#it's from the Slutcracker

[nonasuch]

Howdy! You ended up on my dash with the beetle wing gown and requested stuff to do in Boston! Related to that, how do you feel about burlesque versions of holiday classics? Because it's Slutcracker time once again and tickets are on sale. Also L.A. Burdick's Chocolate in Harvard Square is good.

Thanks! That is an incredible name for a holiday-themed burlesque show.

(also it looks like @lemondread and I are going to be in Boston from Dec 1-4, if anyone wants to meet up!)

[delightfullysubatomic]

An unfinished and not fully accurate timeline of the NMJ Lads 2000-2012 (Tim-centred tbh)

Summer 2000: Alex goes to Edinburgh with 'How To Avoid Huge Ships'

Academic year 2000-2001: Mark in year ? of uni, Alex in his final year of uni year of uni, Tim has just graduated. Tim decides to do a play because he didn't do one in his final year at uni.

Alex was also doing stand up in another strand of Footlights (I think, idk how it works)

2000 (Cambridge, term 1)- Alex writes a panto of Treasure Island, Tim auditions and gets a role. Performances are late Nov-early Dec. Tim also auditioned for Bouncers by John Godber. He got both roles and fortuitously decided to do the panto.

(I don't think Alex and Tim became close yet)

2001 (Cambridge, term 2) - Tim does the Spring Review (sketch show) and starts to write a bit (was Mark in this??)

2001 (Cambridge, term 3) - Tim and Mark audition to be in the Footlights Summer Tour, which is what Emma Thompson, High Laurie et al did. They perform at Edinburgh and are nominated for Best Newcomer. It's directed by [friend who still directs plays w Tom Basden]

I don't know if the Spring and Summer sketch show / team are/were the same as each other but Tim conflates the whole year into one when telling any stories about it. Not sure either if they figured out about Tim not being a student during the Spring or the Summer.

2002: Tim and Dinky Donk contribute to an EP of Concrete Cow sketch show on Radio 4

Tim and Mark move to London. IIRC Tim moved back to Cambridge after a bit (maybe after losing his job at Hamley’s?), not sure when he moved back to London - suspect 2003/2004 as he’s still doing stuff in Cambridge at that point.

2002: Mark wins the Telegraph Open Mic Award. Tim's stand up career starts and ends in the space of 10 ok to terrible gigs

2003: Making Fish Laugh - Alex’s first solo show (Tim as assistant). Nominated for Best Newcomer

2003: Alex is on Brain Candy on BBC3 (stand up variety show)

2003: Mark and Tim direct the Footlights tour show(?) Starring some future Inbetweeners

2004: Mark's first 24 hour show (Tim as assistant). Mark gets engaged. Mark also does a show with Rhod Gilbert.

2004: Alex's second show Every Body Talks (Tim as assistant)

2004: Tim performs Luke and Stella at Edinburgh

2004: Mark's first novel is published

2004ish: Tim starts writing poems

2005: Alex gets married

2005: Mark does his first solo show and another 24 hour show

2005: Mark is nominated for Best Newcomer

2005: Alex’s third show When in Rome (Tim as assistant)

At some point Tim lives with Alex (and wife?)

2005-2007 (?): Tim performs in Cowards in Edinburgh (they also did it in London and in early days Alex, Mark and Rick Edwards were involved)

2006: Mark wins the inaugural Edinburgh Panel Prize and Time Out Critics Choice Award. He is nommed for the Barry Award (Melbourne)

2006: Mark starts appearing on Mock the Week and other panel shows

2006-2008 (+Xmas 2009): Tim adapts All Bar Luke for Radio 4

2006-2007 Alex and Dinky Donk try to meet someone from every nationality. I don't know if they get a show out of this!

2006: Mark and Tim are in Time Trumpet

2007: Mark writes 2 pilots. One stars Tom Basden and the summary sounds suspiciously like Tim's life at that time

207: Mark starts his Radio 4 show with Tim and Basden

2007: We Need Answers at Edinburgh

2007: Alex's fourth show Birdwatching at Edinburgh

2007: Tim’s first solo show Slut In The Hut in Edinburgh. It is produced by new comedy company The Invisible Dot, which is Tim’s comedy home until 2016ish.

2007: Herb McGwyer (nominated for Best Short Film BAFTA in 2008)

2007: Tim lives with his brother

2007ish: Cowards on the radio

2008: We Need Answers (2) at Edinburgh

2008: Alex's fifth show Wordwatching at Edinburgh

2009: Tim’s second solo the Slutcracker show in Edinburgh. He wins the Edinburgh Comedy Award.

2009: Mark does The Hotel immersive (hey there recent Taskmaster Ep)

2009: We Need Answers on TV

2009: Birdwatchingwatching by Alex and Tim's first poetry book are published

2009: Cowards on BBC4

2010: Taskmaster in Edinburgh (1)

2010: The Horne Section begins

2010ish: Tim joins the Alan Partridge world

2010: Tim is in Party by Tom Basden on Radio 4

2011: Taskmaster in Edinburgh (2)

2012: Tom start Tim Key's Late Night Poetry Programme

2008-2012(ish): Tim lives in a box room in Limehouse. During this time he wins the Edinburgh Comedy Award and is on TV quite a bit. He said during ep 1 of Taskmaster that he had no space for anything but kept the lintel(?) From his Edinburgh show. In the Taskmaster podcast Josh said Tim implied he was homeless but he would have been referencing the fact that he had a box room’s worth of living space (I included this because Josh thought Tim was lying in the show but i’m pretty sure he wasn’t).

[nerdygingergremlin]

So I got a text from my brother with no warning. No preamble. Just this:

And I'm dying because it's my older brother so there could be so many things it could be.

But it was, in fact, referring to the burlesque version of the Nutcracker, which is legitimately called "The Slutcracker". And his friends all pitched in to rent a limo to go see it.

[deez-nut-free-zone]

✨New pin for my slut snapback!

[orangerosebush]

Delighted to report back from my evening outing that there exists a combo burlesque-ballet that uses the general music structure of Tchaikovsky’s “The Nutcracker” — with various different forms of dancing and an emphasis on not sex per se, but more so sexuality (in the many forms that discussion takes with queerness, sexual shame, sensuality, etc etc) — titled “The Slutcracker”

[romeoandjulietyouwish]

....i am now imagining Vex doing that solo for the Sugar plum Fairy in that burlesque version of the nutcracker and instead of an actual ballet solo, its a strip tease, and i am dying

bro yes omg, I love it so much

here are some photos from the irl production of the Slutcracker

[madtomedgar]

i love watching people who aren’t from the boston area find out about the slutcracker

[pale-chartreuse]

This is in Boston. We have The Nutcracker, The Urban Nutcracker, and The Slutcracker, all running in December. We also have the Radio City Rockettes, but they are from New York, so ir’s only for Yankees fans. And we also have   The Christmas Revels for the folksy/Morris dancing/Cambridge/Harvard crowd. But is you want to see the best version of A Christmas Carol you need to go to Providence RI, at the Trinity Rep. We know how to have fun with our art and identity politics.

excuse me.

[gaylifeafter40]

What to do this week: December 3 -9

This week things start to get crazy so plan accordingly. In addition to The Boston Ballet’s Nutcracker, Gold Dust Orphan’s Nightmare on Elf Street and The Slutcracker (all very different but entertaining holiday shows), on Thursday Berklee will host A John Waters … Continue reading → from BosGuy https://ift.tt/2EaRyui via IFTTT

[johndoeringca]

slutcracker The Slutcracker https://t.co/E3Bsb8L72J

slutcracker The Slutcracker https://t.co/E3Bsb8L72J

— Mvng Cmpny Studio CA (@mvgstudiocityca) November 27, 2017

from Twitter https://twitter.com/mvgstudiocityca November 27, 2017 at 10:04AM from Moving Companies Studio City California http://movingcompaniesstudiocitycalifornia.blogspot.com/2017/11/slutcracker-slutcracker.html

[jimmieforrestla]

November 27, 2017 at 10:04AM

slutcracker The Slutcracker https://t.co/E3Bsb8L72J

— Mvng Cmpny Studio CA (@mvgstudiocityca) November 27, 2017

http://twitter.com/mvgstudiocityca/status/935192626516643841 from Moving Companies Studio City California https://movingcompaniesstudiocityca.tumblr.com/post/167945408084

[josephstevensca]

slutcracker The Slutcracker https://t.co/E3Bsb8L72J

slutcracker The Slutcracker https://t.co/E3Bsb8L72J

— Mvng Cmpny Studio CA (@mvgstudiocityca) November 27, 2017

https://platform.twitter.com/widgets.js from Twitter https://twitter.com/mvgstudiocityca

from Moving Companies Studio City California http://ift.tt/2n93Z2d

[vileart]

DramaturgyFucker: Cameryn Moore @ Edfringe 2017

nerdfucker

a solo play with bad boundaries

An ode to geek love. A testament to passion. Everything is ready, right down to the polished pawns, but when one wrong move changes the game, a single-minded misfit faces a choice that could change her life. From the award-winning creator of Phone Whore comes this gripping new one-woman play that dives deep into obsession and will leave you breathless. Solo playwright/performer Cameryn Moore returns to Edinburgh Fringe with nerdfucker, her newest critically acclaimed play. Set after hours at a geek convention, nerdfucker is an unexpected tale of awkward passion, which is all the more wrenching for being so recognizable.  Audiences can look for sympathetic laughs and loads of cultural commentary amid the rapid unwinding of a woman on the edge of a troubling truth.

  nerdfucker will be at Sweet Grassmarket 4 (Venue 18) from Aug 3-27 (not  14th or 21st) at 19:00 (1hr) with tickets priced at £9. 

      What was the inspiration for this performance?

To be honest, nerdfucker emerged after I had written myself into a corner with a rom-com two-hander (1) I was experimenting on (2), and it was horrible (3). I knew I was going to trash the draft of the script, but I still felt there was something in there, and in desperation I took one of the more out-there premises of one of the characters—when asked what the weirdest thing was that she had ever done as a sex worker, she said, “I was a human chessboard once”—and I just… tilted it:What woman would be a human chessboard for free? 

What would she be getting out of that, if not money? What kind of situation would she have to be in? What would her background be? Where would the tension lie? When I followed that path, then I found this play, and I am so fucking proud of it, and grateful to it, that it hurts. Not a two-hander, not a rom-com, something else entirely that people don’t really expect.

FOOTNOTES

Lesson 1: I can’t write straight-up comedy.

Lesson 2: I don’t have to take other artists’ challenges, especially if they’ve been drinking.

Lesson 3: Kill your darlings as needed.

  credit: Tristan A. Brand

Is performance still a good space for the public discussion of ideas? 

Oh, yes! This is the place where the artists can present ideas as visceral, in-the-now moments, bypassing the exposition of discussion and going straight for those live-wire leaps in thought and feeling. 

How did you become interested in making performance?

I first started creating works for plus-sized dancers 16 years ago, because I had started dancing myself and was tired of feeling completely left out of the creative and performance part of the dance world. Over the course of 10 years, my works went into more narrative-driven pieces—dance musicals with a plot—and at the same time I began working as a phone-sex operator, and found myself wanting to write a solo play about that, because again, my experience as an actual sex worker was not really represented well out there in the performance world. 

When I toured Phone Whore and found that people wanted to hear what I had to say, and that I was good at it, a whole new world opened up. Part of my internal pressure to create my own works is that if I didn’t, there would be nothing for me to perform in, as a fat person. The roles allowed to us are limited and boring. I create the works and the characters that represent me, in some way, and what I want to see out in the world.

Is there any particular approach to the making of the show?

Once I understood the title character’s character, I took her into a defining moment, a situation that would possibly be one of her nightmares, and then followed her responses to the situation as it unfolded further. I had to be really clear about what the inside of her head and heart felt like, which was a challenge, because she’s a lot like what I was 10 years ago, 30 years ago. It wasn’t easy to excavate that, but once I was in it, I was in, and just had to stay there to write out what she would do or say.

Does the show fit with your usual productions?

Most of my shows so far—the ones that I’ve toured the most—have been autobiographical. nerdfucker is a fictional work (though heavily grounded in my experiences as a nerdfucker). That is significant, at least in terms of my experience of creating this show, but the audience wouldn’t know it, I don’t think. 

The part where nerdfucker really fits is how it brings the audience immediately and intimately into the world of the play; they have a role, even if they don’t know it walking in. It’s not interactive, in the traditional sense of the word, but it feels immersive. This is something that nerdfucker shares strongly with my most known work, Phone Whore: you’re not in the theatre, you’re in my emotional world.

What do you hope that the audience will experience?

I want the audience to feel a real empathy for the protagonist. She’s not a hero, she really is just doing the best she can. And I want the audience walking out of there, mentally reviewing every relationship they’ve ever been in and wondering, did I do that? Did someone else do that? What does that mean about me, or them, if we did?

What strategies did you consider towards shaping this audience experience?

 No fourth wall: the nerdfucker and the audience are in direct and frequent contact. Initially I set it up that way in order to layer on the tension for the protagonist, but it ends up making the situation very compelling for the audience as well.

As well as being a playwright/performer, Cameryn Moore is a writer, sex educator, and former phone sex operator. She has received awards at fringe festivals in Vancouver, San Francisco, Victoria (BC), Winnipeg, and Houston, and is bringing nerdfucker to Fringe festivals across the UK and Europe this year. Cameryn is the creator and frequent host of Smut Slam, a storytelling open mic night featuring real-life, first-person sex stories. She founded the UK Smut Slam circuit in January of this year, and will also be presenting a one-hour cabaret version of the Smut Slam throughout the Edinburgh Fringe. WINNER, ARTISTIC RISK AWARD – 2016 Vancouver Fringe Cameryn’s 2017 North American tour is supported by njoy toys and The Slutcracker (Boston). Her company, Little Black Book Productions, is a fiscally sponsored project of the International Sex Workers Foundation for Arts, Culture, and Education.

from the vileblog http://ift.tt/2rYUKnl

[gaylifeafter40]

What to do this week: December 11-17

There are a lot of events happening through the end of the year and I wanted to remind you that two of Boston’s naughtiest holiday traditions The Slutcracker  and The Gold Dust Orphans holiday show, Whatever Happened to Baby Jesus are still … Continue reading → from BosGuy http://ift.tt/2BVCDyZ via IFTTT

[gaylifeafter40]

The Slutcracker opens Friday, December 1st

“A Great Hymn to Christmas and Sexuality” – John Waters One of Boston’s naughtiest holiday theatrical traditions, The Slutcracker, opens later this week on Friday, December 1st at the Somerville Theatre in Davis Square. For those of you who may be unfamiliar, … Continue reading → from BosGuy http://ift.tt/2Bvtmy7 via IFTTT