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Sell/Buy/Date: Resume Writer Mode Please

Sell/Buy/Date: Resume Writer Mode Please

Sarah Jones

The audience members around me are excited. They chat to me about Sarah Jones, and praise her last piece, the Tony Award winning Bridge and Tunnel presented on Broadway in 2006. I become equally excited and intrigued because of their chatter, as I am one of the sad few who didn’t have a chance to see this show over at the Helen Hays Theatre. They tell me I will be amazed at how incredible she is in flipping from one fleshed out character to another, and how smoothly and quickly she does it. I will attest to you right now that all this praise is absolutely true and on display here in Sell/Buy/Date. In abundance.

Sell/Buy/Date Manhattan Theater Club Stage l Sarah Jones Directed by Carolyn Cantor

Each one of her many multicultural portrayals are brilliantly detailed in mannerisms, accent, and body language, while also being very real and moving in content. I was especially struck by the older woman character, as I watched Jone’s hands shake in a manner that was so true and real, I was blown away. But, or should I say, BUT, these characterizations are just the tip of the iceberg in regard to where the true artistry lies is this dazzling new work. Her power and genius is based more on what this assortment of characters are saying, much more then what they are doing or how they speak.

I give Jones total kudos for broaching this difficult subject and tearing it apart on so many levels. It’s a theatrical dissertation on the cultural impact of the sex worker industry and with women working in the sex industry, at the same time showing her mind blowing ability to transform herself into numerous souls telling us their stories. Teaching us through story telling. Inspiring us by being inspired by another’s real life experiences. Enlightening and engaging us while being entertained.  All of this vividly presented to us by a futuristic professor giving a lecture on the history of sex workers in America in the 20th century, using a new technology called BERT, Bio-empathetic resonant technology, “so people in the future will be able to feel my experience–and my memory”. The set up, thanks to director Carolyn Cantor is instantly engaging, well choreographed, perfectly designed (Scenic/costume design-Dane Laffrey; lighting design-Eric Southern; sound design-Bray Poor) and extremely smart. A standing ovation for all those souls on the stage, and for all those who’s lives she speaks too. My hope is that it reverberates throughout our world and our time, into the hearts and minds of all inspiring change and discussion.  This upcoming election is showing us how important such dialogue is in America, and I only hope Jones continues in her educating of us all.  She deserves a PhD for this work.

 Sell/Buy/Date: Manhattan Theatre Club, NY City Center, 131 West 55th St. until Nov 20th.
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Off Broadway

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to

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