All Entries Tagged With: "The Addams Family Musical"
“The Addams Family” – WORD OF MOUTH
The Addams Family can’t rely on the critics, so it’s up to the fans of the show to show their support through WORD OF MOUTH.
CLICK HERE to visit the WORD OF MOUTH post. Scroll to the bottom and click “Comments” to share your thoughts or experiences of “The Addams Family” on Broadway, and to read others’ experiences.
“The Addams Family” A Critic-Proof Smash
This is a pretty long article, but it’s so good that I have to post it in it’s entirety. I found these excerpts to be of particular interest to fans of the show:
“…the musical has grossed $6.5 million in five weeks… and the producers are already planning a multicity national tour.”
“…(the) President of Group Sales Box Office, a major Broadway ticket seller, said …that “The Addams Family” remained the biggest ticket advance of any Broadway show that his company has sold this year.”
A scene from “The Addams Family,” featuring Bebe Neuwirth and Nathan Lane, which opened at the Lunt-Fontanne Theater.
Critics May Rant, but ‘Addams Family’ Rakes It In
By PATRICK HEALY, NY Times
Published: April 13, 2010
The new Broadway musical “The Addams Family” opened Thursday to the sort of scathing reviews that would bury most shows in the graveyard next to the Addamses’ forbidding mansion.
The result: The show sold $851,000 in tickets last weekend on top of a $15 million sales advance, huge figures for a new Broadway run, and all but guaranteeing that it will be hard to snag a pair of good orchestra seats until fall. After five months of well-publicized creative difficulties for the show, this seeming paradox amounts to a theater world version of the golden fleece: the critic-proof smash.
Hollywood, pop music studios and book publishers long ago mastered the art of assembling commercially successful products that critics hate. Theater is different: Only a fraction of shows turn a profit to begin with (about 30 percent on Broadway each year), and expensive tickets, fixed performance schedules and a finite potential audience for most live theater increase the importance of reviews.
Yet “The Addams Family” seems to have cracked a formula that to various degrees made long-running hits of “Jekyll & Hyde,” “Beauty and the Beast,” ”Mamma Mia!” and “Smokey Joe’s Cafe” after being dismissed by many critics. Such shows have tended to attract audiences already fond of their songs or characters.
That formula for “The Addams Family” includes a beloved brand-name title, a famous star, an inoffensive script, echoes of nostalgia and some savvy commercial judgments. The producers chose a theater with an unusually large number of orchestra seats, many of which they can sell at premium prices that top out at $300 apiece. And, in an unusual move for Broadway, they recruited five regional theaters as producing partners, spreading the financial risk while also having access to their subscribers and to those theaters for a national tour.
Kevin Chamberlin as Uncle Fester and Jackie Hoffman as Grandma performing onstage in “The Addams Family.”
While the creators promised to base the musical on Charles Addams’s mordantly sophisticated cartoons in The New Yorker, they ended up adding the theme song of the “Addams Family” television show for the audience to snap-snap along with before the curtain even goes up. In hopes of improving the show between a Chicago tryout and its Broadway run, they also added broad, sometimes goofy touches like a toupee-wearing Uncle Fester and a Grandma dressed like a Red Cross nurse — images that make some people laugh, but belie the darker spirit of the Addams cartoons for others.
The producers also built a marketing campaign that would cover all the bases, using images that would remind people of the cartoons, the television show, and the “Addams Family” movies. And the casting of Nathan Lane to play the paterfamilias Gomez, through at least next March, has been especially important to the musical’s fortunes, according to several theater producers not affiliated with the show, given that he is a popular actor with both theater- and film-goers.
“If Nathan Lane is in anything you already have my money in the till, and I imagine that there are thousands of others who feel the same,” said Michael Ritchie, artistic director of the Center Theater Group in Los Angeles, which is not associated with “The Addams Family.”
Whether the musical — which cost $16.5 million to mount on Broadway — can flourish without a well-known star like Mr. Lane is among the factors that will determine whether the show endures as critic-proof. Based on 26 major reviews for “The Addams Family,” including one in The New York Times, the theater Web site Stagegrade.com gave the show a median grade of D+. For now, however, the musical has grossed $6.5 million in five weeks — more than current hit musicals like “A Little Night Music,” “Billy Elliot,” “West Side Story” and “Wicked” did in their early weeks — and the producers are already planning a multicity national tour.
“We sought to create a musical that was not only very funny, but also surprised the audience by proving to be touching as well,” Roy Furman, one of the lead producers of the show, said in an interview by e-mail. “We are delighted that audiences have responded so strongly, as evidenced by nightly ovations, and word of mouth, which has sparked advance sales.”
Four years in the making, “The Addams Family” had a pre-Broadway tryout in Chicago last winter, drawing huge crowds but mixed reviews from critics there. Those reviews prompted Mr. Furman and the other lead producer, Stuart Oken, to hire the veteran Broadway director Jerry Zaks to take over the show from its two directors, the Broadway newcomers Phelim McDermott and Julian Crouch, and ostensibly fix “The Addams Family” before opening in New York.
Playbill.com’s Cue & A with Krysta Rodriguez
PLAYBILL.COM’S CUE & A: Krysta Rodriguez
By Ernio Hernandez
13 Apr 2010
Krysta Rodriguez — currently appearing in the new Broadway musical The Addams Family — fills out Playbill.com’s questionnaire with random facts, backstage trivia and pop culture tidbits.
Full given name: Krysta Anne Rodriguez
Hometown: Orange, CA
Zodiac sign: Leo
Audition song: “Hallelujah” (Leonard Cohen, not the “Hallelujah Chorus.” People get confused.)
First Broadway show ever saw: Fiddler on the Roof, 1990
If you could go back in time and catch any Broadway show, what would it be? Original Production of Sweeney Todd
Current show you have been recommending to friends: Next Fall! Go see it!
Favorite show tune: The entire score of Children of Eden, “Losing My Mind” from Follies, “Pulled” from The Addams Family (no joke).
MAC or PC? I was a firm PC person my entire life, but when the last one crashed, I finally broke down and got the MAC. I’m a full convert.
Last book you read: “The Help” by Kathryn Stockett. It’s only in hardcover, and it’s 464 pages but it’s totally worth it.
Must-see TV show: “The Office” (American version). I know this is going to cause controversy, but Steve Carell is so brilliant that I will stand behind it no matter what.
Favorite board game: Ask anyone who knows me, I’m a MAJOR gamer. Catchphrase, Running Charades, Celebrity, Cranium, all of these are golden.
Pop culture guilty pleasure: Reality TV. I think you can learn a lot about acting from watching real people in extreme situations. Human behavior is so fascinating when challenged.
First stage kiss: I was playing Marian in The Music Man in high school, and I had to kiss Harold Hill. It was my first stage kiss and his first kiss ever! We had to choreograph it very specifically so that it didn’t look too awkward.
Favorite post-show meal: Spicy Chili Chicken Cup o’ Noodles. So classy.
How you got your Equity card: Playing Helen in Bye Bye Birdie at Encores! One of the most fun experiences and my first New York gig!
Worst onstage mishap: During our out-of-town Chicago tryout, Wes Taylor (who plays my boyfriend Lucas in The Addams Family) and I were finishing our duet, “Crazier Than You.” Near the end of the song, he’s supposed to run to me and we finish the song and kiss. Before he can start to move to me, the scrim starts coming down in between us! Just as I resign myself to the fact that I’m not only going to finish our love duet alone but also be stranded onstage, Wes dove under the scrim stomach first, narrowly missing being crushed by the scrim and STILL SINGING! He says he felt like a baseball player — I say he looked like Shamu coming up onshore. The best part about it was the audience reaction. They honestly thought it was part of the show but that it was a bad choice. The confused applause was hysterical.
Favorite junk food: Flaming Hot Cheetos
Who would play you in the movie? Probably one of the girls from the new “90210.”
TV or commercial gig you most enjoyed: I did a guest spot on “Gossip Girl,” which was very fun. I made out with Chase Crawford, and I still get middle-aged women who come up to me and ask how it was.
Leading lady role you’ve been dying to play: Sally Bowles in Cabaret.
Your favorite Halloween costume: Last year a group of friends from The Addams Family cast, my boyfriend Noah Weisberg and I were the cast from “The Rachael Zoe Project.” I was Rachael, Noah was Roger, Clark Johnson was Taylor, Charlie Sutton was Brad and Samantha Sturm was their sad assistant Jordan. We looked SPECTACULAR. We definitely “shut it down.”
Hoda and Kathie Lee Show “The Addams Family” Some Love
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Opening Night of “The Addams Family” Musical
Opening Night … in pictures, courtesy of broadwayworld.com
Critics Aren’t Raving, but Audiences Love The Addams Family!
Yes, it is every producer’s goal to win the approval of the critics, but ultimately it’s up to the “real” people, the audiences, the ticket purchasing public to make or break a show. And from what I’ve read, audiences are LOVING the kooky Addams Family musical. And at the end of the day, isn’t that what makes a successful show - audiences that walk out of the theatre smiling and humming and happy? So if the creative team of the Addams Family musical can’t rely on the critics, then it’s up to the fans to show their support through WORD OF MOUTH.
Below is the “Word of Mouth” Review from Broadway.com, where REAL people review the show.
If you’ve seen the show, or just want to offer your support of the show, please leave a comment here and let the world know how you feel about The Addams Family on Broadway. And if you have pictures you’d like to share, please e-mail them to afblog@comcast.net, and I’ll get them put up here.
(Comments are threaded, so you can leave a “stand alone” comment, or reply to someone else’s comment.)
Hoffman Finds It A Snap To Tap Into Her “Inner Crone”
from the NY Daily News, Friday, April 2
BROADWAY ACE JACKIE HOFFMAN GOES WHOLE HAG FOR THE ADDAMS FAMILY
BY Leah Chernikoff
DAILY NEWS WRITER
Keivorn.News, Joan Marcus, Jackie Hoffman transforms into Grandma Addams 8 times a week for "The Addams Family."
Not all New Yorkers spend every moment trying to appear their youngest and prettiest.
Eight times a week, actress Jackie Hoffman concentrates on looking her absolute worst, most ancient and freakiest.
It’s all in a day’s work to play Grandma in “The Addams Family.”
The new musical about the endearingly kooky, ooky, spooky clan known from Charles Addams’ cartoons, the 1960s sitcom and big-screen comedies opens Thursday at the Lunt-Fontanne Theatre.
To act up as the herb-brewing, fortune-telling granny, Hoffman does a reverse Benjamin Button routine in her dressing room.
“She has to look 102,” says Angelina Avallone, head makeup designer for the show, which stars Tony winners Nathan Lane and Bebe Neuwirth as Gomez and Morticia.
“We’re painting age on Jackie.”
“Sadly, it doesn’t take that long,” says Hoffman, 49, one of the city’s funniest comic actresses, who’s known for her work on stage in “Hairspray” and “Xanadu” and on film in “Kissing Jessica Stein.”
Bebe Neuwirth Thrilled to be Playing Morticia
Bebe Neuwirth Revels in Playing the Macabre Matriarch in The Addams Family
By Beth Stevens,
BroadwayWorld.com
If you expect to encounter someone uptight and humorless when meeting Bebe Neuwirth, you will be surprised. She is not half as harsh as the characters she plays. With her loose curls (as opposed to the tight bun her character Lilith wore on Cheers and Frasier and the severe black wig she sported as Velma Kelly in Chicago) and easy laugh, the two-time Tony winner looks fresh and relaxed and she sips a Diet Coke on a chaise in her dressing room at the Lunt-Fontanne Theatre. It’s obvious that the recent newlywed is reveling in her return to Broadway in the deliciously fitting role of Morticia Addams in The Addams Family. The new musical, in which Neuwirth stars opposite Nathan Lane, opens on April 8, 2010. The actress took time out of her busy schedule of rehearsals and previews to chat with Broadway.com about being a dancer first and foremost, imagining how cartoonist Charles Addams’ macabre matriarch might move and the possibility of a wardrobe malfunction.
You seem born to play this role.
I have loved this character ever since I was a kid. I think I probably was exposed to Morticia via the sitcom first because I was a little girl in the ‘60s and watched it. Then sometime when I was a kid, I also saw the cartoons, so it’s thrilling for me to play this part that I’ve always wanted to play.
Did you look at the original Charles Adams cartoons a lot as you thought about playing Morticia?
Yes, I did. I tried to see what I could emulate about her physicality and what I could find that is useful in informing me of who she is. A lot of actors work from the inside out, but I think—probably because I’m a dancer first—that I’m an actress who works from the outside in. Frequently—not always. In the case of Morticia, I think it’s been very helpful to me to see how she sits and how she holds her arms [in the cartoons]. It makes you wonder how she would move.
Merwin Foard Happy To Be “The Guy Who Isn’t Nathan Lane”
Foard (left) starred as Lancelot in a regional production of Camelot with Terrence Mann (right) as Arthur. Mann, who originated the role of Javert in Les Misérables on Broadway encouraged Foard to audition for the role.
Broadway’s #1 Backup Plan
Written by Bryan Reesman
Mar 23, 2010
Merwin Foard keeps going on Broadway by making sure the Broadway show goes on.
He has had one of the most enduring and consistent Broadway careers of the last three decades, yet Merwin Foard may not be the most recognizable face on the Great White Way. The reason is simple: While Foard has performed his fair share of supporting roles and ensemble work, he is now regularly a standby or understudy for leading parts. He’s the one waiting in wings in case the lead happens to fall ill or cannot perform for any reason, occasionally balancing that with ensemble parts. His fourteenth and latest Broadway gig is as both Nathan Lane and Terence Mann’s understudy for The Addams Family, which recently opened in New York after an out-of-town run in Chicago. Foard has become Broadway’s seasoned back-up man, and he has fashioned a career from this unusual position.
Rebecca and Merwin Foard
Throughout the last decade Foard has landed a mixture of ensemble, understudy and replacement supporting roles in shows like The Little Mermaid, Assassins, Sweeney Todd and Kiss Me, Kate. As he will readily attest, it’s a fun life. Prior to The Addams Family invading the Great White Way, Foard spoke to Stage Directions about his history, the twists and turns of his highly unusual career path, juggling professional work with family time (he is married with two daughters, aged 11 and 16) and how he has sustained and evolved his craft over three decades.
Stage Directions: You’ve been an ensemble player for many shows, and you are the main understudy on Broadway lately.
Merwin Foard: I’m like the main second guy on Broadway. This is the third show I’ve been a standby for which I’m not in the ensemble. I’m a peripheral person on a contract, but if the star is down I’ll step in for them. Before Addams Family was the Sweeney Todd revival where all the actors played instruments, and before that was the Kiss Me, Kate revival, where I stood by for Brian Stokes Mitchell and Ron Holgate. Nathan Lane and Terrence Mann, who I standby for in Addams Family, are my 24th and 25th actors who I have either stood by for or understudied on Broadway.
Ultimately, what is that experience like?
Carolee Carmello Shares Her Cozy Addams Family Digs
from Broadway.com
Carolee Carmello, the flame-haired two-time Tony nominee, certainly knows how to make herself at home in a Broadway dressing room. The constantly working actress has inhabited a series of them in such diverse shows as City of Angels, Falsettos, 1776, The Scarlet Pimpernel, Parade, Kiss Me, Kate, Urinetown, Lestat and multiple stints in Mamma Mia!. Now Carmello has moved into a rosy (“the color is calming,” she notes) dressing room at the Lunt-Fontanne Theatre, where she is appearing as Alice Beineke, an uptight suburban mom at odds with the kooky, macabre family of the title, in the new musical comedy The Addams Family. The performer welcomed Broadway.com to her girly digs to show off five of her favorite personal items. Take a look!
“I included my wig [on this list] because whenever I am trying to figure out a character or work on a new part, the hair is always the key for me. Even from the very first audition, I like to figure out what the hair is going to be. Everything falls from the hair. I work from the outside in.”
“My family photos are here to remind me of the most important part of my life. They put everything into perspective.” [Pictured: Broadway actor Gregg Edelman and children Zoe and Ethan.]
“My laptop is my entertainment when I am offstage during the show: I like to play Scrabble and check my email. Right now, I am helping to work on a new website: www.caroleecarmello.com, which is launching in April, so I’m using it for that, too.”
“My running shoes are important because on these long days at the theater, I like to go running on my dinner break. It clears my head and forces me to use my dinner break for more than just eating dinner.”
“I made this silly, little table skirt about 11 or 12 years ago when I was doing 1776 at the Gershwin, and I’ve used it in all my dressing rooms since then. It’s kind of sentimental, but it also makes for great storage and hides a myriad of sins.”
Grammer and Neuwirth To Announce Noms For 76th Drama League Awards
The Drama League announced yesterday that “Cheers” and “Frasier” stars Kelsey Grammer (La Cage aux Folles) and Bebe Neuwirth (The Addams Family)will reunite to announce the nominations for The 76th Annual Drama League Awards.
Grammer and Neuwirth will announce the nominations at an 11 a.m. press conference on Tuesday, April 20, 2010 at Sardi’s Restaurant in midtown Manhattan. Video coverage of the press conference will be streamed live on the Internet at the drama league website, and on broadwayworld.com.
This spring, Kelsey Grammer returns to Broadway as Georges in the revival of La Cage aux Folles, opening April 18 at the Longacre Theatre on West 48th Street. Two blocks south, Bebe Neuwirth stars as Morticia Addams in the new musical The Addams Family, now in previews in advance of an April 8 opening at the Lunt-Fontanne Theatre.
As previously announced, The 76th Annual Drama League Awards Ceremony and Luncheon is set for Friday, May 21, 2010 in the Grand Ballroom of the Marriott Marquis Hotel in Times Square (1535 Broadway at 46th St.). The event begins at noon.
Joe’s Pub A Hot Spot on May 3rd for Addams Family Fans
Kevin Chamberlin
At 9:30, two-time Tony nominee Kevin Chamberlin (Uncle Fester, The Addams Family) will offer Kevin Chamberlin and Friends Present: Broadway Sings TV . The show, which will benefit Broadway Cares/Equity Fights AIDS, will spotlight Chamberlain and other theatre performers singing TV theme songs from the 60s through the 90s.
As if that weren’t enough, following that show…..
Mitch Jarvis, Krysta Rodriguez, Wesley Taylor, Lauren Molina and Matt Doyle
THE ADDAMS FAMILY’s Wesley Taylor (Lucas Beineke) brings ‘Wesley & Friends’ to the stage at 11:30. Joining Wesley will be AF co-star Krysta Rodriguez (Wednesday Addams), along with friends Matt Doyle (Spring Awakening, Bye Bye Birdie), Mitch Jarvis (Fiddler on the Roof, Rock of Ages), and Lauren Molina (Sweeney Todd, Rock of Ages). The concert will feature pop tunes, show tunes and original tunes.
Joe’s Pub is located at 425 Lafayette Street, New York, NY. For ticket information, call (212) 539-8778, or click here to visit their web site.
Watch Krysta Rodriguez and Wesley Taylor on Seth’s B’way Chatterbox
On Thursday, March 18, Krysta Rodriguez and Wesley Taylor were guests on Seth Rudetsky’s live show, Seth’s Broadway Chatterbox. See the show here, courtesy of BroadwayWorld.com:
USA Today’s Video Interview with Bebe Neuwirth and Nathan Lane
USA Today has a video interview up with THE ADDAMS FAMILY stars – Nathan Lane and Bebe Neuwirth:
Wanna Know How Nathan Lane Refers to Michael Riedel?
New York magazine chats with Bebe Neuwirth about her thoughts on The Addams Family experience; and reveals co-star Nathan Lane’s “pet” name for Post theatre columnist Michael Riedel:
Her Kooky Destiny
As Morticia Addams, Bebe Neuwirth is hoping for a perfect fit
I gave a lousy show last night,” Bebe Neuwirth says about fifteen minutes into a chat in her dressing room at Broadway’s Lunt-Fontanne Theatre. It seems she fell victim to the storied theater curse that is the “second show,” in which, as Neuwirth explains it, the relief of nailing a part in the first performance before a paying audience leads to a deceptively difficult following night. “It’s a trade secret,” she says. When I note that the cheering audience didn’t seem to notice, Neuwirth immediately regrets her candor: Leaning into the digital recorder at her knee, and with a pointed look in my direction, she says, “I don’t want anyone to tell them I had a bad show!”
Sorry, but what might in another context serve as a cheap gotcha provides a humanizing moment for Neuwirth, who, in her 25 years in show business, has excelled at the stylized and remote. As shrink Lilith Sternin on Cheers, she etched pop culture’s platonic ideal of an ice queen. Her 1996 Tony-winning turn in Chicago as Velma—little black minidress, big red lips, blinding white skin—was an equally iconic take on a brassy Broadway siren. Her current role, as Morticia, in the new, $16.5 million musical adaptation of The Addams Family (opening April 8), finds Neuwirth back in signature pallor and basic black. Although the production is based on Charles Addams’s macabre drawings for The New Yorker, the 51-year-old Neuwirth took the part because of a childhood infatuation. “Marshall Brickman called me up to say he’d written this musical, The Addams Family, and I just about screamed because I loved Carolyn Jones. Her Morticia [on the mid-sixties ABC sitcom] was really an archetypal character. As a child, I wanted to embody her qualities.” Wry, stoic, and smarter than her hot-blooded mate (John Astin’s Gomez), TV’s Morticia was a dark prefeminist outlier in a TV landscape known more for the va-va-voom vacuity of Ginger, Mary Ann, and Jeannie. “She wasn’t even part of that competition,” says Neuwirth. “She was doing her own thing. Who knows what that inner life of hers was, but she was hip. You know, I think Rhea Perlman’s character on Cheers once referred to me as Morticia.”
There is a certain Shelley Duvall–playing–Olive Oyl inevitability to Neuwirth’s latest role. “From the very top of the show, the audience sees Bebe and they go, ‘That’s Morticia,’ ” notes composer Andrew Lippa (The Wild Party). “It’s like that feeling you get watching Barry Bonds at the plate; this fantastic moment where it looks like it’s going to be great … and then it is great. And boy is that satisfying.”
This being Broadway, there’s the usual tabloid gossip of backstage bickering between Neuwirth and her Gomez, Nathan Lane. “I was told Cindy Adams reported that we had a frosty relationship,” says Lane. “And then [Post theater columnist] Michael Riedel—or as I like to call him, Rosemary’s Baby—picked up on that. The most shocking thing about that is that Cindy Adams is still alive. God bless her, still trying to stir it up, and I wish her well. But it couldn’t be further from the truth.” As Neuwirth puts it, “I think we both have a nice, healthy dose of diva. But we also do really go together. You’ve got the little clown running around, and you have a very still, dry person. That’s a fun pairing.”
Neuwirth’s last extended appearance on Broadway was a second go-round with Chicago in 2006, that time as Roxie. Since then, she’s mostly been offered TV roles. But she finds regular series work, like her two short-lived Dick Wolf dramas Deadline (2000) and Law & Order: Trial by Jury (2005), too ponderous. “It’s the waiting around and the long hours on set,” says Neuwirth. “I’m a dancer first, and a very physical person. Even Cheers was difficult for me, and that’s one of the best shows ever.” On the other hand, scripts were not “piling up outside my door … and being middle-aged makes it exponentially harder to find a role. I don’t fit into the wives, mothers, and housewives stereotype.”
Unless it’s the sort of wife and mother who wears black gowns slit to here and dominatrix boots up to there. (The boots were Neuwirth’s contribution to Morticia’s costume, revealed to thunderous audience approval.) It’s been nearly two years since the actress did her first Addams Family table read. After a commercially boffo but critically so-so holiday-season tryout on the road, the production has been, depending on whom you ask or read, tweaked, reshaped, or overhauled. And that’s especially true of Morticia. The show’s plot has a smitten Wednesday (Krysta Rodriguez) rejecting her parents’ eccentricity in the hope of marrying a milquetoast small-town boy, spurring a conflict that leaves Morticia feeling old and irrelevant. In the harshest of the out-of-town reviews, the Chicago Tribune critic Chris Jones noted that Neuwirth “looks like she’s not having much fun.” Neuwirth was stung by the comment but doesn’t necessarily disagree: “In that production, Morticia was deeply, deeply unhappy from the middle of the first act through the end of the show.”
“That’s not a fun thing to play,” says Lane, “and it kind of undermined the character.” The creative team, he adds, “had to find a wittier way of dealing with it and not make it her main story line.” That, presumably, is part of the job of multi-Tony-winning director Jerry Zaks, who was brought in at the end of last year to consult with the show’s designer-director team, Julian Crouch and Phelim McDermott (Shockheaded Peter). Songs have been cut, others are still coming; Neuwirth is getting an upbeat number that will help tip Morticia away from concerned mom and back toward vamp. “My forte is restrained sarcasm and a certain kind of bearing, which is what Morticia has also, so it’s a good match. But the character wasn’t served as well as she could have been—the part stressed panic,” says Neuwirth, pointing out that Morticia doesn’t do panic. “The show’s getting better all the time, but I don’t think it’s quite right yet. I’m awaiting more wisecracks.”
