, and a right stinker! Wonderful portrayal) in prison writing his memoirs, a confession really about the murders he’s recently committed, eight in fact, all his relatives and heirs to become the next Earl of Highhurst. The stage upon a stage (a clever and altogether beautiful esthetic, I took notes for future reference….the devil is in the details!) then unmasks his flashback to when he first discovered his life’s turn-around point at the death of his mother. His D’Ysquith bloodline will surely advance his social and financial status enough to capture the heart of Miss Sibella Halward, surely.  But, as so many musical comedies flesh out, we find a torrid journey ahead of us and a twisted plot as Navarro executes a plan to one-by-one eliminate the descendants, some by “accident” and some with cunning villainy. All with many laughs.

There’s a fall from a dreadful high place, a swarm of bees, a decapitation via barbell, a heart-attack, a poisoning, and one is thought to be eaten by cannibals. All before intermission. We shouldn’t be surprised, the ensemble (in a comedic nod to perhaps Sweeney Todd) warned us that this tale is grim and if we are weak of heart…we should leave. We were warned! The second act begins with a marked suspicion that Navarro is up to something. Without giving away details…I will just say that I fought to try and decide WHO I wanted to root for in Act Two. (Reserving a small part of my rascal of a heart for Navarro…who was SO charming.)


Of course we flesh out a love triangle, and throughout we meet a menagerie of colorful and sometime caricature-like personalities….lots of musicals have that. That’s not what’s compelling about GENTLEMAN’S GUIDE. What is unlike any murder-mystery comedy I’ve see is simply: Jefferson Mays (who plays all of the D’Ysquith family members, and offers moments with lightning fast costume changes. Surely, there HAD to be doubling…wasn’t there?) It’s part comedy of errors and part magic show. It’s all wonderful! Mays is a captain of this vessel and his and Pinkham’s timing (with all the quirks that make British aristocrats so much fun to impersonate!) are spot on. There was one time that I laughed out loud (one of those annoying “explosion guffaws” that you absolutely hate when people set free) at a time that no one else laughed…and Pinkham was simply reacting to something. It was so funny though! I couldn’t help it. My apologies to the lady sitting in front of me who I scared. (Which, of course elicited even more laughter which I fought hard to suppress.) It’s one of those types of shows….you find what YOU want to find funny…and there is a whirlwind of “funny” to choose from.

Standout numbers include “I Don’t Understand the Poor”, the extraordinarily insinuative “Better With a Man” and “Looking Down the Barrel of a Gun” and the accompanying spit takes…which the afore-mentioned THE DROWSY CHAPERONE taught us, is always necessary. (Who says musical plot devices aren’t direct descendants of other musicals?)

The comedy is thoughtfully writing with an old-world Agatha Christie charm and an Importance of Being Earnest flare…it makes you pine to be born in that era so in which you didn’t feel so unsophisticated. I drank tea when I got back to my hotel room.

I can see why Tony voters liked this show so much. It’s a relaxing break from the eye-popping mega musicals and teeters on the cusp of Monty Python-like foolishness and laugh-out-loud situational comedy, wrapped tightly in a very very talented ensemble. (Special pops to Eddie Korbich, who is brilliant in EVERYTHING he does.) The show is kinda in a school of it’s own, as it cannot be defined as anything you’ve every seen. The book is well-written and often wafer-thin, so as to see right through it which is well-received at every turn. (Just so long as we’re in on the joke and we KNOW that’s a false mustache on Mays’ lips…then we’re okay.)

The show cannot be truly defined as a murder MYSTERY, as we see nearly every plot device and subtext nuance drop dead before our eyes. There’s nothing mysterious about it. Yet, we root for the heavy veil of plot (woven in dramatic irony) to drop at the characters feet. And when it does…often as a result of Mays unbelievable changing-in and changing-out of characters….we applaud. (And I applaud those backstage changers as well.) The show is matter-of-fact, tongue-in-cheek, and slap-stick all at the same time…and yet I feel somewhat refined after having watched it. It’s weird.

Overall…if you pine to see a killer musical…one with every ingredient that it takes to offer a fun and certainly unique story (with surprises in the ending as well!) then purchase your tickets now. Orchestra…not balcony. The Walter Kerr Theatre has very little leg room in the balcony. My left leg was as dead as Reverend Lord Ezekial D’Ysquith halfway through Act One.

gentlemen's review




CABARET – A Review

Posted in Uncategorized with tags , , , , , , , , , , , , , , , on July 6, 2014 by erikball123

*A humble review from a theatre-lover, not necessarily a theatre-reviewer. 

CABARET – Roundabout Theatre Company – STUDIO 54 


Cabaret first appeared on the Broadway stage in 1967 and solidified Joel Grey as a mega-star on Broadway and many remember the 1972 film version, again starring Grey and Liza Minelli. Several revivals (both in the West End and on Broadway), six in total, have been presented since then…and I must say it remains a musical I widely took for granted. The clicky and grungy Kander and Ebb tunes in the show have always served as resources for other avenues in my theatre walk. (Audition pieces, opening numbers, stand-alone offerings.) I was thrilled to finally see the show at Studio 54, with none other than Alan Cummings (who also won a Tony for the role, and who some say is the definitive Emcee) at the helm. Unfortunately we did not see Michelle Williams play Sally Bowles this evening, but let me say upfront, the understudy Andrea Goss was as bold as a shot of Gin, and as fragile as a mouse. She’s a headliner…not an understudy.

Allow me to set the stage…the atmosphere is intimate, and a grey stage with an extended thrust juts out surrounded by tiny dining tables. A swarm of small red lamps accompany the seating all the way to the back of the house. We see exposed fly rigging on one side…a lump of wooded chairs haphazardly (or maybe hastily) stacked in the side stage right…and above the stage hangs a giant, tarnished frame that leans to one side, like some awkward watch dog tilting it head, hearing something in the distance. All avenues are adorned with old-school marquee lights…some working, some broken. Actors, musicians (or are they riff-raff that wandered in from the alley?) mill around the room and stretch onstage…or warm up their instruments. I especially liked watching the efforts of one boy who gestured and beckoned to someone from the balcony…all efforts were thwarted, of course…but it was fun to watch him never give up, up to the start of the show.

cabaret set

And what a start. If you’ve never heard the opening number, “Wilkommen” then you are not, nor you should consider yourself to be a “theatre person.” It’s a staple of musical theatre and I was sitting theatre church, pew # 204 in Row EE, and it was the gospel according to the Emcee, Alan Cumming, a magician, whose simple thrusts and cozy jaunt is like watching a friend onstage. He’s so bloody comfortable and poised…always joking and winking, and hiding that mischievous smile that says “I’m the keeper of all things Dramatically Ironic!” He captains this vessel….and steers us, nose-first into a world that we’re uncomfortable with, but desperate to know more about. You feel naughty for laughing at parts, and even more interestingly, you find yourself relating to nearly every curiosity and devilish tactic our host present. The Emcee can been seen in nooks and crannies of the set at every turn, watching with us, the series unfold. His Scooby-Doo disguises as German soldiers and can-can girls are expected and noticeable, not quite the magic trick I think they were going for, but I don’t care. It makes him even more fun…and we listen to every single word he offers….why? Because he never abandons us. He’s our safe place. He’s so influential that if I met Cummings, after the show, on the street and he said “hey you…take this briefcase to Paris for me”….I would.

This story offers us Cliff Bradshaw, an American writer (and somewhat currently-blocked novelist) Cliff Bradshaw, as he checks into a Berlin boarding house and checks out Sally Bowles, “the toast of Mayfair” at a nearby and seedy Cabaret. This is a doomed relationship from the very beginning, but something about the hope and cigarette smoke that lingers in the air offers us an air of mystery, and I find myself magically encouraged to hang on, to see if the illusion of true commitment and formidable buried self-worth will even see the light of day. Through the intimate setting and the up-close dynamics of this gritty world, we see glimpses of the new dawn…the light….but at every turn, we’re kept lingering in the shadows, a voyeur, trapped behind a red, tasseled lamp shade, never able to offer any answers.

That’s the finesse of Cabaret and the reason why Studio 54 is the perfect place for this musical. It makes you part of the action by immersing you into the world. You can see their hearts…hear the clothing rustle…and smell the sweat. (And I was with the poor people in the Mezzanine.)

There is a sub-plot involving a wealthy and elderly Jewish fruit market owner Herr Schultz and the keeper of the rooms, German Fraulein Schneider. (Both Linda Emond and Danny Burstein….especially Burstein, were brilliant and nostalgic, like warm tea.) My wife made fun of me, because even during their romantic and “awww” worthy exchanges / duets, she noticed me checking out a player stage left, pulling the ropes of the never-practical fly rigging, bringing the mirror-ball and “romantic air” out of the scene at the end of the number. That’s what is so special about the show…the attention to detail. The crotch grabs and the nipple rubs are silly and stupid…but part of the moment….it’s the soft lighting that shows the ensemble member wiping their brow….or the strategic placement of Cliff in the audience during a scene that uncomfortably traps several audience members who now have to see things through his eyes…’s genius. They don’t even give you playbills at the beginning of the show. They don’t want people rustling through pages. (Which is actually compelling to see an audience HAVE to talk to each other during pre-show!)

I also need to speak on the orchestra…who we all know is also “beautiful!” They are…in sound and sight…and here’s the thing, I know that I’m going to catch grief for this…but it needs to be said. In my travels (and through my experience only) I need to ask musicians who desire to work in the theatre to take note…when a musician dons a character and tells a story through the accompaniment or underscoring…it uplifts the play. When you acknowledge them as characters, or part of the action of the scene….then they are characters. But, I would argue, that the two should ALWAYS be the same. (Whether they are shirtless on Broadway in the Kit Kat Club….or in the darkened orchestra pit, below a stage.) Often times in amateur theatre, the musical accompaniment is offered in a perfunctory way….rote playing what is on the sheet. There is rarely an attention to draw them into the play. And I’m not saying costume them up and put them onstage with the same burdens as the actors. Rather, require of them the same FINESE that the demands of the show require. Broadway employs professional musicians who LIVE and BREATHE their music….their stake is JUST AS REAL as the storytellers onstage. Cabaret was an impressive example of musicians fighting desperately to ensure the era, the desperation and the hope of these characters are absorbed at every turn. Bravo.

Few shows render me quiet. Cab rides are usually filled with endless gibber and / or gabber about how cool the set design was or how that one actor was handed a prop by another in a split-second and “did you see that!!” This show’s forward momentum, bleak but perfectly tempo’d second act…and final moment (which was both clever and shocking) forced me into silence. (Which was the goal, I think.) The management of still-relevant topics like self-worth, tolerance, inner beauty, expression mixed with a history lesson of the rise of the Nazi party as told through a fish-net, thigh-high stocking is the conflict of the show. You want to laugh AND cry….you want to feel sexy AND wronged….you want to let loose AND hide. It’s captivating.

I hear the show is extended through January of next year. Get out and see it, if you can. In this day and age of processed food and too-social social media…allow yourself passage to the Kit Kat Club, where “there are no troubles” and “life is beautiful.”

cabaret rating


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