Tag Archives: comedy

Review: High Fidelity (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Nov 18 – Dec 17, 2017
Book: David Lindsay-Abaire (based on the novel and film by Nick Hornby)
Lyrics: Amanda Green
Music: Tom Kitt
Director: Neil Gooding
Cast: Nicholas Christo, Erin Clare, Denise Devlin, Bronte Florian, Toby Francis, Zoe Gertz, Madison Hegarty, Alex Jeans, Joe Kosky, Dash Kruck, Jenni Little, Matthew Predny, Teagan Wouters
Image by Robert Catto

Theatre review
It is a break up story, with Rob in a state of devastation, trying to figure out why he had been abandoned and how he is going to win Laura back. In High Fidelity, the musical based on Nick Hornby’s novel (1995) and film (2000), we observe the nature of narcissism and its subsequent relinquishment, as our thirty-something boy protagonist, is driven to confront his own arrested development.

Rob owns a record store, in an age where the CD had all but decimated the market for vinyl. He organises stock not according to a logic that customers would find useful, but according to different periods of his personal life that the music had been prominent. The mixtapes he had gifted Laura, are of songs that only he loves.

This version of High Fidelity has trouble locating our empathy. The characters bear a trite American blandness. Both its humour and drama are ridden with cliché and a staggering predictability. None of the stakes that it attempts to set up, are able to convince us of any meaningful investment. Dialogue and lyrics are perfunctory, and only occasionally amusing, and the music is thoroughly, quite embarrassingly, run-of-the-mill.

The strong leads almost save the day, with Toby Francis and Teagan Wouters bringing an admirable sense of vulnerability and authenticity to their roles. Both are enthralling with the sheer beauty of their voices and passionate interpretations of songs, but much as they are effective in portraying the people-next-door, our enthusiasm for their story never quite takes hold. It is an accomplished cast, but there is something too straightlaced in their approach for a show that requires something more playful, more risky perhaps, to elevate it from its disappointingly pedestrian writing.

From a technical perspective, the production is assembled well. Lauren Peters’ set design is versatile and charming, and Andrew Worboys delivers exuberant dynamism as musical director. There is great conviction on stage, everyone gives their all, but we want an artistry that is more than elbow grease. The show people are clearly inspired, but the audience too, needs to be moved.

www.hayestheatre.com.au | www.highwayrunproductions.com

Review: Muriel’s Wedding (Sydney Theatre Company)

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Venue: Roslyn Packer Theatre at Walsh Bay (Sydney NSW), Nov 6, 2017 – Jan 27, 2018
Book: PJ Hogan
Music & lyrics: Kate Miller-Heidke, Keir Nuttall (with songs by Benny Andersson, Björn Ulvaeus, Stig Anderson originally written for ABBA)
Director: Simon Phillips
Choreographer: Andrew Hallsworth
Musical Director: Isaac Hayward
Cast: Annie Aitken, Prue Bell, Ben Bennett, Briallen Clarke, Justine Clarke, Hilary Cole, Tony Cogin, Helen Dallimore, Dave Eastgate, Manon Gunderson-Briggs, Jaime Hadwen, Sheridan Harbridge, Mark Hill, Madeleine Jones, Caroline Kaspar, Adrian Li Donni, Luigi Lucente, Stephen Madsen, Maggie McKenna, Kenneth Moraleda, Laura Murphy, David Ouch, Tom Sharah, Connor Sweeney, Gary Sweet, Aaron Tsindos, Michael Whalley, Christie Whelan Browne
Images by Lisa Tomasetti

Theatre review
Like legions of girls through the ages, Muriel was brought up to believe that life is incomplete without a man. It is a fallacy so deeply ingrained into our consciousness, that many are never able to outgrow the absurd notion, that marriage is required as a fundamental validation of our very being. In PJ Hogan’s Muriel’s Wedding, we see a young woman responding to her subjugation; it is a coming-of-age story, an underdog story, and a feminist proclamation. Once a much-loved feature film, now 23 years later, it returns to prominence in the guise of a dazzling new stage musical.

Genuinely funny, and irresistibly moving, Muriel’s Wedding is an unequivocal triumph. Original songs by Kate Miller-Heidke and Keir Nuttall are brilliantly conceived, telling the story of an everygirl, by rigorously combining the many facets of Muriel’s universe. Her thoughts, desires and emotions, along with the people and places that attempt to define her, and the symbolic cultural emblems of her epoch that she cannot escape (including her tremendous affection for ABBA); all are present in the songs that passionately depict her narrative of emancipation, and that envelope us with a remarkable sense of immediacy and pertinence, to have us hopelessly invested.

Direction by Simon Phillips and choreography by Andrew Hallsworth, conspire to deliver an unabashedly sentimental journey, taking us through a seamless blend of happy and sad moments that constitute all of Muriel’s bittersweet experiences. We never lose sight of the gravity so essential and universal in her painful story, but every episode of false hope and disappointment, brims marvellously with theatrical hilarity. This is Australian humour at its best, ironic and self-effacing. Supporting players Michael Whalley (as brother Perry) and Christie Whelan Browne (as arch nemesis Tania Degano) create some very sharp comedy, and we greet each of their appearances with rapturous laughter. These are ugly images of who we are, but there is no denying the authenticity of what we see, and the embarrassing social dysfunctions that they embody.

Maggie McKenna exceeds every unrealistic expectation, in taking on the role of our all-new singing Muriel. The performer is quite simply perfect for the part, with a glorious voice that drives each lyric powerfully into our minds, an extraordinary quotient of charisma that disarms and opens wide our jaded hearts, and an incredible likeness with our memory of the old film version that has proven unshakeable. The more we fall in love with the protagonist, the more we can enjoy the show, and on this occasion, McKenna has us head over heels, completely bowled over. No less wonderful, is Madeleine Jones as Rhonda, bestie and catalyst for Muriel’s self-discovery. Jones is a strong, gutsy presence, who brings in full force, the rebellious spirit crucial to Muriel’s awakening. The two make a formidable pair, invulnerably tight in harmony and chemistry, for a portrayal of a resplendent friendship that lucky ones will find deeply familiar.

There are a small number of forgivable flaws in the production, including the earless casting of Muriel’s father, a strangely flat set design involving the Sydney harbour bridge, and early portions of the book that seem to require a cursory knowledge of the film. These aside, the artistic accomplishments here are significant and monumental, not least of which, are costumes by designer Gabriela Tylesova, who draws joyful inspiration from the original, and from the work of fashion notables like Viktor & Rolf, Roberto Cavalli and Camilla Franks. Straddling opposing ends of glamour, from kitsch to exquisite, for a visual sensibility informed by a derivative and hodgepodge aesthetic, that our colonised nation is never able to rid of.

Muriel’s Wedding is the greatest Australian musical yet. Full of character and inventiveness, it is unceasingly entertaining whilst capturing so much of who we are, and who we wish to become. More than a successful reboot of a modern classic, it brings together some of our biggest talents, for the birth of something that feels new and important, having arisen from adventurous negotiations of what is usually a restrictive art form. It is a big day, and we are more beautiful than we had ever been.

www.sydneytheatre.com.au

Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company
Muriel’s Wedding The Musical 2017 Sydney Theatre Company

Review: Violent Extremism & Other Adult Party Games (The Depot Theatre)

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Venue: The Depot Theatre (Marrickville NSW), Nov 15 – 25, 2017
Playwright: Richie Black
Director: Michael Campbell
Cast: Thomas G. Burt, Julia Christensen, Dave Kirkham, Jodine Muir, Thomas Pidd, Eleanor Stankiewicz
Image by Josh Mawer

Theatre review
Robert is a reality TV star, known for deplorable and sensationalist views, characteristic of what has come to be known as the alt-right. Richie Black’s Violent Extremism & Other Adult Party Games commences at the point where he meets a young neo-Nazi Twitter celebrity, as they try to leverage each other, thinking that each is able to advance his own agenda by making use of the other’s influence. A comedy of errors ensues, and people are killed in quick succession, as a result of this unholy union.

It is a cleverly written play, consistently funny, and powerful with its social criticisms. Michael Campbell’s direction of the piece is exhilarating, if slightly overzealous in his doggedly high energy rendering of confrontation and chaos. Every scene in Violent Extremism is amusing, with its satire and irony proving to be highly satisfying, but the production rarely resonates deep enough for its political meanings to be truly impactful. We are certainly entertained, but for all its sociopolitical assertions, we struggle to find a breath that will allow us to think intently enough, about the matters Violent Extremism is keen to discuss.

The look of the staging is excessively raw, but we are impressed by a very well-rehearsed cast of six performers. Thomas Pidd is an effective leading man, comfortably orchestrating the hectic activity orbiting around him. Charismatic, and animated in his portrayal of a comical, himbo type character, his ability to have us endear to Robert is crucial, in sustaining our interest for a show full of unsavoury personalities.

On the battlefield, blood is shed on both sides, because both sides are aggressors. It is our nature to decipher good from bad, but as long as we understand that violence is never the answer, we must learn to appreciate that there are no good guys in wars. It is true that there are deranged white Australians who are the cause of damage to much of our social fabric, and although they are currently obsessed with positioning themselves in direct opposition to “Islamic fundamentalists”, it is the similarities, rather than differences, between these groups that should be acknowledged.

www.thedepottheatre.com

Review: Australia Day (New Theatre)

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Venue: New Theatre (Newtown NSW), Nov 14 – Dec 16, 2017
Playwright: Jonathan Biggins
Director: Louise Fischer
Cast: Les Asmussen, Peter Eyers, Alice Livingstone, Lap Nguyen, Martin Portus, Amelia Robertson-Cuninghame
Image by Chris Lundie

Theatre review
A committee of six are planning Australia Day festivities in a country town. There are different agendas at play, but all have to engage in a game of debate and arbitration, overt and otherwise, to reach consensus. Intentions are a combination, of the community-minded and the self-serving, and through this study of a typically parochial setting, Jonathan Biggins’ Australia Day offers a look at who we are today, as communities who have to determine our identities, and assert them.

We are not a homogeneous entity, of course, and in the council chambers where much of the action takes place, we observe the operations of power, as diverse attitudes wrestle to find acknowledgement and representation. There are conservative personalities who wish for symbols of the past to be given prominence, left-wing types who want to disperse bandwidth so that all creatures great and small are covered, and also those who care little either way.

Biggins’ humour is familiar and warm, although its restraint can often seem redundant, for a comedy that concerns itself with arguments surrounding political correctness. The social commentary in Australia Day is pertinent and accurate, but the plot lacks surprise and the predictability of its characters takes us to a conclusion that feels anti-climatic and slightly banal.

The show is however, an enjoyable one. Directed by Louise Fischer, conflict between personalities is deftly portrayed, for an amusing self-deprecating look at our systems of local government. Keeping us involved, are accomplished performances by actors such as Les Asmussen who, in the role of Wally, reveals so much about the regressive elements of our society, funny but acerbic in his authenticity. Also memorable is Alice Livingstone as Maree, a representative from the Country Women’s Association, who manages to bring on the laughs in spite of a thinly penned part.

National celebrations are always problematic, and absurd. We are required to adopt narrow definitions of things and conform to ideologies that are mostly personally irrelevant. It is noble to place society before self, but as long as the collective is unable to be inclusive of everyone, improvements must always be sought. Whenever our identity markers are anything less than universal, deeper thought must be applied.

www.newtheatre.org.au

Review: Silent Night (Darlinghurst Theatre Company)

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Venue: Eternity Playhouse (Darlinghurst NSW), Nov 10 – Dec 10, 2017
Playwright: Mary Rachel Brown
Director: Glynn Nicholas
Cast: Amanda Bishop, Richard Sydenham, Aaron Glenane, Michael Denkha
Image by Brett Boardman

Theatre review
It is Christmas in the suburbs of Sydney, and the Lickfolds are freaking out, because of course, there is just so much to be done. In Silent Night by Mary Rachel Brown, we take a look at our behaviour during what is meant to be the most sacred time of the year. We may not be a religiously homogeneous nation, but the silly season of December insists that we all act at a surprising degree of uniformity.

Australians take Christmas seriously, but rarely for the right reasons. In the Lickfold household, an occasion for charity and goodwill is turned into an opportunity for exacerbated narcissism and magnified paranoia. Anne wants at all costs, to win her neighbourhood’s annual competition for the best decorated house and yard. Her husband Bill’s doomsday preparations are at fever pitch, fuelled by the incessant talk of diversity, in politically correct representations of Jesus’ birth on rooftops, and other places. Their son Rodney is determined to get in the way of everything; even at Christmas time, he refuses to share his parents’ attention with anyone, God included.

It is a moralistic tale, predictable in its messaging although imaginatively conceived. Clever ideas abound in Brown’s play, but they are not presented well. Its comedy is relentlessly laboured in the first half, and when things get serious later on, its dialogue turns confusing. Director Glynn Nicholas makes sure that we know when punchlines are delivered, but moments of genuine laughter are few and far between. There is no doubting the grace and spirit that motivate the creation of Silent Night, but intentions on their own are rarely insufficient.

Production design is competently rendered, as are performances from the cast of four. Energy and conviction are delivered in spades; we see the actors work hard, and their determination to keep us engaged is, to some extent, effective. Richard Sydenham impresses as Bill, animated and precise in his approach, able to communicate a hint of complexity that is absent from other characters.

It is true that Christmas makes our ugly sides more pronounced. When we compare our lives to the best of the Bible’s stories, we can only see beings contemptible and profane. All the wasteful decadence and hollow frivolity that inevitably take over our celebrations of that sacred dawn, expose our values to be no more than utterly dismal. We are not bad people, but when we are careless, there is little than can differentiate us from the scum of the earth.

www.darlinghursttheatre.com

Review: Plastic (The Old 505 Theatre)

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Venue: Old 505 Theatre (Newtown NSW), Oct 31 – Nov 18, 2017
Playwright: Mark Rogers
Director: Sanja Simic
Cast: Nick Bartlett, Hannah Goodwin, Harry McGee, Douglas Niebling, Michelle Ny
Image by Carly Young

Theatre review
When we first meet Franz, he seems nice enough. A young scientist excited for the opportunity to discover wonderful things about the universe, he soon gets absorbed into the big machine of corporations, academia and the fourth estate, and idealism turns corrupt, as the golden boy attempts to carve out a name for himself in Mark Rogers’ Plastic.

Having little more than Franz’s personal reputation and career at stake, the context is admittedly dry, but although not a particularly moving story, Plastic is written with remarkable inventiveness and nuance. Its dialogue is consistently amusing, and the playwright’s theatrical flair concocts a range of characters that come readily to life on stage.

Sanja Simic’s exacting and energetic direction makes for a marvellously captivating show. We may not care very much for Franz’s predicament, but we find ourselves nonetheless fascinated, and thoroughly entertained by the production’s clever presentation of sequences that reveal its plot.

The spirited cast of five has a whale of a time, and we go along gleefully with their infectious exuberance. Their work is impressively well-rehearsed, and each actor demonstrates a thrilling sense of passionate conviction, along with an arresting fastidiousness required of the script. The charming Nick Bartlett keeps us attentive to Franz’s narrative even as the character proves himself to have few redeeming features. The roles are not particularly likeable, but there is no resisting the charm offensive from these players.

We often worry about our art being stifled by commercial forces, but in Plastic, we see that things are no different for those working in the field of science. Instead of discovering and cultivating the best that one has to offer the world, individuals pursue only things that promise reward and glory. With our eye on the prize, as it were, we lose sight of the bigger picture, and of greater possibilities. Innovation pertains to that which is yet unknown, but if we focus only on results already predetermined, progress will forever be suppressed.

www.bodysnatcherstheatre.com

Review: Hijacked Rabbit (Jackrabbit Theatre)

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Venue: Blood Moon Theatre (Potts Point NSW), Oct 31 – Nov 11, 2017
Playwrights: Emma O’Sullivan, James Sweeny, Lincoln Vickery, Jane Watt
Directors: Michael Abercromby, Charlotte Devenport, Lincoln Vickery
Cast: Michael Abercromby, Elle Harris, Zoe Jensen, Emma O’Sullivan, Adam Sollis, Seamus Quinn, Jane Watt
Image by Clare Hawley

Theatre review
Hijacked Rabbit features 4 separate hour-long comedies, each with its own style and characteristics. The plays are individually surprising, although some are funnier than others, and not all are equally meaningful. A matter of personal taste would determine how an audience member responds to the varying comedic approaches, but this is an amusing collection of ideas, presented with infectious enthusiasm.

The one-woman piece Gate 64, written and performed by Jane Watt, sees Winnie, who resides at an airport, talking to her captive crowd, comprised of passengers awaiting a delayed flight. Exploring delusions and memories, fantasies and hopes, Watt demonstrates impressive talent in both artistic capacities. As playwright, she is witty and gently profound, and as actor, she is simultaneously sensitive and daring, tremendously likeable as a result of the extraordinary vulnerability she brings to the role.

Watt again appears in Orange Is The New Crack by James Sweeny, accompanied by equally funny players Michael Abercromby and Zoe Jensen, for some excellent scenes of hilarious tomfoolery. It is this accomplished trio that takes us through the delightfully messy story from ancient times, of sugar-peddling women, their junkies and other dependants.

Although not always executed with finesse, the plays prove themselves to be fantastically imagined. Hit by Lincoln Vickery is a dynamic, fast-paced story about hit men and gay love. It’s Mars Time by Emma O’Sullivan is inspired by the troubles of our times, and the desire to flee this anguished existence.

Each segment of Hijacked Rabbit offers moments of brilliance, and we are enchanted whenever a glimmer of genius is revealed, within these rambunctious, jaunty proceedings. It is the raw talent on show that has us excited, and on this occasion, proves itself to be more than satisfactory.

www.jackrabbittheatre.com

Review: Ghosts Of Glebe (Jetpack Theatre Collective)

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Venue: Streets of Glebe (Glebe NSW), Oct 31 – Nov 11, 2017
Curators: Emilia Higgs, Kirsty McGuire
Cast: Gabby Florek, Nicole Archer, Chloe Leathlan-Higson, Kipp Carina, Tim McNaught and Elliot Ulm

Theatre review
The entire experience is disguised as a “ghost tour”, and we quickly forget that our tickets had originally been acquired, for a theatre production. Ghosts Of Glebe works best when we submit to the fantasy, and actively participate in the creation of its narrative. The more we are able to behave and react like tourists, the greater its results.

We walk the streets of Glebe, rich with a history of murders, accidental deaths, and spooky stories. The spine tingles, in spite of our better judgement. Things get eerie, when our minds fail to decipher fiction from reality, but we relieve the tension when the inevitable sense of awkwardness starts to make us giggle.

It is a well-conceived production, although less eventful sections of the plot do feel lacking in imagination. There is wondrous use of space; Glebe at night is beautiful, and the theatricality that is wrapped around its topography, is highly enjoyable, if unconventionally brief.

Theatre is group activity, but in the West, we are used to it being the most passive of adventures. Ghosts Of Glebe offers an opportunity for our involvement to go slightly beyond the usual “sit back and wait”, and like in the rest of life, it is when we are willing to put in the effort, that the rewards become even more gratifying.

www.jetpacktheatre.com

Review: Atlantis (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Oct 28 – Nov 26, 2017
Playwright: Lally Katz
Director: Rosemary Myers
Cast: Paula Arundell, Lucia Mastrantone, Amber McMahon, Hazem Shammas, Matthew Whittet
Images by Daniel Boud

Theatre review
Lally Katz’s Atlantis is an autobiographical fantasy. It sprouts from the personal and authentic, then leads to something entirely imaginary. Lally, the protagonist, is consumed by anxiety, when at 35, she finds herself single and childless. We follow her on an odyssey that takes her from Sydney, to the USA’s east coast; an eventful, wacky journey that comprises a string of amusing characters and incidents. Lally goes through many discoveries, fuelled by a desperate search for love, or at least a husband and a baby.

It is not a quest that all will find persuasive. The deliberately silly scenes in Atlantis are certainly a lot of whimsical fun, but the central disquiet that motivates all the action seems too trivial, perhaps even narcissistic, to allow us to invest in a meaningful way. Through the plot, Lally comes in contact with more worthy concepts, of climate change, of poverty and of mortality, but they affect her only momentarily. We can all see that her problems diminish in significance as time passes, but nonetheless, Lally persists. She must find a man to fall pregnant with, or she simply cannot go on.

Amber McMahon plays a juvenile, although very likeable, version of the playwright. As though in a pantomime, McMahon’s exaggerated effervescence proves to be captivating, as she keeps us attentive through the highs and lows of Lally’s stories. The production is unquestionably humorous, directed by Rosemary Myers with a relentless sprightliness that offers entertainment and laughter, even when the narrative turns tiresome. Four other actors are called upon to perform a big roster of small roles, and they are all remarkable. The infinite versatility of the ensemble astounds us, with what they are able to achieve through sheer inventiveness. Also noteworthy are Damien Cooper’s lights and Jonathan Oxlade’s set, creating exciting images full of colour and movement, increasingly mesmerising as the show turns hopelessly hallucinatory.

Like in all our lives, the promise of a utopia propels the action in Atlantis. We need to believe in something, like that pot of gold at the end of a rainbow, in order that we can set ourselves in motion, so that we can fill time with meaning. Lally Katz does so much in the play, through all its scenes of mischievous adventure, but we see her being neglectful of each moment, keeping her mind focused instead on a puerile objective. When there is joy surrounding us, we must take notice and take pleasure in it. Better days will come, but understanding that they have a propensity to surprise us, and learning to see the signs that wish to evolve us, is how we can experience the magical unpredictability of this existence.

www.belvoir.com.au

Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre
Atlantis 2017 Belvoir St Theatre

Review: Give Me Your Love (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Oct 31 – Nov 4, 2017
Playwright: Jon Haynes, David Woods
Director: Jon Haynes, David Woods
Cast: Jon Haynes, David Woods

Theatre review
Not only is Zach trapped in his room, he has resolved to stay inside a cardboard box, never to emerge. Jon Haynes and David Woods’ Give Me Your Love portrays life after war, for a Welsh soldier suffering from Post Traumatic Stress Disorder. Although wildly imagined, the work never deviates from a sense of authenticity in the way it discusses mental illness. The comedy is clearly outlandish in style, but the scope of its concerns remains faithful to a sense of accuracy, and urgency, in its depiction of a veiled but serious social problem.

It is an enormously witty show, and fantastically inventive, not only with its clever dialogue, but also in the sheer theatricality of what it presents. Jacob Williams’ set design is viscerally affecting, powerfully evocative of spaces in and around our protagonist. Zach’s tattered box is wielded masterfully by Woods, like an oversized mask. In his best moments, we connect in a profound way to the agony being explored, and reach a decent understanding of the difficult psychology and emotions, as experienced by those who live with PTSD. We can see that Zach is being ridiculous, but in quite an inexplicable way, we know what it feels like, to persist with behaviour that makes no sense.

Give Me Your Love relies on our universal need for empathy. The audience is introduced to an extraordinary set of circumstances, but the storytelling touches us intimately, and we recognise Zach’s dysfunction to be fundamentally human. It is also about sacrifice, personal and communal, inevitable and unfortunate. Life does not permit anyone to go through it unscathed. Damage will be done, but it is when we learn to heal the wounded, that we can begin to regain some control.

www.ridiculusmus.com