Thursday, February 28, 2013


Tonight, the much-anticipated revival of Stephen Sondheim's Passion opens at Classic Stage.  Much like the spare stagings made famous by Passion's director, John Doyle, so, too, is the simple and elegant logo for the show.

Grade: A+

I've found two versions, and both feature the same flesh tone implying both the sensuality/sexuality of "passion," and the humanity of a passionate exchange.  And both feature the austere title in a white, uneven color that suggests to me clouds or fog... something unclear...vague.  Given the content of the show, which covers every possible form of "passion," the murky quality of the lettering makes perfect sense.  And, though I have not seen the show yet, it seems to match the simplicity of a John Doyle production, where the simplicity of the staging belies a complexity of thought and content.  And that certainly matches what is arguably the most complex of the Sondheim canon.  

Taken together, the photos in the logos tell much about the three main characters and their "passion."  In the above photo, there is a topless woman, bare back toward us - naked, vulnerable and alone.  Notice that she's looking off into the distance.  Does she see someone?  Or is she looking off to the past or the future?  While her lack of clothing intimates a certain kind of "passion," knowing the show, I'm betting she's unclothed to reveal her vulnerabilities, not necessarily her sexiness.  Fosca?

The second logo shows an even more traditional expectation of "passion," a pairing apparently undressed (at least he appears to be sans shirt) and laying in an intimate arrangement.  It certainly suggests post-coital togetherness.  But look closer.  Neither looks particularly spent - no misty sweat, her make-up is flawless, particularly her lips.  Neither looks very happy, either - no smile, no look of pleasure.  And notice that her eyes are closed, her mouth drawn closed, not frowning, but utterly expressionless.  A sexual relationship, the photo suggests, is not a guarantee of happiness... so much happiness... Clara and Giorgio?

I'd say this is the perfect set of logos.  It represents what the show is really about, while satisfying the expectations of the uninitiated.  What more can you ask of a logo?


Wednesday, February 27, 2013

Broadway Box Office: Weeks 38 and 39: 02.11 - 24.13


Here's the last week of Broadway Box Office stats.  Click HERE to see how the weekly rankings are calculated.

Broadway Box Office 
Weeks 38 and 39

Laura Osnes in Cinderella
WEEK 38: FEBRUARY 11 - 17

  • Cinderella played 8 preview performances
  • Manilow on Broadway played 5 performances
  • Who's Afraid of Virginia Woolf? played 7 performances

Allison Case and Company in Hands on a Hardbody
WEEK 39: FEBRUARY 18 - 24
  • Ann played 7 preview performances
  • Cinderella played 8 preview performances
  • Hands on a Hardbody played 1 preview performance
  • Manilow on Broadway played 5 performances
  • Who's Afraid of Virginia Woolf? played 7 performances

Hello, and goodbye... Looks like Broadway may have its first big new hit in Rodgers + Hammerstein's Cinderella, while another venerable Broadway lady, Mary Poppins is continuing to go out on a major high.  Rock of Ages continues to rake in the bucks with ticket averages over $100... why?  Except for the usual suspects (The Book of Mormon, Once, Wicked, The Lion King, Newsies, Spider-Man) every other show is on the winter box office merry-go-round - up one week down the next.  Is it the winter blues or are Mamma Mia and Nice Work If You Cab Get It running out or steam? (Side prediction: barring MAJOR recasting, like Hugh Jackman, I give Nice Work less than a month after Matthew Broderick leaves.)

02.11 - 02.18
02.19 - 02.24
Ann Solo Play - n/a 57 21 23
Annie Musical Revival 50 18 40 13 16
Cat on a Hot Tin Roof Play Revival 30 10 46 14 tie 12
Chicago Musical Revival 36 12 tie 46 14 tie 13
Cinderella Musical 21 6 25 7 7
Hands on a Hardbody Musical - n/a 55 20 22
Jersey Boys Musical 29 9 33 9 tie 9
Mamma Mia! Musical 36 12 tie 53 19 15
Manilow on Broadway Solo 45 15 tie 38 11 tie 14
Mary Poppins Musical 33 11 33 9 tie 10
Newsies Musical 27 8 13 4 tie 5
Nice Work If You Can Get It Musical 45 15 tie 50 17 17
Once Musical 12 4 10 2 4
Picnic Play Revival 51 19 48 16 19
Rock of Ages Musical 16 5 24 6 6
Spider-Man: Turn Off the Dark Musical 23 7 38 11 tie 8
The Book of Mormon Musical 2 1 4 1 1
The Lion King Musical 6 2 tie 12 3 2
The Mystery of Edwin Drood Musical Revival 55 21 66 23 21
The Other Place Play 46 17 52 18 18
The Phantom of the Opera Musical 39 14 29 8 11
Who's Afraid of Virginia Woolf? Play Revival 56 22 60 22 20
Wicked Musical 6 2 tie 13 4 tie 3


Tuesday, February 26, 2013

REGIONAL THEATRE REVIEW: Shakespeare's R + J at Signature Theatre, Virginia


Review of the matinee performance on Saturday, February 23 at Signature Theatre in Virginia (at the Max Theatre).  Starring Rex Daugherty, Jefferson Farber, Patrick Foley and Joel David Santner.  Adapted and directed by Joe Calarco.  2 hours, 20 minutes including intermission.

Grade: B-

The title of the show at Virginia's Signature Theatre is Shakespeare's R + J.  It suggests that we will be seeing is some sort of take on Romeo and Juliet.  If it were to be a straight forward production, Romeo and Juliet would suffice, and there wouldn't be the fancy "Shakespeare's" as part of the title - I mean who doesn't know who wrote the play about the star-crossed lovers?  As an adaptation of the classic tragedy, this play is mostly successful.  What is good about this production is very good, excellent even.  It is the framing device - full of potential to add something to the same old story so often told - that brings what could have been a thoroughly thrilling piece of theatre down to an occasionally exciting one.

The main conceit here is that four boys at an ultra-conservative boarding school have found a copy of Romeo and Juliet, and sneak around the shadows of the school reading and, ultimately, acting it out for their own gratification.  That you can figure this out from watching them march around the stage from class to class, shouting out math equations, Latin verb conjugations, and, tellingly, recitation of a 1950's manual on the roles of husbands and subservient wives, shows what promise this framing device has.  Their curriculum and unisex environment are meant, I suppose, to underline the fact that these adolescents are supposed to lead a sexless existence, where marriage is a business arrangement long in the future.  Love, let alone sexuality, are not to be mentioned.  That has to be the reason why the Bard's little play is only to be found hidden beneath the lose floor boards of the venerable institution.  It is never really explained, nor is it more elaborated upon after the opening minutes of the performance.

Discovering Romeo and Juliet

Also in its favor is that director/adapter Joe Calarco has reduced the original text to its most violent and sexually charged scenes - the boys delighted by the sword play and death, and turned on by the sexy stuff.  They even giggle and absent-mindedly touch themselves when scouring the pages for any hint of smut (lines about "bosoms," "naked tools drawn," and the lot play heavily in each re-enacted scene).  Who knew just how dirty this play is?  Leave it to four horny teenagers devouring forbidden fruit to bring it down to its most base elements.  It also works for the audience - gone are the extraneous scenes and chit-chat used to keep the seats at the Globe full for a full day.

Even as I re-read this, it sounds like R + J is awesome in every way.  But what makes it sound so great is also its biggest downfall.  You see, despite a few interruptions (the new school day starting, an occasional clanging in the distance or imagined footsteps) which result in a quick straightening of the school tie and hiding of the book, there is really nothing ever at stake here.  Just how forbidden is reading this book?  Why?  What is the punishment?  Expulsion?  Detention?  Anything?  Even as the boys become more lost in the language and action, there is nothing to even really remind us that there's anything to lose here.  Ah, but there are those interruptions.  They serve not as reminders of impending danger or even how far the boys have come.  Instead, they stop any momentum.  The lack of intensity makes the entire conceit do the opposite of its intention.  Instead of making us care about the boys AND Romeo and Juliet, it puts a certain distance between audience and play and play.  We are talking about one of the greatest love stories ever told, one that, no matter how much we've seen it before, we are supposed to become emotionally invested, brought to tears whether they are Romeo and Juliet, Tony and Maria, or Student 1 and Student 2.

Romeo/Student 1 kisses Juliet/Student 2

Part of what also takes some of the heat out of this version is that it doesn't have the same shock value it probably had some 16 years ago when it was first presented.  That heat would have added a layer danger and an element that might have made us care just a bit more about the kids playing the parts and the parts themselves.  That element - two boys discovering their sexual awakening together, kissing, making love - is just not shocking any more.  As it is now, the interesting thing is that an all-male cast plays all the parts, not that the forbidden text has led to forbidden love.  More distance, as we marvel only that each actor navigates several roles exceptionally well, not the emotional heft of it.  There is one scene that hints at what could have been - tense, passionate and a cross-breeding of the conceit and the text of the play.  At one point in act two, as Juliet is becoming an emotional wreck, two of the other students start beating the boy playing her.  They punch, kick, hit him with the book, and in a final act of violence tear his pants down.  He immediately covers his genitals.  Has Juliet been unsexed?  Are we reminded that a boy is playing the part for any reason?  And perhaps more prescient - have we just witnessed a gay-bashing by two boys who suddenly realize just how far this has all gone, causing them to reassert their masculinity?  That the Romeo and Juliet scene continues without pause is interesting and thought-provoking.  And it is the only really high-stakes moment that makes you care at all what happens to these four.

Juliet and the Nurse share a tender moment
(Rex Daugherty, seated, and Jefferson Farber)

Now, you might be wondering at this point why I still give the play a grade of "B-." Well, there are several things that make it worthwhile.  First of all, paring down the text makes every moment of the performance of the play important.  And if you really know the original text, you'll probably marvel at the pace and piecing together of the script, not to mention the occasional interpolation of other famous bits from other plays (A Midsummer Night's Dream figures poignantly).

Second, Calarco's direction has an often breath-taking theatricality to it.  It is remarkable to watch the four actors reconfigure themselves to create visual meaning to go along with the words they are speaking.  It is often amazing to watch as a small chest and two chairs create a seemingly endless change in locale.  There are six important props - the book, four flashlights and a long red scarf.  Ah, that long red scarf - an endless source of fascination without ever being a distraction.  At times, it is sewing material, a conjugal bed, a barrier between foes, and most spectacularly, it is the sword fighting that happens throughout the story.  Yes, you read that right, sword fighting.  I couldn't possibly explain it correctly, and yet that is exactly what it is.

The Red Scarf as turmoil
(Joel Davis Santner as Lord Montague)

The Red Scarf: A quiet moment in the Capulet house
(L to R: Daugherty as Nurse, Joel David Santner as
Lady Capulet, and Jefferson Farber as Juliet)

And there are the production elements that celebrate all things theatrical.  There's James Kronzer's gorgeous wooden in-the-round platform that works in tandem with Chris Lee's provocative lighting effects, both of which work with Matt Rowe's superb sound design (including music and vocal effects by composer Gabriel Mangiante).  They are all amazing, but there are moments that tickle all of my theatrical senses.  Case in point: as the characters (and the boys playing them) reach new levels of sexual awakening, they are surrounded by streams of mist that end in points of light that literally frame the stage, trapping them inside.  Later, as Romeo and Juliet bring their love to the physical, the stage is literally framed by points of light in the form of flickering candles.  The symbolic becomes physically real, simply and excitingly.  Those moments remind me of why I love live theatre.

The Mist

But really and truly, the best part of the production is the cast.  These four actors are gifted Shakespearean actors.  They are also brimming with youthful vitality (though they are all clearly much older than high school) and each conveys that awkward masculinity brought about by those first sexual feelings in conflict with those last days of boyhood abandon. Rex Daugherty and Joel David Santner play the supporting roles - mining the comedy out of the Nurse (Daugherty), the holiness of Friar Laurence (Santner), and the intensity of the warring parents (both), among others. Patrick Foley (an understudy, though you'd never be able to tell it from his performance) brings a youthful exuberance to Romeo, playing each moment of his spectacular mood swings with precision and reality.  But it is Jefferson Farber, as Juliet, who threatens to steal the whole show from the rest.  His conflict, his emotions, his sorrow are all on point and combine to make a riveting performance.


It is important to note, too, that both Foley and Farber nail the emotional connection between Romeo and Juliet AND Student 1 and Student 2.  When they both finally give in to the romance, the line between Romeo and Juliet and R + J is blurred in an exhilarating way.  I'm guessing that this is what all involved hope that the whole thing is.  Would that it were.

(Thanks to Mike for talking this through with me.  Our post-show chats really make going to shows together the best experiences.)

Photos by Teresa Wood


Monday, February 25, 2013

Happy/Sad: Broadway Coming, Going, Returning


You'd never know it was the third week of February, given the amount of Broadway news that broke.  And not since Spider-Man has Broadway made as many national headlines.  (Well, actually, Spider-Man did make news this week, but I have feelings about that that are better kept to myself.)  Anyway, it was a good week overall... more things in the "happy" column!


PASEK AND PAUL ARE BACK!  One of my favorite shows of this season so far, Dogfight didn't transfer or even extend (again), which really saddened me.  But this week, Ghostlight Records/Sh-K-Boom announced at last that the inventive and enjoyable score would at last be preserved in an original cast recording!  Yippee!

The boys of Dogfight agree with me...good news!

REPLACEMENT-MANIA!  The Good: In what has to be an improvement, the hilarious Jane Lynch is replacing the less than funny Katie Finneran in Annie.  Congratulations on moving up the Best Revival scale just a tad... The Interesting: The only real reason to see Nice Work If You Can Get It, Kelli O'Hara is leaving the show.  A reason to consider a return visit is replacing her... Drood's Jessie Mueller joins the cast soon.  Seeing her star continue to rise makes me happy.  Will the show last past June 15th, when Matthew Broderick leaves the show?  More on him in a sec... The Ugly: Did you hear? Shia LaBeouf left the Broadway play Orphans officially due to "artistic differenes."  That, apparently, wasn't enough for young LaBeouf, though.  He took to Twitter to publish private e-mails... Baldwin may be difficult, but he has proven himself.  Does Transformers really make you an accomplished Thespian?  Anyway, Ben Foster will be making his debut, not LaBeouf (I love typing that name...).

Girl Power!

Are they pissed or in character?  
Did Alec have lip work done?

BROADWAY FUTURE: COMING SOON! Two shows may be on their way and both interest me... the Boston (A.R.T.) production of The Glass Menagerie, one of my favorite plays, starring some of my favorite people - Cherry Jones, Celia Keenan-Bolger and Zachary Quinto - is considering a Broadway transfer!  Sign me up.  And much-in-the-news-lately Clive Davis (he has a new book coming out) has announced that he will be bringing a revival of My Fair Lady to the Great White Way.  As if that wasn't enough (it is, really...I love me some Eliza D!), rumor has it that Oscar-winning actress Anne Hathaway is considering joining the project to make her Broadway debut!  Sign me up!  Can't you just imagine her Tony speech? (Speaking of Hathaway... is it me or was the Les Miz performance on the Oscars better/more powerful than in the actual film?)

Watch out Broadway, here we come... maybe!

MATT PULLS A PATTI! I'd have loved to have been a fly on the wall of the Imperial Theatre the other night when Matthew Broderick stopped the show to call out a guy who was filming the show.  Good for him - who knew the King of Awkward Goobers had the balls? (OK, he gets points for being married to Carrie Bradshaw...) I have to admit that this would have been in the "sad" column if I wanted Nice Work in my bootleg collection...LOL

Put me down, girls!  I see a camera!


UGH...AGAIN?  ALREADY?... It was inevitable.  And I even understand it.  And I know I'll go see it (I hear Javert's death is spectacular).  But ANOTHER revival of Les Miserables?  Really?  Another 3 hours I'll never get back...

One Day Revival More...

BROADWAY PRESENT: NOT HAPPENING... It never makes me happy when shows don't make it.  It's not really a surprise, as neither show has much buzz (what show does this season?) So, The Miss Firecracker Contest with Amber Tamblyn, directed by Judith Ivey, is not happening "this season." And neither is The Velocity of Autumn with Estelle Parsons and Stephen Spinella.  The potential star quality is a definite loss.  But does anybody care?  Will there be enough plays to fill the Best Play/Best Play Revival Tony categories?

Maybe NEXT Season...

ONE LAST TIME... Shia LaBeouf!

"I will not cry... I will not cry..."


Sunday, February 24, 2013



After an acclaimed run at LaJolla Playhouse, Hands on a Hardbody has arrived on Broadway!   And now here’s your chance to get your hands on a pair of tickets!  But you have to act FAST!  Check out all the details below, then enter to win by Wednesday, February 27 at 7PM!


TEN Contestants.  FOUR Days.  ONE Truck.  A new musical about holding onto a dream…and not letting go.

For ten hard-luck Texans, a new lease on life is so close they can touch it. Under a scorching sun for days on end, armed with nothing but hope, humor and ambition, they’ll fight to keep at least one hand on a brand-new truck in order to win it. In the hilarious, hard-fought contest that is Hands on a Hardbody, only one winner can drive away with the American Dream.

Inspired by true events, this new musical features a book by Doug Wright (Pulitzer Prize winner, I Am My Own Wife), lyrics by Amanda Green (Bring It On: The Musical), and music by Trey Anastasio (Phish) and Amanda Green. Directed by Neil Pepe (Speed-The-Plow) with musical staging by Sergio Trujillo (Jersey Boys, Memphis), it is based on the acclaimed 1997 documentary of the same name by S.R. Bindler, produced by Kevin Morris and Bindler.

For more information via online and social networks:
  • Two tickets to Hands on a Hardbody on Broadway at the Brooks Atkinson Theatre.
  • The winner will receive a voucher redeemable for two tickets to any Monday, Tuesday, Wednesday or Thursday performance March 4 - 28, 2013. (Offer excludes Thursday, March 21.)

  • Answer the following 5 questions.  
  • Put the answers (Letter AND Answer, Ex. B. Angela Lansbury) in an email with HARDBODY CONTEST in the subject heading and send it to  Include your name and location.  
  • Entries will be accepted until 7PM on Wednesday, February 27.  One entry per email address. Duplicates will be disqualified.

1. One of the stars of the show, Keith Carradine, played which real-life person in a 1991 musical?
a.       Charlie Chaplin
b.      Florenz Ziegfeld
c.       Will Rogers
d.      Johnny Cash

      2.  Lyricist Amanda Green provided lyrics for which other musical?
a.       The Story of My Life
b.      High Fidelity
c.       Urban Cowboy
d.      On the Town

       3.  Jay Armstrong Johnson understudied Aaron Tveit in which show?
a.       Hairspray
b.      Wicked
c.       Catch Me If You Can
d.      Next to Normal

       4.  Hardbody’s musical stager, Sergio Trujillo, won a Tony Award for his choreography for Jersey Boys.
a.       True
b.      False

       5.  Trey Anastasio, who wrote the music for Hardbody, is a member of which band?
a.       Phish
b.      Green Day
c.       Bon Jovi
d.      U2

  • One entry per email address.  Duplicates will be disqualified.
  • If you won a contest from this blog for tickets to any shows this season (Who's Afraid of Virginia Woolf?, Old Jews Telling Jokes, The Heiress, Scandalous, Chaplin, Peter and the Starcatcher, Golden Boy, Dead Accounts, Nice Work If You Can Get It or Orphans) you are NOT eligible to win this contest.
  • JK's TheatreScene is not responsible for late or lost entries.
  • JK's TheatreScene is not responsible for changes in casting, seats received by the winner, cancelled or missed performances.
  • Following the complete rules for collecting the prize is the sole responsibility of the winner.



Saturday, February 23, 2013

JKTS Chat: Chaotic Corey's College Journey Part 2

A few weeks ago, one of my favorite, most loyal readers "Chaotic Corey," shared with us the first few of many steps in that, well, chaotic, rite of passage: getting into a college of our choice.  And, as if that isn't tough enough, he's also auditioning to get into a performing arts program AT one of those colleges!  Last time out (HERE), he shared all about how he came to want a career in the arts and how he's built up experience, education and preparation just to get ready for all this.

Now, he talks about his experience at Clemson University.

5 More Quick Questions for Chaotic Corey

AMDA's New York City Campus

1.  So, you just finished your first college audition!  Congratulations!  Where was it?  Where does this school rank on your wish list of schools?

Corey:  I did. This was technically my second college audition since I previously auditioned for AMDA last summer, but it feels like my first audition because that was so long ago! Hahaha! It went really well. This audition was for Clemson which is a pretty big school in upstate South Carolina (home of my favorite football team. Go Tigers!). This probably ranks about 3rd on my list of 4 schools. This is because they do not have a Musical Theatre program. They have an Acting BFA with an "emphasis" in MT. So I wouldn't receive a MT degree from this school. 

2.  Explain the audition process and audition itself.  How similar and different was it from regular show auditions?  Who was there?  Did you meet any fellow perspective students?

Corey:  Well, this audition was the shortest of all my auditions. I arrived at the school at 9 in the morning to check in at their Performing Arts Center, the Brooks Center. Here, I had my picture taken, gave them my letters of recommendation and my headshot, and I took a seat. I took the waiting time to chat to some students at the school already and question them about their program and their experience and I also took the time to talk to the other auditioners. This was a great experience because I got to learn a lot about other people, the program, and even a little bit about what my chances were of getting into this school. This audition process was similar to a show audition, just longer waiting time. About 30 minutes before my audition, I asked if there was a practice room where I could warm up and a student led me to a practice room where I warmed up for my audition. They came and got me and led me to the audition room where I auditioned for a room with 3 female judges. I did my two monologues, sang my song, and talked with them for about 10 minutes and that was that!

3.  They say hindsight is 20/20.  Now that you are done the first one, how do you feel you did?  What would you have done differently?  What, if anything, about this experience did you learn that you can apply to future auditions?

Corey:  I feel like I did really well. I definitely wish I would have remembered to bring my water because I forgot it at the hotel and had to keep running back to the water fountain to "wet my whistle". I feel like it went really well and I think the judges like me and enjoyed my performance. As the student was taking me to my practice room, she asked what program I was auditioning for and when I told her MT, she seemed enthusiastic. She claimed that their program only had 3 good Musical Theatre guys at the time and they were in need of more, so that raises my chances of acceptance, I guess! WOO!

One crucial decision: what song do I audition with?

Inside the Brooks Center: Drink a lot

4.  I know you did a lot of prep for this audition.  What was the application process like for this school?  Do you feel like you were prepared enough?  Were there any surprises?

Corey:  Lots and lots of prep! It always feels like I prepare TOO much for auditions. Hahaha! But, it really paid off in the end. For this audition, I worked every week with my voice coach on my song and on my monologues. The application process for this school was simple. It was just like any application process, I filled out my application online and have yet to be informed of my academic acceptance (I learn about that at the end of this week ahhh). After that I had to apply for an audition on one of the audition dates that were open. When I did, I was informed when my audition would be and what to prepare for it. 

Brooks Center at Clemson University

5.  Did you get to tour the campus?  The performing arts building(s)?  Meet any faculty?  Now that you've actually been there, does the school live up to your initial expectations?  If you are accepted, will this school still be one of your choices? (I know it may be early for a definitive answer to this...)

Corey:  Well, back in September I actually visited the school and I have been on about 3 different campus tours because I live close to the school. In September though, I met with the head of the Performing Arts Department who took me on a tour around the PA Center and showed me all the ins and outs of the program. At my audition though, I was able to meet some of the professors I would have if I were to go to the school and it was nice meeting them and learning their goals for us and what they expect from students. The audition was a HUGE help and I can't wait for my next one this weekend in Elon, North Carolina!

Photos provided by Corey and Getty Images.

4. 172

Friday, February 22, 2013

HOT or NOT: The Ensemble of KINKY BOOTS

Next Sunday, another anticipated Broadway musical, Kinky Boots, begins previews at the Al Hirschfeld Theatre.  This splashy musical with a book by Harvey Fierstein and a score by Cyndi Lauper is sure to be a crowd-pleaser.  The cast is huge!  So there will be two weeks of polls - this week's poll is in two parts!  You'll be deciding on 2 Female Ensemble Members and 3 Male Ensemble Members  to send to the finals later this year, as we cast the HOTTEST MUSICAL STARS OF THE 2012 - 2013 SEASON!

Remember, that "HOT" isn't just about looks.  It's also about talent and that "it factor."  "HOT" is more than a pretty face!  When you vote this week, be sure to use the scroll bar to move down the poll, and click "DONE" after BOTH polls to make your vote count!  The polls follow the pictures of the cast, and will close on Thursday, February 28 at 7PM.

HOT or NOT: The Ensemble of 

Polls After Pictures: Male and Female Members: 
Vote "HOT" for as many or as few as YOU like.  

Female Ensemble Members

Adinah Alexander and Caroline Bowman

Ellyn Marie Marsh

Jennifer Perry and Tory Ross

Male Ensemble Members

Eric Anderson and Eugene Barry-Hill

Stephen Berger and Paul Canaan

Andy Kelso and Kevin Smith Kirkwood

Eric Leviton and John Jeffrey Martin

Kyle Taylor Parker and Kyle Post

Charlie Sutton and Joey Taranto


Create your free online surveys with SurveyMonkey, the world's leading questionnaire tool.


Create your free online surveys with SurveyMonkey, the world's leading questionnaire tool.


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