![]() What : Jest a Second, a rollicking farce by James Sherman. ![]() Even bigger and funnier surprises are in store during Act 2. Abe and Miriam instantly like this Randy, and the party is a great success, ending with Sarah going into labor.Īnd that’s just the first act. Bob volunteers to talk to “her” outside and moments later reappears dressed in drag, pretending to be Randy. But when the doorbell rings, Joel chickens out and won’t let Randy in. Joel and Sarah’s parents, Abe and Miriam, arrive, looking forward to meeting Joel’s new girlfriend. And Joel, divorced and in a custody battle over his two sons, has picked this evening to come out of the closet to his parents because he knows his homosexuality will be brought up in court. The bigger challenge is that Joel’s date, Randy, is not the nice Jewish girl doctor Joel led his family to believe, but a nice Jewish boy doctor. Simple, right? But Sarah’s brother, Joel, shows up early to tell Sarah what he’s put off telling anybody - he’s gay.īut coming out is not the topper. Here’s the setup: Sarah and Bob, expecting their first child, are hosting a birthday party for Sarah’s mother. ![]() In this long tradition of madcap character-in-drag farces, Pentacle Theatre’s summer comedy, Jest a Second!, opens on July 26. Think Tootsie or Charlie’s Aunt or many a Shakespeare play, and of course, Monte Python’s Flying Circus. Theater and film are replete with great comedies featuring cross-dressing characters. It would be impossible to imagine what American culture would have been like without her.Who doesn’t love a high comedy with a man in drag? Streisand has been, in all, an invigorating artist, not only unique but extraordinary. She can play the madcap Fanny Brice and Dolly, the politically intense heroine of The Way We Were, the sexually abused daughter who becomes a prostitute and a murderer in Nuts, the cross-dressing Yentl who seeks the liberty that men take for granted and women are denied. But Streisand has much greater range than others of this kind, as comfortable in musical comedy as in serious drama. Like Dustin Hoffman and Jack Nicholson, she was one of the new wave actors of the 1960s who broke away from the standard models for movie stars. Streisand pioneered an intense and even passionate singing style at odds with the once prevailing easy-listen manner typified by Ella Fitzgerald and Frank Sinatra. This critical analysis of Barbra Streisand looks past the mainstream show-business principal to deconstruct an artist who is in fact a revolutionary figure. ![]() There is a particular emphasis on body movements, where the book not only deals with body language and the dramatic function of comic gesture, but also with how words confer a kind of poetic and unreal motion to the body. It also sheds light on how comic poets make use of the scenic or imaginary representations of the bodies of those who are targets of political, social, or intellectual satire. This study thus leads to a re-examination of the modalities of comic mimesis, in particular when addressing sexual codes in cross-dressing scenes which reveal the artifice of the fictional body. It also explores how costumes-masks, padding, phallus, clothing, accessories-and gestures contribute to the characters’ visual identity in relation with speech: it analyzes the cultural, social, aesthetic, and theatrical conventions by which spectators decipher the body. After introducing comic texts and comedy-related vase-paintings in the regional contexts, the book considers the generic features of the comic body, characterized as it is by a specific ugliness and a constant motion. The study also aims to refine knowledge of the various connections between Attic comedy and comic vases from Sout Italy and Sicily (the so-called ‘phlyax vases’). Abstract Using both textual and iconographic sources, this richly illustrated book examines the representations of the body in Greek Old and Middle Comedy, how it was staged, perceived, and imagined, particularly in Athens, Magna Graecia, and Sicily.
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