My More Idiosyncratic Fall Preview Than Usual

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Like most of you, I’ve been looking through all the fall previews that everyone else has been doing and, to be honest, I don’t know that there are all that many shows that I’m really looking forward to this season. 

However, one thing I am eager to see is Giant, Michael John LaChiusa’s musical adaptation of the old James Dean-Rock Hudson-Elizabeth Taylor movie that’s scheduled to open at the Public Theater in November. I saw an earlier production of the show when it played down at Washington’s Signature Theatre four years ago and am curious about how it’s evolved. 
And I’m also intrigued by The Twenty-Seventh Man, a new play about the persecution of writers and poets in Stalinist Russia that’s also opening at the Public in November. Nathan Englander has adapted his short story of the same name and if his play is anywhere near as good as his most recent short story collection, “What We Talk About When We Talk About Ann Frank,” then this show could be something very special.
Rounding off my must-see list is The Great God Pan, the latest Amy Herzog play about the lives of liberal New Yorkers that’s scheduled to open at Playwrights Horizons in December because I’m an unabashed Herzog groupie.
But what I am really looking forward to this fall is the continuing privilege of seeing some of the actors I most admire—some famous, some less so—tackle new challenges.  Here are six of them:
Brian F. O’Byrne in If There Is I Haven’t Found It Yet.  I know that most people are excited about this new dark, dysfunctional-family comedy because it will be the New York stage debut of the movie actor Jake Gyllenhaal but what's got me jazzed is that it also will mark the return to the stage of O’Byrne, who originated the role of Father Flynn in Doubt. He then spent the next five years in Hollywood which, for my money, didn’t make anywhere near the best use of his considerable talent. So I can hardly wait to welcome him home when the show opens at the Roundabout Theatre Company’s Laura Pels Theatre next week.
Kathleen Chalfant in Red Dog Howls. Chalfant long ago proved that she’s unbeatable when it comes to delivering the emotional goods without even a hint of bathos.  Plus she has one of the most mellifluous voices in the business. So even if this new role isn’t up to her iconic ones in Wit or Angels in America, it’ll be a treat to see—and listen to—Chalfant in this new play about an elderly woman with a connection to the Armenian Genocide in which over 1 million people were massacred between 1915 and 1923. It opens on Sept. 24 at the New York Theatre Workshop.
Boyd Gaines in An Enemy of the People. The unwavering integrity that Gaines brings to every role is one of the main reasons that he’s already won four Tonys and probably should have won several others along the way. It’s also what makes me want to see him in this new adaptation of Henrik Ibsen’s morality play about a man who takes a principled but unpopular stand against corruption in his hometown. The fact that Gaines' main nemesis will be played by the equally unaffected Richard Thomas makes this production all the more alluring. It opens at the Manhattan Theatre Club’s Samuel J. Friedman Theatre on Sept. 27. 
Bobby Cannavale and Al Pacino in Glengarry Glen Ross. Talk about a no-brainer. Cannavale’s streetwise flair seems tailor-made for Ricky Roma, the office hot shot in David Mamet’s Pulitzer Prize-winning classic about a group of desperate real estate agents.  While Pacino, who played Roma in the 1992 film version, seems to be at just the right time in his life to take on the role of Shelley "The Machine" Levene, the old-timer who is down on his luck but not ready to count himself out. I mean is there any self-respecting theater lover who doesn’t want to see these two mix it up when the show opens at the Gerald Schoenfeld Theatre on Nov. 11?
Norbert Leo Butz in Dead Accounts. There doesn’t seem to be anything that Butz can’t do.  He can be side-splittingly funny (Dirty Rotten Scoundrels) or devastatingly heart-breaking (last season’s revival of How I Learned to Drive) and his manic song-and-dance number almost single-handedly kept Catch Me if You Can afloat. So how can I not be curious about what he’s going to do when he stars opposite Katie Holmes (aka the former Mrs. Tom Cruise) in the latest comedy by Theresa Rebeck (the erstwhile show-runner of the Broadway-on-TV series “Smash”) that’s scheduled to open at the Music Box Theatre on Nov. 29. 

Patti LuPone in The Anarchist. Everybody knows that LuPone is one of Broadway’s reigning musical comedy divas but what some of us may have forgotten is that she can do straight drama too.  And this season, LuPone is teaming up with her old buddy David Mamet (this is their fifth project together) to star in his new two-hander about a Weather Undergroundish inmate who is seeking parole from her prison warden. It raises the ante even more that the warden will be played by the fine film actress Debra Winger, making her Broadway debut when this philosophical drama opens at the Lyceum Theatre on Dec. 2.  

“Detroit”: Why I'm Cool on This Hot Show

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Sometimes, as hard as I might try, I just don’t get it. For instance, I know that I’m supposed to like Detroit, the new dark comedy that opened at Playwrights Horizons this past week.  And I can give you at least five reasons why I should:
1. It was a finalist for the Pulitzer Prize in 2011. 
2. It was a hit when it premiered at Chicago’s hip Steppenwolf Theatre Company the year before that. 
3. It has a hot cast lead by the-can-do-anything actress Amy Ryan and David Schwimmer, the co-star of the beloved sitcom “Friends” who also has serious theater chops.
4. It takes on the subject of class in America, which is exactly the kind of serious thing I’m always saying that theater companies should do.  
5. It has drawn mash notes from just about every critic in town (click here to read the raves on StageGrade). 
And yet, I have to say that I just don’t get what all the fuss is about.
Although the play is called Detroit, playwright Lisa D’Amour has set it in an unnamed “first ring suburb outside of a mid-sized American city” that seems to be located deep in Edward Albee territory.
For Detroit opens with a seemingly placid backyard barbeque shared by two couples who are just getting to know one another.  And then, pretty quickly, everything starts to go to George-and-Martha-type hell as they all struggle to hold on to their illusions about the American Dream. 
Actually, things aren’t so great from the get-go. The host couple, Mary and Ben, are reeling from the Great Recession; he’s lost his job as a bank loan officer and spends his days on their home computer ostensibly setting up a consulting business. Meanwhile she's struggling to keep their heads above water with the salary from her job as a lowly paralegal.
Their new neighbors Kenny and Sharon have the kind of even lower-wage jobs that seem to define the new economy: he works in a warehouse, she in a call center.  Kenny and Sharon confess that they’re also recovering addicts but it’s obvious that they’re struggling with other demons as well.
Now I get—and even appreciate—the fact that D’Amour wants to drive home the point that the post-War promises of the ‘50s were hollow and that today’s middle class has been seriously wounded (literally here; the fake blood flows). But this isn’t really news and Detroit doesn't offer any more insights into this discontent than an Occupy poster on an episode of TV's "Mad Men."
And although some of the absurdist touches D’Amour and director Anne Kauffman stir into their brew are undeniably amusing, they also struck me as dramaturgical filigree instead of organic moments.
Moreover, her characters live in such apparent isolation from the rest of the world and go off on such surrealistic tangents that it’s hard to feel much for them, even though all of the actors are quite fine.   
Ryan and Schwimmer are first-rate as Mary and Ben (click here to read their take on the play).  but I was even more impressed by Darren Pettie and Sarah Sokolovic who bring a bracing sense of menace and disruptive energy to Kenny and Sharon.
Who knows, perhaps I might have received the play differently if the scenic turntable hadn’t stalled midway through the performance I saw, causing the stage manager to call the actors off the stage and the house lights to be turned up for the 10 or so minutes that it took to get it turning again.
Or maybe I would have gotten more into Detroit if I hadn’t been sitting in front of a row of old-codger theatergoers who spent half of the show’s 100-minutes loudly asking their spouses to repeat lines that the actors had just said. And then spent the other half making sarcastic, and equally loud, comments about the ones they had managed to hear. Shame on them and all their ilk.
Or it could just be that Detroit is one of those plays that, no matter what the circumstance, just doesn't get to me.

How "If There is I Haven’t Found It Yet" Lost Its Way

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If There is I Haven’t Found It Yet, the dysfunctional family drama that opened at Roundabout Theatre Company’s Laura Pels Theatre this week, has been getting all kinds of attention because the movie actor Jake Gyllenhaal chose it for his New York stage debut. Gyllenhaal acquits himself well enough (click here to read an interview with him). But nearly everything else about this production is too cute for its own good.

And that starts with its title, which is not only self-consciously opaque and hard to remember but not nearly as clever as its playwright Nick Payne, only 25 when the play debuted in London in 2009, clearly intended it to be.
The plot, however, holds promise. It's ostensibly about Anna, a chubby teen who gets bullied at school by mean-girl classmates and neglected at home by parents who are too busy with their careers. Her savior is supposed to be her Uncle Terry, a slacker who shows up for an unannounced visit, pays her the attention she craves and tries to persuade her that there’s more to life than her current predicament suggests.  
Critics both here and in London have applauded the play’s naturalistic language (click here to read some of the raves on StageGrade). But most of today’s young playwrights seem comfortable with dialog, it’s the rest of it—believable characters, nimble plots—that gives them trouble.  
 Payne does better than most but he crams in so many trendy topics—global warming, school bullying, the vapidity of Hollywood movies—that Anna’s tale, the most compelling of his storylines, often gets pushed too far to the side. 
Yet what really sends this production careening in the wrong direction is a cutesy decision that director Michael Longhurst and set designer Beowulf Boritt have made in a vain attempt to be hip.
Instead of using a naturalistic set, they’ve opted for one that screams metaphorical. The centerpiece of their concept is a transparent moat placed between the stage and the audience. Streams of water are falling into it as theatergoers enter. The shower stops once the play begins but the moat’s role has only just begun. 
For a pile of furniture has been heaped in the middle of the stage. The actors yank out chairs, tables, even a refrigerator as needed and then discard them after each scene, usually by tossing them into the moat.  And there’s more water to come.
I suppose it’s all meant to symbolize a combination of our careless disrespect for the environment and for family life and, who knows, maybe there’s even an allusion to Noah and the Flood in there too.  But I think we could have gotten the point of the play without all the splashing water because the actors are fully committed to what they’re doing.
That’s particularly true of Annie Funke, the young actress who plays Anna and is the best thing about the production. She shows both the vulnerability and the resilience in the emotionally battered Anna and there’s not a faux cute thing about her very brave performance. 
Gyllenhaal isn’t bad either, although he speaks with a thick British accent that sometimes makes it hard to understand what he’s saying.  And although this isn’t his first time onstage (he won the Evening Standard Theatre Award for Best Newcomer when he starred in the West End revival of Kenneth Lonergan’s This Is Our Youth back in 2002) he still doesn’t have his projection techniques down, which makes it chancy that you’ll hear him in the last row of the theater—or even, sometimes, in one of the middle rows where I was sitting. 
To my surprise, the weakest link for me was Brian F. O’Byrne’s performance as Terry’s brother and Anna’s dad, a professor so obsessed with charting the carbon footprint of everything the family does that he, well, can’t see the forest for the trees. O’Byrne still seems to be finding his way into the role but even a middling performance from this fine actor is worth seeing (click here to read an interview with him).
Whether the play is worth seeing is another matter.  But if you go, avoid sitting in the front row if you can. The people there were continually spattered as objects were thrown into the moat.  And, as the water level rose, I could see them leaning back in their seats in apparent fear that the whole mess would flow right onto them.

Charlize Theron: 'It took two years to adopt son Jackson'

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Charlize Theron has said that it took her two years to adopt her first child.
Speaking on The Ellen DeGeneres Show, the Snow White and the Huntsman actress revealed that she waited for 24 months before her son Jackson could come into her life in March.
Theron said: "My mum said the most beautiful thing. She said, 'You know, it took me nine months to fall in love with you while you were growing in my stomach, and it took you two years to fall in love with this little baby'.
"It took two years of waiting, and then one day, it's finally there, and it feels exactly how it's supposed to feel. I don't know how to describe it. It just feels right."
Theron also revealed that her pets didn't take long to become attached to the new addition to her family.
The 36-year-old star said of her rescue dogs, a terrier mutt and a pitbull named Blue: "Dogs tend to... it takes them a little bit to really fall madly in love with someone. They know their owner and they'll be friendly, but they won't fall madly in love with just a stranger instantly."
"From the moment this baby came into our home, those two dogs have never been more in love. It's the most beautiful thing I've ever witnessed."
She continued. "The pit woke up with me for every feed, for every change. And whenever the baby would cry, the pit would start crying.
"People keep saying, 'You're a single mum.' I go, 'Actually, I'm not. I got two boys helping me out.'"

There's A New Spider In Town

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T.V. Carpio’s  first official performance as “Arachne” in SPIDER-MAN Turn Off The Dark is one she will likely remember for the rest of her life.  She emerged from the stage door a star, with a giant bouquet of roses in hand, to meet a crush of news crews and photographers.  Everyone wanted to know what it felt like to land the role and if she had any trepidation in taking it on.  The bouquet was from co-star Reeve Carney.  It turns out T.V. goes way back with Reeve and his super-guitarist brother Zane Carney.

Onstage her character uses her powers of illusion to wreak global havoc, but off stage she is humble and demure. Earlier in the day, she told George Stephanopoulos on “Good Morning America,” “I have a great want to step into some big shoes and do the best I can do to service this piece.” 

1972 Summit Series: Game 8

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Picture the excitement that preceded the gold-medal game at the 2010 Winter Olympics in Vancouver. Now double or triple it. That was the kind of excitement that gripped Canada on Sept. 28, 1972, as Canada and the Soviet Union skated onto the ice for the eighth and final game of the Summit Series.

While the 15,000 spectators at the Luzhniki Ice Palace in Moscow buzzed in anticipation of the final showdown that evening, parents back in Canada, where game time was in the afternoon, kept kids home to watch -- and many principals allowed TVs in the classroom so those who went to school wouldn't miss the action. Bars and restaurants were packed, and appliance and department stores mounted racks of TVs in the windows. It was like a national holiday. I can't remember if I had classes - I wasn't going any way. I jammed into a New College lounge at the University of Toronto watching every minute of it.

Momentum was clearly on Canada's side after back-to-back wins in Game 6 and 7, but it still had to win Game 8 to claim victory. A tie game would result in a tied series, but the Russians would have claimed victory because they had scored one more goal. That didn't sit well with the Canadians, so Team 50 set out to make sure that would not happen.

On the evening before the concluding game, the Russians switched officials. It was agreed upon earlier that Swedish referee Uve Dahlberg and Czechoslovakian referee Rudy Bata would officiate the final game, but Dahlberg had suspiciously fallen ill -- food poisoning was the story.

 The Russians said that West German officials Josef Kompalla and Franz Baader, who both horrendously officiated Game 6, would have to officiate the final game. But Canada wanted no part of that. Those two, Kompalla in particular, proved to be brutally incompetent.

Canada wanted no part of such an arrangement. Alan Eagleson had threatened to leave without ever playing Game 8, and, at least on the night prior to the big game, he had the support of the players on that issue. By doing so the Soviets would lose out on thousands of dollars of television money. An agreement was made just hours before game time. The Canadians would stay and play Game 8 and each team would choose one official each. Canada chose Bata, while Russia chose Kompalla.

Team Canada's fears about referee Kompalla were quickly realized. Just 2:25 into the game Bill White was given a questionable penalty, followed by another to Peter Mahovlich just 36 seconds later. The game was just three minutes old and already Canada was having to kill off a two-man disadvantage. Thirty-three seconds later Alexander Yakushev opened the scoring. Less than a minute later, Kompalla was at it again. At 4:10 J.P. Parise was given a minor penalty that was even more questionable than the others. Parise became enraged, slamming his stick on the ice so that it splintered while he yelled obscenities. Kompalla added a 10-minute misconduct on top of the two-minute minor.

hat almost pushed Parise over the top. Parise aggressively skated up to Kompalla, who was positioned along the boards. Parise stopped just shy of doing what would have been one of the blackest marks in hockey history. He pulled his stick well over his head and was about to whack the referee like he was a piñata. Thankfully he stopped himself in time. Kompalla rightfully added a game misconduct on to Parise's penalty total.

Team Canada seemed to settle down after the outburst. And, for whatever reason, the refereeing improved somewhat, too. Canada was still getting penalties, but so were the Soviets. At least the bias wasn't as obviously blatant from that point on in the game. Phil Esposito scored at 6:45 to tie the game for a few minutes. But by 13:10 Soviet defenseman Vladimir Lutchenko tallied on a power play but Canada left the first period tied at two thanks to a wonderful passing play finished off by Brad Park. Canada had survived the early moments and appeared to be in good shape heading into the second period. But a fluke goal put the Soviets back in the lead just 21 seconds into the second frame. Vladimir Shadrin tapped in a crazy rebound behind a surprised Ken Dryden in the Canadian goal. Big Yakushev fired the puck well over the net, hitting the mesh netting that accompanied the boards instead of Plexiglas as in North American rinks. The springy wiring caused the puck to bounce right back into the slot where Shadrin was waiting.

Despite the brilliant netminding by Ken Dryden in the second period, the Russian's persistent attack paid off with three goals compared to Canada's one. The Russians held a commanding 5-3 lead after two periods of play. Despite the score, Canada headed into the second intermission very positively. They felt they were playing a good game thus far.

Canada took to the ice led by Phil Esposito. He had an incredible period of hockey. Coach Harry Sinden called period 3 "his finest hour," which is really saying something since he had been Canada's undisputed leader all series. It was Espo who scored the all important early goal at just 2:27 of the third, narrowing the score to 5-4. Canada continued to pour it on, and at 12:56 tied up the score, thanks to Esposito once again. Espo refused to be denied as he shook off two defenders and tested Tretiak with a good shot. Tretiak made the stop, but he was unable to stop Yvan Cournoyer's tap in on the rebound.

The Soviet goal judge did not turn on the red light when Cournoyer tied the score. This enraged Alan Eagleson, who feared the Soviets were going to cry "no goal." Eagleson, who was in the stands, tried to make his way to the public address announcer's booth to make sure that the goal was announced. He pushed his way past several military men who did not appreciate Eagleson's actions. They apprehended Eagleson and started to drag him off. That's when Peter Mahovlich showed up and poked the militia men with his stick. Mahovlich, who actually hopped the boards and was in the crowd in a scrum with the Russian military men, was quickly followed by his teammates. Eagleson was escorted across the ice to the Canadian bench. Embarrassingly, Eagleson shook his fist at the crowd in disgust. 

Then the greatest moment in Canada's sporting history, perhaps in Canadian history period occured. Yvan Cournoyer intercepted a Soviet clearing attempt and fired a cross ice pass to a streaking Paul Henderson, who had called off the line's usual left winger Peter Mahovlich in order to get on the ice. The pass was behind Henderson. No. 19 was also tripped up on the play and went crashing into the end boards behind the Soviet defenders. Esposito poked the puck towards Tretiak for an easy save, but by this time Henderson had gotten back on his feet and gained the rebound. Henderson shovelled the puck towards the goal line. Tretiak made yet another save, but left another rebound, too. Henderson, unchecked by any Soviet player, was able to flip the final rebound over a sprawled-out Tretiak.

There just 34 seconds left in the game when Henderson scored.  Canada went mad!



It was an historic series for both Canada but the Soviets.  The NHL was never the same as a flood of talent crossed the Atlantic to transfor the game.

 

There's A New Spider In Town

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T.V. Carpio’s  first official performance as “Arachne” in SPIDER-MAN Turn Off The Dark is one she will likely remember for the rest of her life.  She emerged from the stage door a star, with a giant bouquet of roses in hand, to meet a crush of news crews and photographers.  Everyone wanted to know what it felt like to land the role and if she had any trepidation in taking it on.  The bouquet was from co-star Reeve Carney.  It turns out T.V. goes way back with Reeve and his super-guitarist brother Zane Carney.

Onstage her character uses her powers of illusion to wreak global havoc, but off stage she is humble and demure. Earlier in the day, she told George Stephanopoulos on “Good Morning America,” “I have a great want to step into some big shoes and do the best I can do to service this piece.” 

SPIDER-MAN TURN OFF THE DARK Super Hero Snapshots - Terms & Conditions

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Super Hero Snapshot Code: SNAPSHOT (Click here to buy tickets.)

TERMS & CONDITIONS
A $2 facility fee is included in the price of each ticket.Offer valid on select orchestra locations at select performances through02/10/13 only. Blackout dates may apply. Limit 8 tickets per order. Cannot becombined with any other offers or discounts. Offer subject to availability andprior sale. ALL SALES FINAL. No refunds or exchanges. Telephone and Internetorders are subject to standard service fees. Offer may be revoked or modifiedat any time without notice. Offer valid on select orchestra locations on selectperformances.

WANT TO GET EVEN CLOSER TO THE ACTION? UPGRADE YOUR SEATS!

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Get closer to the action and upgrade your SPIDER-MAN experience with better seats!

Seat upgrades are available for purchase in person from the Foxwoods Theatre box office beginning 48 hours prior to the performance. Bring your tickets to the upgrade window and upgrade your seats to get closer to the action for the ultimate Spider-Man experience!

*upgrades are subject to availability on a performance by performance basis. Upgrades will be available from 48 hours ahead of booked performance. Upgrade fees vary dependent on current location booked. Upgrade fees are a fixed price and are not negotiable.

Terms and Conditions:
Upgrades are subject to availability and must be purchased at the Foxwoods Theatre Box Office. Tickets subject to upgrades must be purchased at least one day prior to the day of the performance. Upgrades are not available for Rush, USO, Groups Sales or TKTS. Upgrades are not available for Balcony Boxes $49.50. Upgrades are available from 48 hours prior to the performance. Offer may be revoked at any time. All tickets include a $2.00 theater facility fee.

Super Hero Snapshot Contest Rules and Regulations

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OFFICIAL CONTEST RULES NO PURCHASE NECESSARY TO ENTER ORWIN. VOID WHERE PROHIBITED. U.S. LAW GOVERNS THIS CONTEST. CONTEST DESCRIPTION:“Super Hero Snapshots Contest” ("Contest") will runfrom Tuesday, September 25, 2012 at 1:00pm EST until Sunday, September 30, 2012 at11:59pm EST ("Contest Period"). One (1) prize winner will be randomlyselected to win a pair of tickets to SPIDER-MAN TURN OFF THE DARK . If prize winner is unable to claim the tickets, a merchandise gift pack will take the place of the tickets.
HOW TOENTER/HOW TO PLAY/HOW TO WIN: Legal residents of the fifty (50) United Statesand District of Columbia, who are thirteen (13) years of age or older will beable to take part in this Contest ("Entrant(s)"). To participate inthe Contest, Entrants must do the following: 1. Entrants must 'Follow' the "SPIDER-MANTURN OFF THE DARK" Twitter page (@SpideyonBway) and Retweet the contest tweet, for achance to win.Entrants MUST agree to all Terms and Conditions outlined within the form inorder to enter. 2. All Internet entries must be received between 1:00pm EST on September 25th and 11:59pm EST on September 30, 2012, or they will be void. 3. The winner will beannounced between 11:00am and 6:00pm EST on October 1, 2012. 5. In the event of adispute regarding the identity of an Entrant's online entry, the entry will bedeemed to have been made by the authorized holder of the email account at thetime the entry was made. The "authorized holder" shall mean thenatural person assigned to the email account.

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Dates and times promoted by ContestSponsors are subject to change, and those changes are deemed to be beyond thecontrol of Sponsor. Changes of venue and/or cancellation of engagements may bepermanent in nature. Sponsor is not obligated to make any effort to find analternative prize under these circumstances. 8. Any information collected byregistering to enter the Contest shall be used only in a manner consistent withthese Official Contest Rules. 9. Sponsor Entities are not responsible for the inability of any Entrant tocomplete or continue an internet registration due to equipment malfunction,busy lines, inadvertent disconnections, unavailable network, server, InternetService Provider (ISP) or other connections, communication failures or humanerror that may occur in the transmission, receipt or processing of entries,including any injury or damage to any computer arising from or relating toparticipation in this Contest. 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If for any reason, the Contest is notcapable of running as planned, including without limitation, any suspectedevidence of tampering or technological corruption or if any portion of theContest is compromised by virus, bugs, worms or unauthorized humanintervention, fraud, acts of God, strikes, terrorists acts, criminal acts ofthird parties, an insufficient number of qualified Contest entries, or anyother causes beyond Sponsor's control which, in the Sponsor's sole opinion,corrupts, threatens or impairs the administration, security, fairness,integrity, or proper conduct of the Contest, Sponsor reserves the right tocancel, terminate, modify or suspend the Contest at its sole discretion. 11.Sponsor is not responsible for any injury or damage to Entrant's or any otherperson's computer related to or resulting from entering this Contest ordownloading any material for this Contest, or other telecommunicationsmalfunctions which may limit an Entrant's ability to participate. 12. Entrantagrees that: (i) any and all disputes, claims and causes of action arising outof or connected with this Contest or any prizes awarded shall be resolvedindividually, without resort to any form of class action, and exclusively byNew York law and the parties hereby submit to the jurisdiction of the Courts ofNew York State for all purposes related to the Contest. All disputes, claims orcontroversies arising out of or in connection with the Contest shall beresolved by binding arbitration in New York City under the JAMS ComprehensiveArbitration Rules and Procedure in effect as of the date thereof, including theJAMS appeal procedure; (ii) any and all claims, judgments and awards shall belimited to actual out-of-pocket costs incurred, including costs associated withentering this Contest but in no event attorneys' fees; and (iii) under nocircumstances will Entrant be permitted to obtain awards for and Entrant herebywaives all rights to claim injunctive relief, indirect, punitive, incidentaland consequential damages and any other damages, other than for actualout-of-pocket expenses, and any and all rights to have damages multiplied orotherwise increased. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATIONS OREXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVEMAY NOT APPLY TO YOU. All issues and questions concerning the construction,validity, interpretation and enforceability of these Official Rules, or therights and obligations of the entrant and Sponsor in connection with theContest, shall be governed by, and construed in accordance with, the laws ofthe State of New York, without giving effect to any choice of law or conflictof law rules (whether of the State of New York or any other jurisdiction),which would cause the application of the laws of any jurisdiction other thanthe State of New York. By participating, Entrants agree to be bound by theseOfficial Rules and the decisions of Sponsor, which are final and binding in allrespects. By participating, entrants consent to receive notification of futurepromotions, advertisements or solicitations by or from the Sponsor and/orContest entities via email. 13. Any attempt by an Entrant to deliberatelyundermine the legitimate operation of the Contest may be in violation ofcriminal and civil laws and should such an attempt be made, Sponsor reservesthe right to seek remedies and damages (including attorney's fees) from any suchEntrant to the fullest extent of the law, including criminal prosecution. 14.For name of winner, after October 5, 2012, send a stamped, self-addressed,No.10 envelope to: "Winner's List – THEAMAZING SPIDER-MAN Premiere Contest” PO Box 1334 Midtown Station, New York,NY 10018. Sponsor: 8 LEGGED PRODUCTIONS, LLC, 1650 Broadway, Ste 800 New York, NY 10019. Business contact: Alan Wasser Associates 1650 Broadway, Ste 800 New York, NY 10019 fax: 212-307-5936. Legal Contact: Ron Feiner - Beigelman, Feiner & Feldman, P.C. 100 Wall Street, 23rd floor New York, NY 10005 fax: 212-230-1090

Model's Own Golden Green

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Hey there! Today's post is another green in honor of St. Patrick's Day week and another Model's Own color I got from my swap with Rachel of Polished Criminails. 
(Please ignore the band aid on my pinky... I cut myself with scissors while being an idiot -_-')

Natural Light - Direct Sunlight

Natural Light - Direct Sunlight

Natural Light - Shade

Model's Own Golden Green. This color is from the Beetlejuice duochrome collection. This is olive green with gold duochrome. I used 2 coats for this picture. I really love this color. I have a weak spot for olive greens and this one is no exception. I'm in love with this and the other colors from Beetlejuice I got... so in love!!! The formula was really good and it dried fairly quickly. Yay Model's Own!!!

Thanks for reading, until next time!

Model's Own Emerald Black

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Today I'm continuing the green for St. Patrick's Day week with yet another Model's Own I got from my international swap. Once again, please ignore the band-aid >.<!

Natural Light - Direct Sunlight

Natural Light - Direct Sunlight 

Artificial Light

Model's Own Emerald Black is probably my favorite of the Beetlejuice colors because it combines two of my favorite colors... black and green! :) As with all the other Model's Own so far, the formula is fantastic! :) I'm totally in love with this brand so far. yay!!! This is 2 coats.

Thanks for reading, until next time!

Model's Own - Nude Beige

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Today's post is a gorgeous nude that actually looks fantastic on me *gasp*

Natural Light - Direct Sunlight

Artificial Light

Nude Beige from Model's Own. Nude creme. I have NEVER found a nude that looks good on me and thanks to Raych now I have one! Most nudes are either too pale or too dark and me and this one is perfect. I can't get over how great it looks on me. I've needed a nude palette cleaner that's not OPI Bubble Bath, Coney Island Cotton Candy etc... basically the colors that are more of a sheer jelly vs. this one is a perfect creme. The formula is amazing. I only used 2 coats for perfection. I'm in love with Model's Own!

Thanks for reading, until next time!