LIFE IS NOT ALL FUN AND GAMES. A DAY FOR GRACE DEMONSTRATES JUST HOW MUCH AT THE STAGE LEFT STUDIO, 9-13-12

Sam Llanas (left) and Doug Vincent (right); co-performers of A Day For Grace. Photo by Matthew Staver

AUTHOR’S NOTE:  The themes and language contained in the following play review are best suited towards a mature audience.  We at BouleBlog strongly suggest that readers under the age of 16 please consult your parents or guardian adults regarding the content and if it is proper for the viewing of minors in the household.  Thank you.

We are spreading our wings here at BouleBlog.  This is our first play review!!!  I can hear the nay-sayers now…  “What does he know about plays?  He’s JUST a musician…”  Yeah, just a musician.  The first flaw in that thinking is, I have spent some (academic) time doing theater.  So I can actually speak some of the lingo, blocking, direction, lighting, cues, etc.  Annette Palutis, you should be proud…

From the pre-show buzz, this promises to be interesting.  The basics of the story are, it is about the son of an alcoholic who is expecting the birth of his first child.  Touchy subject, alcoholism.  It hits close to home.  My best thing to ever happen to me did not see her mother for the last 18 years of her mom’s life as her mother preferred drinking over the company of the woman who was ostensibly her only surviving child.  My best thing has issues with abandonment.  This may be out-of-line, but part of the reason I separated from the syndication was to get down in the trenches.  If getting in those trenches means telling the story of my best thing and how she, as a five year old girl, watched her father suffer a cerebral hemorrhage and drop in front of her eyes only a to die a few days later, so be it.

My personal experience with alcoholism brings me back to the last time I saw my father in the house I grew up in New Jersey.  Ah, fond memories of Muzz (that’s what we called him, not dad, not father, but a nickname given to him by his friends because of his stylish upper lip warmer) gripping me by the collar of my shirt on either side of my neck, slamming me against the double door refrigerator DEMANDING that I tell him I loved him.

I can assure you I didn’t.

But as most victims of alcohol abuse can tell you, I did what was demanded of me (self preservation).  I saw my father once more before alcohol consumption took him at age 55.  At my brother’s wedding.  My brother’s wife was smart, she saw him going down the same road, so she left him!  My brother would drown shortly later in an alcohol-related boating accident.  So I am not unfamiliar with the irreversible damage alcohol abuse can do.

But A Day For Grace is also a comedy!  Huh???

I must also point out the obvious…  As you can see there is only one picture with this review.  The standard issue press photo of Mr. Sam Llanas and playwright Doug Vincent.  Another reason this play is being reviewed by ‘just a musician’ is that Vincent’s words are being skillfully augmented by Llanas’ music.  The Stage Left Theater is intimate, VERY intimate.  To the point where Vincent and Llanas can perform purely, naturally without ANY microphones needed.  Llanas’ guitar is amplified, but only as reinforcement.  If there were no additional amplification, it may not have made a noticeable difference.  Llanas’ Taylor acoustic projected well, they aren’t top of the line for no reason (sorry, I think Martin guitars are over-priced and underrated, but Taylors can be pricey as well, oops!  There goes that ‘just a musician’ mindset again…).

But it’s show time!!!

Llanas begins the show with a solo, mournful introduction to the Absinthe (solo project) album A Good Day To Die.  I find myself drawn to this song, the title, the minor chord arrangements, all solid!  At this point, Vincent joins Llanas who deflects the attention from himself, by sitting down as Vincent explains the situation.  The here and now situation is that he, his daughter and his wife are on their way to attend the Boulder Creek Festival for a day outdoors.  His daughter vetoes the day’s plans in favor of a near-by abandoned soccer field in which they play a game of ‘giggle-sprint’, where Grace (Vincent’s daughter, once again, I am Captain Obvious) will run back-and-forth from parent to parent, giggling and laughing all the way.  It is all sweetness and light until Vincent’s father haunts him.

Vincent, in his playwright mode, ingeniously layers a story, with a memory within a memory.  So whenever Vincent refers to, or portrays his father, he will lower his voice and add a gruff texture, occasionally wearing a yellow and green tractor manufacturer’s hat to further aid in the personification.

Llanas joins in and punctuates the story of Vincent’s father pulling one of his classic campfire story pranks in which he would regale the kids with the story of a witch who makes people disappear, and then hides and scares the kids into taking refuge in dad’s pickup truck, only to leap out and scare the kids silly.

At this point, Vincent layers yet another aspect into the overall scheme of things.  He brings us a little bit further into the past/future: His wife Jessica is expecting their child Grace.  So we have to start keeping score, we have the here and now, in a field near the Boulder Creek Festival, then we have various points throughout the family history with dad, mom, his sister and (as his father would refer to Vincent) “Pal”, then the significant point in his new family’s history, the birth process of Grace.

Got that?

Vincent recalls feeling guilt over soiling his bride with the evil progeny that is his sperm.  Vincent calls himself all sorts of not nice names, perhaps the most terror-evoking name is a combination of two of Vincent’s most feared nemesis:  Dick Cheney + Adolph Hitler = Dick Hitler!!!  Hilarious, but Vincent returns to the sincere as he expresses his fear of being a parent.

Llanas, brilliant as ever, interjects with the Absinthe song “A Little Bit Of Hell” from A Good Day To Die, repeating the line ‘A little bit, a little bit, a little bit of hell…”.  I will take this opportunity to explain another amazing aspect of this collaboration:  The audience is not aware that the songs contributed by Llanas were, for the most part, all written well before the completion of the script of the play!  Vincent admits that he felt the play as a whole was complete, yet certain aspects presented themselves after the completion of draft one.  Vincent confesses to being a long-time BoDeans fan, yet, he felt more of a connection with co-founding member Kurt Neumann, as though every time Vincent would see the BoDeans live, Neumann would catch his eye, fix his gaze on Vincent.  So through a series of circumstances, he was presented with an opportunity to work with Llanas who not only had the plethora of BoDeans music to draw from, he also had a solo catalog including the Absinthe project and the brilliant 4A.M. disc.  But rather than the standard songwriter writes music around the plot procedure, Vincent took the alternate route of saying, “Oh man, this song really fits the concept, the theme of the scene” and the most input Vincent may have provided was to tell Llanas to change a line here and there, and there is an unreleased song called “Hey John”, which for all we know may have been written specifically for this play.  Vincent has admitted that Llanas has even inserted the name “Grace” into one of his previous compositions to make it a more appropriate fit for the play.

To the average audient, none of this is apparent.  Llanas’ songwriting fits into the concept of this performance so well, the fourteen-year time lapse from the time most of the songs were written until the time the play first premiered seems like weeks.  The music remains fresh to the concept.

On stage, Vincent tries to backpedal against his previous confession of being “Dick Hitler”.  To his credit, he details his college life and his subsequent career of working with both mentally and physically handicapped people.

That, too, hits home.

Llanas sings “Child Asleep” from the Joey’s Song Vol. 2 album from 2012.  Not knowing when this was composed, it is another remarkable feat in that if this was composed in 2012, it was integrated into the show, again, with marvelous cohesiveness.

We time-travel to when Vincent takes one of his female mentally challenged protégés to a dance and they disco-dance the night away.  So descriptive one can hear the calls of ‘ooo-eee, ooo-eee’.  The reality is, he holds her in his arms as he does all the dancing.  Another protégé, Ed, loves candy.  Don’t we all?  But when Vincent portrays the characters with disabilities, he does so in a manner that conveys the disability without making fun of it.

Noble and again, close to home.  Llanas reprises “Child Asleep”.

Vincent describes another protégé camper, Rusty, who is scarred from being burned by his abusive mother’s cigarette lighter.  Vincent wants Rusty to give him the OK and Vincent would gladly deliver to Rusty’s mother a taste of her own medicine.  Where was someone like Vincent when my father was slamming me against a fridge, when kids were teasing me about being born with a cleft lip and palate, when my mother was psychologically abusing me?  Doug Vincent is my new hero…

Heroically, Vincent recalls the story of Kevin, someone Vincent has a true affinity for, even though Kevin takes his frustrations out in the form of beating Vincent.  To further accentuate Vincent’s frustration with the situations, Llanas reprises the outro chorus of “A Little Bit Of Hell”, from the Absinthe album A Good Day To Die.

Vincent then portrays frustration and remorse that he can’t get through to Kevin, that he can’t get Kevin to stop beating on him.  Vincent feels for Kevin, but can’t help the feelings of resentment that keep bubbling to the surface regarding the relationship between he and Kevin.

Llanas presents the bridge from “A Little Bit Of Hell”, ‘please forgive me father, please forgive me son’.  Remarkable, how these songs integrate into the show so well.

Jumping the time-line, we leap to when Vincent’s Mrs. is starting to experience contractions.  For each time he goes into the breathing exercise diatribe, he stands stage right (as you are viewing the stage, he is standing on the right side, it has been a while since Ms. Palutis taught me blocking) a few rows in front of me.  Breathe in, two three, breathe out two three…

Perhaps these breathing exercises help Vincent transition from his rage…

After a brief period of silence, Vincent takes us away from the breathing exercises by proclaiming that he was a childhood fan of baseball legend Johnny Bench.  As he makes this proclamation, the lighting changes to white spots emanating from either side of the stage to give Vincent an angelic glow!  He so idolized Bench that it became his goal to be the league’s catcher for the local team, despite his small build.  I can identify, but I was the fat kid so I was the natural choice for catcher.  “Stick the fat kid behind the plate, there won’t be any passed balls, you can’t get anything beyond his fat ass…”  Much like the character Ralphie in Jean Sheppard’s ‘A Christmas Story’, Vincent’s story of childhood would not be complete without his very own bully, Brian Bailey.  Brian Bailey = Scut Farkas.  Remember Farkas from ‘A Christmas Story’?  He had yellow eyes, so help me god, yellow eyes!

Llanas adds poignancy to the issue of bullying by singing “Bully On The Corner” from A Good Day To Die

Bailey is Vincent’s Farkas, and they two come face-to-face as competitors in one memorable little league game, where it all comes down to Farkas, I mean Bailey, dancing off third base, eager to come home and add one last touch of torment to Vincent’s life by scoring a run off of the catcher.  A bunt is laid down and after automatically calling up Bench’s rule about the suicide squeeze (from Bench’s biography, which Vincent had memorized as a child) he grabs the dead ball in front of home plate and instinctively crouches down to apply the tag to a speeding Bailey but, as bullies are want to do, Bailey attempts to derail the play by planting his gawky, bucked teeth squarely in Vincent’s forehead!  To this day, Vincent wears that scar like a purple heart.  Luckily, the marks left behind blend into a furrow in Vincent’s forehead, so he is not scarred for life, it merely adds a rough and tumble look to his character.

But stopping Bailey is not enough for the Bench-ly motivated Vincent, he leaps back to his feet, plants and throws a bullet down to first base and gets the bunting runner by a step.

Bench would be proud.  Even Vincent’s father should be proud.

Yet another thing Vincent and yours truly have in common, both our fathers had an obsession with crabbing.  Whereas Vincet’s father took him to local lakes, rivers’ tributaries, my father insisted on spending his attention on a 36-foot cabin cruiser that he would take out into the Atlantic ocean.  Either way, Vincent’s story of his father instructing him on the right and wrong way to empty a crab trap (he demonstrates the incorrect way by displaying a crab firmly grasping his digit) bring back not-so-fond memories of my own wretched childhood days lost to my father’s preoccupations with drinking, boating and fishing.

But things aren’t all fun and laughter in Vincent’s father’s world.  It seems his father has a degenerative back disease/ailment, and he lives in constant pain.  Sounds familiar, at least to me, although it is kinda scary how many issues Vincent and his family has in common with my family and myself.  Were we separated at birth, and if so, you got lucky!

At the end of a night of camping, the children are fast asleep and Vincent’s father confesses to the family dog “Freckles” that his drinking makes him tough.  That he is a tough son-of-a-bitch.

Seriously, they really ought to leave one of those small, sample boxes of tissues on each of the seats of the theater.  This monologue is enough to make the toughest of sons-of-a-bitches cry.  But in that same moment of self-proclamation, Vincent’s father also declares he is nothing.

To further drive this point home, Llanas sings about a fear of being nothing.  With some post event help from the playwright, I am told it is a BoDeans song, “Far, Far Away From My Heart” from their album Home.

Like most alcoholics, dad rationalizes his drinking by calling it medicine.  This treatment method is second generation as Vincent’s grandmother also imbibed.  When things got especially stressful, the family would further medicate by “upping the dosage” (better known as liquor).  He rattles off some brands of beer and liquor, I have my own flashbacks to a particular brand my father chose.

Just like my father had his favorite saloons (yes, multiple) between work and home, Vincent talks of having a resident stool at the local VFW where he and his father would discuss hypothetical sports scenarios and how dad, the armchair official would call those plays.  “What if a mountain lion were to come at me while I had the ball?…”  The imagination of children.  Dad would dismiss Vincent’s youthful creativity in favor of the beverage du’jour.  Llanas drives home the emotion with the line ‘My family drinks, so they aren’t good for much’ from “It Don’t Bother Me”.

Vincent details the all-too-familiar calls he would receive at the VFW, pleas from his mother to bring his father home before he got too drunk.  Pleas for Vincent’s help to get his father to stop drinking.  Even asking Vincent to call to Freckles over the phone.

Vincent pulls us aside to tell us that his nickname “Pal” was flexible to the applicable situation.  When camping, he often thought his camping nickname was “get wood”.  “Get wood” asks naively why his father drinks.  I can see myself in Vincent’s position as his inquiry is met with denial and avoidance.

Again, Llanas musically diverts attention from the denial by reprising “It Don’t Bother Me”.

Keep in mind that throughout these harrowing accounts of growing up as a child of an alcoholic, now and again Vincent positions himself in front of us, (facing stage right, his stage left) to remind us of the sub-sub-plot, his wife’s pregnancy, delivery, and the birth of their child.  A lot going on in a two-man play.

But this is now a different factor we are going to introduce into (I will be kind) the family dynamic.  I mentioned earlier that Vincent has a sister.  After Vincent went away to college, his sister began a romantic relationship with a person of Vietnamese origin.  Naturally, this did not sit well with the VFW-drinking-America-first-thinking father.  Upon one return trip from college, Vincent returns to find his sister and father having a heated discussion; dad has asked to see his sister’s boyfriend’s green card!!!

My best thing to ever happen to me and I are having our own personal flashbacks to our parents and their bouts with understanding.  Part of the reason my wife didn’t speak with her mother at the end of her life was, she chose to be with someone who wasn’t a purebred Lithuanian.  It seems her mother had personal issues with people who shared my other heritage, Italian.  (No, Boule is not indicative of my natural heritage.  It is a pen name.)  My father referred to any other nationality (other than Italian) with the prefix “Those god-damn…”  So now we have bigotry thrown into the mix.  If it wasn’t too much to bear up to this point, it is now.

It is also more than Vincent will tolerate.  His father diverts his attention from his sister to welcome home the prodigal student.  Vincent won’t have it.  Final straw.  Vincent lets his anger towards his father loose, along with numerous, major obscenities, mostly beginning with the letter F.  He pushes his father way, he rejects his father’s nickname “Pal”, he tells his father that this request of racism and bigotry is too much.

Vincent reports that his father retreated to the basement sanctuary and Vincent retreated from his father.  Llanas reprises “It Don’t Bother Me”.

Vincent’s anger subsides and he makes the bigger man gesture by going down to what was his safe place, the peaceful escape that was the household basement.  That sanctuary becomes Vincent’s private hell as he finds his father hanging from what he describes as a perfectly tied noose.  Vincent’s eyes, catching his fathers own, frozen, lifeless eyes.  Adrenaline consumes Vincent and he attempts to free his father’s body from the noose and resuscitate the lifeless flesh, all the while practicing him own special brand of denial.  “He isn’t dead, he’ll be ok” Vincent repeats as he performs CPR on his father’s body.

Llanas offers up the song “Messed Up Likes Of Us” from A Good Day To Die with the line of ‘We never speak of it’.  It makes a perfect segue for mom to take the stage (in the form of Vincent portraying her as a cross between Dana Carvey’s Saturday Night Live church lady and Steve Urkel).  Mom’s soliloquy sticks to the story, her son is too sensitive.  She loves him but he is just too damn consumed with his own thoughts.  “That boy’s a thinker” she asserts.

Behind this Llanas asserts that he feels nothing, from A Good Day To Die’s “What I Don’t Feel”

We transcend back to the birthing.  Vincent details having issues on the way to the hospital, and relates not really wanting his child born in his car.  He also refutes the possibility of a stillborn, not on his watch!!!  His watch may mean nothing as he is up against a major problem in this country, an apathetic healthcare system.  More directly affecting his immediate situation is an apathetic nurse, who takes some prenatal vital stats while more concerned with her manicure.  She assures the expectant couple that they are panicking and that they should “go for a walk, or better yet, go home”.  Really?  I am immediately reminded of my mother and her atrocious nursing career.  This is a dedicated medical professional that once tripped over the lead for an ER EKG and had a patient momentarily declared dead until they realized it was just a misplaced lead.

Always get a second opinion…

Vincent finds his come-uppance as he and the Mrs take a stroll around the hospital and as they walk, the Mrs. has that major contraction and her water breaks.  An “I told you so” moment played off by nurse Shitbrird’s laissez faire attitude “It’s no big deal, your water broke…”.  I hate my mother and I hate the healthcare system in this country.  The reasoning may be one and the same…  But that’s my story, this is Grace’s story.

We then time-warp back to Vincent’s mother, who passively/aggressively blames but not blames her son for her husband’s absence.  Her part in the entire issue?  None, total denial.  Yup, sounds like family to me…

As mom asks forgiveness for her son, for herself, for her husband’s soul, Llanas finger picks and then breaks into “Angelina” where he asks about things he did not know about his mother.

We sidestep the conventional time line again to flash forward (Backwards? Hell I took notes and I am lost in the timeline’s warp speed, but it’s lost in a good way.) to the Vincent’s wedding.  Vincent, ever the class clown, has devised a routine to let his new family-in-law know that Vincent may not be a lot of things, but he will be the family comedian.  He has conjured up a routine reminiscent of the late John Ritter.  Covert actions are taken, props, costuming, all in place.  Vincent is in the middle of a toast/speech at the reception and he motions for the venue’s stewards to bring in the three-tiered wedding cake.  He has done his speech, and in the sprit of Ritter, takes a pratfall right into the cake!!!  Gasps and guffaws, horror and hilarity.  As Brian Eno said at the end of Robert Fripp’s Exposure album “The whole story… a big hoax!”  He had prepared a prop cake, had a sacrificial tuxedo made, all in the hopes of getting one person to crack that special smile… his new bride!  Yeah, screw what her parents think, if she’s good with it, you’ve found the right one!  STICK WITH HER!!!

He admits his true love is unconditional (it’s nice when it works out that way).  Llanas supports that emotion with the lyric “She, like a gentle breeze” from the haunting and beautiful “Spanish Waltz” from A Good Day To Die.

We hop the time line and return to the hospital where Nurse Shitbird gets her well-deserved ear-full from Vincent and harkening back to his days of poorly fitted shin and chest guards, he announces his determination to “catch” his newborn.

Like much else in this life, another long-time ambition will be denied, as there are complications with the fetus.  The baby’s blood pressure is erratic and dropping rapidly.  Again, Vincent’s anger at the apathy of the medical community bursts forth, and Vincent has a hard time containing it.  The understanding Mrs. comprehends his anger and lends a calming voice of support.

They really are our better halves…

Llanas begins to ‘pat’ out the chords to “The Way Home” from 4A.M. and in his effort, a beautiful harmonic is born.  Let’s hope the birth of Vincent’s daughter goes as beautifully.  But when Vincent leaves the stage, Llanas stops playing and just sings the song A capella!  More beauty!  Surely it’s all downhill from here…

The baby’s heart rate has been declining, so the brain trusts at  Apathy General Hospital call in a specialist, the facility’s leading obstetrician, Dr. Wonderfulmarvelousspectacular, MD, OB/GYN, E-I-E-I-O.  They are ready for anything, breach, C-section, anything the wonders of childbirth can throw at them, Dr. Wonderfulmarvelousspectacular is prepared and certainly self-assured.

Once Dr. Wonderfulmarvelousspectacular is finished proclaiming his greatness, it is zero hour, Grace is on her way.  But life can’t hand you a gift such as this, without hovering the sickle of doom over your head…  Grace is, in fact, born with umbilical chord wrapped around her neck!!!  He flashes back to his father’s suicide, the image of his father’s dead eyes as he views his daughter, born into a situation that is hauntingly, disgustingly and disturbingly familiar to Vincent.

Llanas breaks into the previously unheard “Hey John” as Vincent tries to break free of the bad memories to witness Dr. Wonderfulmarvelousspectacular releasing Grace from her umbilical prison to hear her cry the cries of the newborn.  She IS breathing!!

Vincent snaps back to the present day, of blowing off the fair and receiving his now three year old Grace in her game of giggle-sprinting (Giggle-Sprinting, trademarked and copyrighted by Doug Vincent and Boulder StoryHealers).

Llanas plays “Time For Us” the closer from the A Good Day To Die Absinthe CD.  After Llanas delivers the poignant line “Never mind the sorrow”, Vincent recalls how, after Grace is born, he has a daydream/visit from his father’s spirit.  Dad returns to admit his pride for “Pal”, and to let him know “You did good!”

Dad was right, Vincent did do good!

Llanas returns one final time to assure the crowd that it was, in fact. “A Good Day To Die”.

I apologize for any inconsistencies in this review.  It is not easy to sit in a theater and be objective when the person on stage is confessing some difficult times and experiences in his life, especially when many of those experiences not only mirror, but are too similar to your own experiences, as well as those of your loved ones.  Then, add in the emotional factor that Llanas brings to the table, the comment about the tissues on the seats may seem like my usual gonzo humor.  In fact, it is more an accurate observation.  If you are not feeling any emotions during this show, you may need Dr. Wonderfulmarvelousspectacular as there is a good possibility you have expired and don’t realize it.

Boulder StoryHealers have an interesting “business model” concept.  They are performers who base their stories around those who have major illnesses or disabilities, to bring light, attention and possibly hope to those who have been dealt a bad hand in life, or in the case of Vincent, those whose loved ones have dealt with adversity and not been able to meet the challenge.  From the Jacksina Company press announcement regarding the debut of the play:

“Boulder StoryHealers utilizes contemporary storytelling to process and aid in emotionally healing those who have faced trauma, illness and adversity.  Participants develop monologues in intensive workshops to fully experience their true healing voice through the power and humor of honest storytelling.  In this environment, the group monologues are shared in a culminating public performance that benefits the group and foundations that support their population.”

Remember, this reviewer was born with a cleft lip and palate, Spondylosis, and has been the victim of more rear end collisions than I care to recount.  So I walk with a cane now.  I have herniated vertebrae, I will never be in the physical condition to “block the plate” again.  So I highly identify with this group and the causes they represent. As it is, I was bowled over by Vincent’s performance.  If you recall my previous posts, I am a new Sam Llanas fan.  Because of Llanas’ performance with the BoDeans, I am willing to get their catalog as well.  To put these two dynamic talents on the stage is a formula for adventure, and a blueprint for an emotional rollercoaster ride that rivals anything you would find at Six Flags.

Many would say this review is a spoiler, why should we see the play when you have spilled the beans, told the tale, posted a review rife with details?  I have had this discussion and been told this about my reviews repeatedly recently:  I write my reviews for the people who couldn’t attend the detailed events.  Maybe for those who are infirmed, disabled (beyond my own disability), or incapable for any number of reasons to get out to these shows, I try my very best to bring those people to the event in the comfort of their very own computer screen.

With this show in mind, no matter how good of a writer I may or may not be, there is no way I can transfer the emotions, dedication and earnest reactions of the performers on that stage to some words in a notebook, thoughts on a piece of paper, or into text on a screen.  As the old saying goes, you have to see it to believe it!  If you have the chance to see it, I strongly advise you to do so.  Not just if you have an alcoholic, suicidal or mentally challenged person in your life, but just because this show, A Day For Grace is masterfully performed, intelligently composed and directed, and showcases some of the best music you may not have heard before.

Oh yeah, and it makes you laugh as well.  A lot!

We always have something in the pipeline at BouleBlog.  This was a fun departure for us, even though we couldn’t bombard the post with pictures (Vincent made some of the goofiest faces during the performance), this was emotionally moving beyond what we normally review.  Coming up, we will be taking a look at an up-and-coming new artist, Jason Karaban and his new CD SHiFT.  We are also going to tear apart the Absinthe CD A Good Day To Die with Sam Llanas and Gary Tanin.  We will also be branching out into another new area for us, a musical instrument review of a limited edition Epiphone SG400 guitar, as well as a couple of other surprises we are keeping under wraps until we are sure we have the technical bugs worked out.

Again, we apologize for the emotions and bad feelings that may have been dredged up during this review.  It was not our intent to make anyone sad or depressed.  That’s just life rearing its ugly head.  My ugly head says thanks for reading!!!

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4 Responses to “LIFE IS NOT ALL FUN AND GAMES. A DAY FOR GRACE DEMONSTRATES JUST HOW MUCH AT THE STAGE LEFT STUDIO, 9-13-12”

  1. harry Says:

    I wish i was there. Im glad you were. Thank you

    Like

    • BouleBlog Says:

      Harry, Thank you for your comment! I will say this, if this play grows legs, I am investing in Kimberly-Clark stock, manufacturers of Kleenex tissues!!! I do try to take those who could not attend the shows with me in my reviews. Apparently, you and some others feel I have done that with this post. Cheers!

      Like

  2. Mikey Says:

    Wow. The more I see/read the more horrified I am.

    Like

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