#Susannah flood measurements

[pinerportfolio]

Susannah flood measurements

Shockingly, Simon and Sarah both feel comfortable enough to call Michael an "Uncle Tom" for the abysmal way he treats waiters. Michael's best friend, Simon (Christian Conn, both bro-ish and pathetic), has the gall to lecture others about infidelity when he's cheating on his wife. Mark seems to relish combat with his ex-wife (smugness drips from McCabe in this role). In fact, all the white people in Fulfillment are, to varying degrees, hypocritical and ghoulish. Flood's unsettlingly dead-eyed portrayal brings to mind playwright Charles Ludlam's adage, "You are a living mockery of your own ideals." "I have some tampons in case you need one to put in your vagina," the feminist meditation junkie whispers into Michael's ear. Still, Bradshaw makes it clear that getting to this place has made Michael an alcoholic and getting further will require him to become a success-addicted monster.įlood plays his Lady Macbeth with a determination that is simultaneously cruel and blasé, igniting the flint of his ambition. But while Treadwell's 1928 expressionist drama told the story of a loser in the system of American capitalism, Michael is by all reasonable measures a winner. The tone has a lot in common with Sophie Treadwell's Machinal, which gives the similar sensation of being on a conveyor belt: This is especially true with Mikhail Fiskel and Miles Polaski's manic sound design, which interpolates the clamor of a sleepless city (a taxi horn, a cash register, a coffee maker) into a jazz improvisation it is the ambient noise of us cogs grinding in the machine, making it up as we go along. The versatile set easily transforms into a host of other spaces through the use of furniture and a doorframe on castors, which the performers manipulate with seamless efficiency.Įthan McSweeny's unrelenting production churns forward as Bradshaw's short, cruel scenes cut from one to the next. Scenic designer Brian Sidney Bembridge crafts Michael's shoebox with subtle suggestion: Empty bottles of top-shelf liquor occupy space on the upstage wall next to other props and costume pieces. Outwardly, Bradshaw's play exposes the folly of stuffing millionaires with giant senses of entitlement into tiny shoeboxes and stacking them on top of one another. "That should give me the right to have peace in my home." Has he read the condo bylaws? Following a confrontation, Ted starts rolling a bowling ball across the hardwood floors. Sarah tries to help Michael kick the habit by meditating with him between sessions of violent kinky sex (choreographed with utmost realism and nudity by Yehuda Duenyas).Įven with everything he has, Michael can't seem to concentrate in his new home: His prickly upstairs neighbor Ted (an absurdly vindictive Jeff Biehl) constantly blasts heavy metal while his daughter runs amok. He's willing to reconsider his position if Michael lands a multi-million-dollar account with a famous basketball player (Otoja Abit). Senior partner Mark (Peter McCabe) insists that Michael hasn't been passed up for being black, but for being an alcoholic. "You should be living in a five-million-dollar apartment," fellow lawyer and romantic interest Sarah (Susannah Flood) tells him, positing that the only reason he's 40 and not yet a partner is because he's black. The only problem is that Michael doesn't live in average America, but the land of unquenchable greed. While his latest, Fulfillment (now making its New York debut at the Flea Theater), isn't as viscerally revolting, Bradshaw's mélange of race, power, and ambition will leave more than a few audience members feeling queasy.įrom the vantage point of the average American, our protagonist Michael (Gbenga Akinnagbe) has everything: a well-paying job at a prestigious law firm, an exciting sex life, and a $1.5 million apartment in one of Manhattan's coolest neighborhoods. His last show in New York, Intimacy (2014 with the New Group), soaked the front rows of the audience in simulated bodily fluids. To call playwright Thomas Bradshaw a "provocateur" is to make a serious understatement.

[animationgreys]

Susannah flood measurements

#SUSANNAH FLOOD MEASUREMENTS PROFESSIONAL#

#SUSANNAH FLOOD MEASUREMENTS SERIES#

#SUSANNAH FLOOD MEASUREMENTS TV#

Her earnings all also made from her 2016’s Broadway debut The Cherry Orchard along with actors Diane Lane and Harold Perrineau. Susannah Flood attends 2018 Disney, ABC, Freeform Upfront at Tavern On The Green on in New York City (Photo: )ĭo Not Miss: Brian Cox(Actor) Married, Wife, Family, Net Worth, Age

#SUSANNAH FLOOD MEASUREMENTS TV#

SDNY Federal Court is also known by its other name, “The Mother Court." The TV legal drama focused upon the fresh new lawyer's that worked on the defense and the prosecution of the most high-profile cases of the country. Besides, she is also known for her role in the 2016th show The Effect, where she was seen debuting the role of Connie, a young woman and psychology student. The television show is set in the Southern District of New York (SDNY) Federal Court written and directed by Paul William Davies and directed by Tom Verica.

#SUSANNAH FLOOD MEASUREMENTS SERIES#

The actress plays a smart and steadfast young prosecutor beginning her career at the South District of New York (SDNY) along with her co-star, LaRoyce Hawkins. Susannah became the part of the regular series in early 2017. Susannah portrayed the character of Athena Chicago Fire, which is the story of a fireman in Chicago. With her experience in Hollywood, the Law & Order: Special Victims Unit's actress probably earns the salary higher than normal actor and actress. The record of the PayScale shows that the annual estimated salary of the actor and actresses ranges between $19,560 and $247,127. She had to wait for many years to bag a lead role. In March 2018, Susannah made her debut as the lead in For The People from which she is entitled to a handsome income. She accumulates her earnings from her guest appearances in many TV series. Her earnings are increased from 2012’s American action drama Chicago Fire. The New York native summons a prominent part of her net worth from her acting career. Read About: Laura Coates Wiki: Age, Married, Husband, Family, Salary, Net Worth How Does Susannah Summon Net Worth? She was in her jovial mood to talk about her character Kate and revealed that she had done a lot of research about the law and legality of the country for the essence of the TV show. The actress had a conversation with host Lie Ambriz at ABC's For the People premiered on 12 March 2018 and shared her excitement to be part of the drama series.

#SUSANNAH FLOOD MEASUREMENTS PROFESSIONAL#

Being a secretive personality, she has succeeded to keep the information about her possible future husband.Īs of 2019, She enjoys her professional life and is yet to get married. There is no much information about her possible boyfriend. She opened her Instagram account in March 2019, where she has posted a handful of stuff relating to her career. Susannah also is not a social media friendly, so there is very rare information about her love life in her social media account. Susannah is yet to reveal publicly about her relationship and to have a boyfriend. Susannah, who admits that she is an overachiever, did not have many friends in college. So, she portrays a daunting character in her series, but when it comes to her real life, she enjoys keeping things under the radar. It’s as much a coming-of-age story for these people - it just happens they’re coming of age professionally because they have this huge sense of mission to do this professionally Ben Shenkman said to Variety on 13 March 2018 that, "For The People" was applauded by the critics and audiences for it's "coming of age" stories of the cast. Susannah Flood plays the love interest of Anya Ooms portrayed by Caitlin Stasey in ABC's legal drama For The People. Susannah and Caitlin have played the role of lesbian role with surreal impact and have built fantastic chemistry. Susannah's Onscreen Lesbian Does She Have Boyfriend In Real Life? The actress is known for her guest appearances in TV shows like Chicago Fire Please Like Me, and many more. The actress has been taking the central character and her first significant role in the American legal drama series. American actress, Susannah Flood is recognized for playing the character of Kate Littlejohn in the 2018 ABC’s television program For the People.

[phoenix-is-the-hottest-thing]

So what is the deal with Vita? I get that she's an evil Su, world-hopping to kill him, but what's the reasoning? (And where does it come up, cos I thought I had seen all Su content and she was never mentioned)

That's not Vita's deal, that's Mysterious Evil Girl Su's deal, and she wasn't aiming specifically for Su she just wants to spread her illusion to other worlds and noticed Su (tried to follow him home, presumably to possess his body via her mind powers since he said he might not have been the one to wake in his body).

Vita is THIS innocent and playful lady who isn't suspicious at all :) She's been nothing but friendly and welcoming to Shigure Kira, Seele, and Susannah!!

It's not like she has the exact same throat tattoo as Su while simultaneously having Herrscher of Sentience eyes :)

It's not like she lives in a cult or anyth-

Ah.

Wait, Senti's involved too?!

EDIT: Source for evil girl Su below the cut

Buddha’s Memory 8 - 5.6+ ver

Mei: I noticed… some sort of open wound on you, but…

Mei: But is this possible in a space fabricated by consciousness?

Su: It’s not a wound, visitor. Instead, it is a beacon that allows no mistakes.

Mei: A beacon?

Su: As you know, I have observed worlds as numerous as sand grains in the Ganges with the aid of the 2nd Divine Key. Nonetheless, a mortal was unfit for this mission.

Mei: You mean… you could get lost in other worlds? Su: Indeed. I do not know if this will numb me in the future, but in the past I know, every observation threatened to flood my mind.

Su: It was measuring a sea with a cup.

Su: A person who had the same ending in every world left this beacon on my wrist with the 6th Divine Key.

Su: The power of destruction and creation formed this wound that would never heal nor deteriorate.

Su: No matter what I see or experience, this pain will remind me of my identity and responsibility.

Mei: But… there are other ways to achieve the same effect.

Su: This is why it allows no mistakes. It is a beacon, and an anchor I requested to be put on myself.

Su: I might as well tell you to amuse you, visitor.

Su: If you gaze long into an abyss, the abyss will also gaze into you. I’m not the only one to observe this immeasurable world.

Su: Once, another me felt my observation.

Mei: Feel? How’s that possible?

Su: Nothing is impossible in the infinite possibilities.

Su: In that world I am a woman, but one harboring great malice. She weaved an illusion that ensnared the entire Earth with a spirituality far superior to mine.

Su: And… she was using the 2nd Divine Key, seeking to spread her influence.

Mei: What happened?

Su: She pursued me for ages, and I barely escaped. Perhaps she’s still looking for me above that sea.

Su: If she caught me, then it may not be me who woke up from the Divine Key.

Su: The holder of the 6th Divine Key would be able to easily expand this wound to eradicate me.

Mei: I see… this is what an anchor means…

Mei: Su, what if you had the Abyss Flower at that time?

Su: It won’t happen. In the worst-case scenario, it will still be given to other Flame-Chasers, unless…

Mei: Unless?

Su: …Please pay no mind, it’s impossible.

[noahbordeaux]

arsonist’s lullaby || self para

LOCATION: West Balcony

TIME: half past midnight, 1/01/19.

FEATURING: Susannah Glover 

                    Gelid fingertips were threaded through raven locks, slightly nonplussed at the chaos that ensued in mere seconds. Cries for help, screams of agony all filtered through the smog ridden air, and beneath it all was the faint sent of blood that came in tandem with such catastrophic function. Candid of the Bordeaux, his first instinct was to make haste towards the most reasonable exit, enhanced sense aiding in such desired discovery only pausing at the distinguished presence of another behind him. The impression of the other was near rebarbative, an off putting sense colliding over Noah in waves. 

                    A phoenix was as infrequent a sight as any, but that of Susannah Glover was entirely recherche; the phoenix becoming a near myth if you were not in close ranks with her. A certain aura emanated from her, a polarity that extended past her physiological makeup;  a sense of ire ready to snuff out anything that got in the way of her directed and predicted rampage - discernible more so by the weapon clutched in thermal palms. “Don’t look so gleeful to see me,” self righteously glib smirk festered on his expression; a bellicose man, all teeth, a basin of unalloyed truculence. The woman opposite of him would not approach if she were unprepared for the cause, the phoenix standing up straight with a matched grin of her own trickling savagery. 

                     Her body language bloomed into a more threatening presence, igniting such salient rage that rolled off Susannah with a gradual flourish; her presence effortlessly proving to be a thorn in Noah’s side in amalgamation with the stench of blood that swathed them. Noah’s collected countenance eclipsed any incredulity that swarmed him in such moment, always a master of the stage, able to fool even the most practiced of deceit. It was why lips stayed cemented in such unreadable smile, hollow in all it’s mirth. While this was drummed down to a surely laborious confrontation, Noah could twist it into something far more miraculous; easily underestimating the female in front of him, eyes pooling with a medley of feral savagery. All the pieces were coming together, before his very eyes; grin blooming further at the realization of her calculated approach. This was no accident, confidence blooming off the phoenix as she took a commanding step forward, weapon wielding as a means to kill.

                    “If you knew how long I’d waited for this, you’d understand,” Susannah rallied off, voice flooded with composure. She had prepared for this moment, agonizingly and enticingly so for decades; the past year proving to catapult the Ouroboro’s leaps and bounds ahead when it came to their end objective. This was it, the means to a horrifically gleeful end, standing right before her in a ridiculously manufactured suit and tie. All Susannah knew, deep within her heart was that she would not let Noah get away tonight alive. 

                    Noah let out an incredulous bark of a laugh, though his own cerulean’s were long since clouded by a covetous nature, emulating the sudden penchant for disorder. Noah had suffered beneath a savage emptiness for as long as one could recall; to the point where it became a near idiosyncrasy that he could not erase. A famine that Noah felt diminutive under, now plagued with such consequences all the same, forced to meet his maker whenever one felt fit. Despite such harrowing self condemnation that suffocated him for centuries, Noah was overcome with complete repudiation towards Susannah’s expedited wrath. Despite her embellished sangfroid, the phoenix seemed flippantly vengeful; near goading the vampire with ever subtle move or snarky extempore. If she wished to kill Noah, even if it was a fantasy the vampire had longed after for decades to come, she would be helplessly in vain under such incursion. The weapon would be his prize to bear and he would pry it from crisped fingertips if need be; the means to protect his own family inherently palpable. 

                    As if unable to ignore such unsatiated pull to spill Bordeaux blood, Susannah could ignite, porcelain skin morphing into a fire that could near scorch at the sight. The path was effortless as she closed the distance, flames crawling from the phoenix to agonizingly curl up Noah’s arms, her serpentine approach a means to make sure the Bordeaux suffered. Slowly and voraciously bovine in it’s path; the means to scorch every inch of flesh until he could hardly move, until she could, at last, plunge the blade into his non beating heart for him to never return. 

                    There was a contiguous sovereignty; the command of iniquity that licked at the palms of their hands in which they could be equally matched; leastwise in terms of moral culpability as Susannah’s penchant for his death could reach a boiling point. There would be no turning back from this point, a splintered crescendo manifesting within the already haze infested room as the phoenix could ignite; the apotheosis of her power something Noah had woefully underestimated. The flames licked at the fabric of his suit, burning through to mar porcelain forearms, to near melt flesh in their wake. It allowed a pained snarl to fall from the Bordeaux’s lips, uncharacteristically so as the fire ravenously seared through once pluperfect tissue. It was a rare elicitation of such raw emotion that was unheard of from Noah, his own controlled demeanor now shattered beneath the privation of fluid trauma, unable to shed the enhanced breadth of  stinging pain from the recesses of his own mind and flesh. 

                     It was the desire for such pain to subside, that pressed Noah forward in rapid progression, a leonine strength overcoming him under the guise of such agony that he was forced to undergo; burned and melded hands breaching through the fire that overcame the woman to grasp onto her throat. Warping into a monstrous entity beyond his own control, an unseen measure of strength that was different from such savage penchant for blood he was forced to live under. This bout of fervent strength was measured by the means to destroy the weapon within Susannah’s hands, to destroy their advancement as a means to protect those whom he had alienated himself from. While the Bordeaux’s may had been disconnected in more ways than one, most reasoning's being his fault; they were his family and he would not allow them to be exterminated under a vengeful phoenix who blamed all her life’s wrongdoings on the cohabitants of their world.  

                    Palm cinched around her throat, the means to crush vocal cords beneath such pressure; a strike to kill her meager attempt to defeat his family. If her delusional sense of reprisal had caused her to believe she was reading for such sparring act, the phoenix would be woefully disappointed if she lived to tell such tail. The febricity of her flames intensified, causing the original to toss her into whatever infrastructure was left in the West Balcony; his calculated strength proving to be a negative side effect as the ground beneath them seemed to falter more so. The dilapidated building would be no match for whatever fight would prevail, a ragged breath escaping Noah as the flames that once encroached upon his arms died out. The lingering singe still remained but the male pushed through it, not giving Susannah much chance to recover as her flame was snuffed out from the blow.

                    The scent of burnt flesh was prominent in the air, a fetor of decay; Noah pushing through such scathing trauma to approach the phoenix once more. A sickened smile remained on her face, as if there was a secret in which he was yet to ever be aware of, Noah grabbing her once more by nimble tendons of her neckline. Her nails clutched into marred flesh, causing the Bordeaux to grit his teeth under the unprecedented agony she thus inflicted upon him, blood trickling from her mouth as she smiled through her own injuries. She may had approached this wrong, but they would still prevail; the other weapon still undetected as the evening went on within such chaos. “You think we made just one?” her voice crackled out through the pain, a heaved chuckle tumbling from the phoenix’s lips despite the anguish of what was surely noted as a few broken ribs. “Don’t be foolish, No--ah, I thought you were smarter than that.” Her smile grew to a saccharine grin, still attempting to hold up the weapon as if any touch of it to the original would surely do the job. 

                    The ire that overcame the original as she sickeningly prattled on was enough to storm his own viscera into overdrive. The means to find his siblings before Anton, or whoever else they could have dared select to wield the weapon was higher on his list than ever goading the helpless phoenix before him. The look of repugnance on his countenance was evident, even despite the pain that dared make him nauseous, Noah snapping her neck in a final means to conclude what she had started; stowing the weapon into what was left of his coat before attempting to find Lory as soon as possible. 

[foodreceipe]

Reviving America’s Forgotten Boozy, Fruity Election Cake

These cakes helped elections feel like a party.

by Anne Ewbank October 30, 2020

Election cake was meant to be dense, rich, and filling. 

While paging through the first known cookbook written in the United States, Amelia Simmons’s 1796 American Cookery, you’ll find quite a few recipes that seem familiar. There’s the pumpkin pie, the roast turkey, and even the “cookey.” But one recipe stands out, both due to its name and its gargantuan proportions: the Election Cake.

American Cookery’s recipe calls for 14 pounds of sugar, 12 pounds of raisins, and oodles of spices, along with both wine and brandy for flavor. These rich ingredients, expensive and rare when the book was published, speak to how Election Day used to be celebrated. Early Americans, flocking to town from their rural homesteads to cast their ballots, treated the occasion like a party, with the alcohol and food to match. Women, who at the time were denied the vote, provided refreshments to voters in the form of a dense, buttery cake, flexing political power in the only way allowed to them.

There are a few elements that defined Election Cakes. Studded with dried fruits and flavored with booze, they evoked fruitcake, as they were based off of the “great cakes” that were once served in England for special occasions. These cakes were usually naturally leavened with yeast that the baker would have made herself—essentially, a sourdough starter. But the texture was definitely more dense and cakey, due to the addition of eggs, sugar, and lots of butter. The only way to bake such gargantuan cakes was in large communal ovens, the only ones that could accommodate their girth.

That’s all according to Maia Surdam, a historian who brought Election Cake back into the limelight during the presidential election in 2016. Surdam, whose research has focused on agriculture, labor, and women’s history, is the co-owner of OWL Bakery in Asheville, North Carolina. Four years ago, she and bakery founder Susannah Gebhart started baking their version of the old-school civic sweet, based on a recipe developed by bread expert Richard Miscovich. 

They had been inspired, Surdam explains, by the cake’s history as a woman’s way of participating in the electoral process. Dense and rich, the cake provided fuel for weary voters, many of whom had traveled long distances to cast their ballot. Both the large numbers of people flooding into town and the special food and drink laid out for the occasion turned Election Day into a thrilling holiday.

Surdam also notes that, in 2016, it seemed poignant to revive the cake at a moment when the United States could have very well had its first female president. After all, explains Surdam, the Election Cake was an artifact from a time when women couldn’t vote at all, much less run for office. Nevertheless, “there were these informal channels and through which they influenced the culture around voting and democracy.”

The unexpected popularity of OWL Bakery’s Election Cake made for an exciting, if tiring year for the business. Interviewed by the BBC and All Things Considered, the bakery owners found themselves shipping cakes across the nation to eaters eager to try them, donating part of the profits to the League of Women Voters, while providing a free recipe for curious bakers to try at home. It was an Election Cake frenzy. “We pulled it off,” says Surdam. “But it was really difficult!” Even so, the bakery has since made Election Cake for every local and national election. Surdam sees it as a sort of mission, “in the spirit of promoting democracy, and trying to encourage people to bring back a sense of revelry and excitement around the voting process.”

But in 2020, Surdam found herself facing some doubts on whether to make Election Cake or not. It’s been a fantastically difficult year in the United States on all fronts, with the COVID-19 pandemic, the climate crisis, and a national reckoning on racial justice. She hesitated to celebrate an election that, for many, feels like an extremely serious matter.

While yeast-raised cakes largely disappeared after the advent of artificial leavening, Surdam also notes that election-day rituals may have faded from the American consciousness for an ugly reason. “As more Americans have gained the right to vote, there has also been this decline of sorts of our celebration and our excitement around voting,” she says. “Early on, when the Election Cake was first made, it was during the time when it was mostly propertied white men who could vote.” But things changed, and that change was an affront to many who saw new voters as a threat.

“When we look at the history of women’s suffrage, and we look at the history of Black Americans and other racial minorities trying to get the right to vote, their voting was not met with revelry and excitement,” she says, with women jailed and Black Americans “beaten and killed” for attempting to cast a ballot. “It was a hard fight. And it’s still an ongoing fight,” she says. Such tension doesn’t exactly lend itself to celebration.

Similarly, under the cloud of 2020, it was hard for Surdam to think about making Election Cake. “This is a very stressful election for me, personally, and I think for a lot of people,” she says. However, she recently had a change of heart. “It became clear to me recently, again, that the point of the election is not to honor a specific candidate or to hope for a specific outcome of an election, but to honor the tradition of using food to celebrate democracy,” she says.

“And so,” she concludes, “we will make cake. We made it last weekend. I took it to the tailgate market and had such a great time talking to people about the history. And we raised money for the League of Women Voters and it felt so good. Now, I’m going back to the bakery today to make more.”

Election Cake

Recipe courtesy of OWL Bakery. Adapted by Susannah Gebhart for OWL Bakery from Richard Miscovich’s formula.

Day 1

Prepare Preferment

If using a sourdough starter: 240 milliliters whole milk ~70º F (280 grams) ¼ cup active starter, 100% hydrated (75 grams) 2 ¼ cups all-purpose or whole wheat pastry flour (280 grams)

If using instant yeast: 275 milliliters milk ~70º F (320 grams) ¼ teaspoon instant yeast (1 gram) 2 ¼ cups plus 2 tablespoons all-purpose or whole wheat pastry flour (320 grams)

Combine the milk and sourdough starter or yeast and mix thoroughly until the starter or yeast is well dispersed in the milk mixture. Add the flour and mix vigorously until the starter is consistent and smooth. Scrape the sides of your bowl and cover it with a damp towel or plastic wrap. Allow your starter to ferment for 8-12 hours at room temperature. When your preferment has bubbles covering the surface, it’s ready to use.

Soak Dried Fruits

If you plan to use dried fruits in your cake, first soak them overnight or for several hours beforehand. Measure out around a cup and a half of dried fruit (think raisins, chopped dried apricots, or cranberries) and cover with liquor (such as brandy or sherry) or a nonalcoholic liquid of choice (try apple cider, juice, or steeped tea) in a small sauce pot. Warm the pan over a low heat for a few minutes, then remove it from the heat and allow the fruit to soak, covered, overnight or at least for several hours.

Before incorporating the fruit into your cake, strain the liquid off. You can use this liquid to make a simple glaze after the cake is baked.

Day 2

Prepare Final Dough, Proof, and Bake

1 cup unsalted butter (226 grams) ¾ cup unrefined sugar (155 grams) 2 eggs (100 grams) 1/3 cup whole-milk yogurt (85 grams) ¼ cup sorghum or honey (60 grams) Preferment (560 / 635 grams) 2 ¼ cups all-purpose or whole wheat pastry flour (280 grams) 2 tablespoons spice blend of warm spices such as ground cinnamon, allspice, nutmeg, clove, star anise, or mace (12 grams) ¼ teaspoon ground coriander (1 gram) ¼ teaspoon ground black pepper (1 gram) 2 teaspoons salt (12 grams) 2 tablespoons sherry or another fortified wine, optional (30 grams) 2 cups rehydrated fruit (300 grams)

With a paddle attachment in a stand mixer, cream the butter very well, then add the sugar, mixing until it’s very light and fluffy. Add the eggs one at a time on medium speed. Mix in the sorghum or honey and yogurt.

Exchange the paddle with a dough hook. Add the preferment (starter or sponge) and mix until just incorporated. Combine all of the dry ingredients before adding them to the liquid ingredients and mix until just incorporated, being careful not to over-mix. Gently fold in the sherry (optional) and rehydrated fruit.

Divide evenly into a bundt pan or cake rounds that have been buttered and lightly floured. OWL Bakery uses mini bundt pans, which yield 8–10 cakes. Proof for 2-4 hours, until the cake has risen by about ⅓ of its volume.

Bake at 375° F (190° C) for 10 minutes. Reduce the oven temperature to 350° F (177° C) and continue baking for about 25–30 minutes, until a tester comes out clean. Cool completely before cutting and eating. You may enjoy this cake plain or topped with a simple glaze.

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https://www.atlasobscura.com/articles/what-is-election-cake

[newyorktheater]

Below is the day-by-day calendar of “theater openings”* in September, 2020, as we enter the sixth month of winging it online — and experimenting back offline. This month will see Brian Cox as George Bernard Shaw, Harriet Harris as Eleanor Roosevelt and Damian Lewis as Oedipus the King, as well as the return of Broadway’s Boys in the Band. The Apple Family cast gets a third go-round, and there are “reunion readings” with the original Off-Broadway casts of “Hamlet in Bed” (including Annette O’Toole and John Glover) and of last year’s “Sugar in Our Wounds.” The Met offers for free its new production of “Porgy and Bess” with such Heavenly tunes as “Summertime,” just as this unsettling summer’s coming to an end, and we can try to settle in for what would normally be the beginning of the new theater season.

September offerings are not just on screens (though they’re not on conventional stages either.). A new company will  launch six original plays that  we can call epistolary  — the audience gets involved in the letter-writing (see September 21). There is a decadent walking tour play of Greenwich Village (see September 30.).

Several ongoing series have been consistent in quality and output, several of them newly created during the pandemic.

Play-PerView (See September 12, 19 and 26) Livelabs: One Acts from MCC (which will reportedly resume in September, but has yet to make any announcements.) Viral Monologues from 24 Hour Plays (some 10 short new monologues almost every Tuesday) Playing on Air,  which has offered original audio plays with starry casts since 2012, has announced no new plays this month, but they keep their old ones on their site.

There is a promising new series this month from Urban Stages, which is putting its September Fest online on Wednesdays in plays that deal head-on with a contentious America (See September 2, 9, 16 and 23.) Every Wednesday this month (and on into October), the Chicago-based International Voices Project, will present translated plays from around the world, this year for the first time virtually (which means you don’t have to be in Chicago to “attend.”).

 Stars in the House, Seth Rudetsky and James Wesley’s daily variety and talk show since the pandemic began, fairly reliably presents Plays in the House — Zoom readings of well-known plays, often classics — on Wednesday and Saturday afternoons…and a Sunday matinee for teenagers.

And these shows are just what we know about. Since physical theaters were shut down in March, many shows are put together at the last minute, sometimes not even announced until the very day of their launch. (And there have been last-minute cancellations too.) Even the reliable Metropolitan Opera only announces its free online offerings for a week at a time. That’s why  I will be updating this preview guide every day, and highlighting the offerings each new day with a new link up top. This calendar as of this moment offers a glimpse of what’s in store. Come back day by day for a better look. (Some of the plays listed do require advance reservation.)

A reminder that this calendar lists when the shows “open.” Some are live and available only for that one performance. Other shows are available for four days, or a week, or longer.

*My definition of theater for the purposes of this calendar generally does not extend to variety shows, cast reunions, galas, panel discussions, documentaries, classes, or interviews — of which there are plenty, many worth checking out. My focus here is on creative storytelling in performance. (I make an occasional exception for a high-profile Netathon,involving many theater artists.)

September 1

Dear Liar Bucks County Playhouse 7 p.m. available through September 4 $25-$35 Brian Cox portrays George Bernard Shaw and Marsha Mason  the actress Mrs Patrick Campbell, who originated the role of Eliza in Pygmalion in this play by Jerome Kilty in which the characters read the letters they wrote to one another over 40 years.

Macbeth Bedlam 7 p.m. Shakespeare’s tragedy directed by Ryan Quinn. Come half an hour early to listen to music.

La Olla Latino Theater Company 7 p.m. ET A video of the 2016 adaptation of Plautus’ comedy about greed, “The Pot of Gold” which centers on Leo, a bit player lost amidst the din of a shady 1950s Los Angeles nightclub who finds a pot full of cash.

Britten’s Peter Grimes Metropolitan Opera 7:30 p.m. available for 23 hours

Tolerance Party: #1 “Ice-Breakers The Cell 8 p.m. $5 to $25 The first in a series, each a half-hour long. “Six strangers are brought together in a video chat by an unknown entity and are given a group task, but no one can agree what it is.” Written and directed by Joseph Hendel, but the audience has a say about what happens.

September 2

Bars and Measures Urban Stages 7 p.m. available until September 6 The first entry in Urban Stages’ September Play Fest, Idris Goodwin’s play tells the tale of two brothers. One is a classical pianist. The other is a jazz bass player. One a Christian. The other a Muslim. One living in freedom. The other in jail. Separated by bars, can the brothers reconcile their differences through the language they know best: Music? The virtual reading features the same cast as the 2019 production (pictured above): Shabazz Green, Roderick Lawrence, Abraham Makany and Salma Shaw

John Adams’s Nixon in China Metropolitan Opera 7:30 p.m. available for 23 hours

Jauria/Spain International Voices Project 8 p.m. Based on a court trial where the victim is forced to provide more details on her personal intimacy than the defendants.

September 3

The Oedipus Project Theater of War Productions 2 p.m. Live only Damian Lewis, Lesley Sharp, Clarke Peters and Kathryn Hunter perform Sophocles’s “Oedipus The King” as a way to consider the current pandemic

Berg’s Lulu Metropolitan Opera 7:30 p.m. available for 23 hours

September 4

In Love and Warcraft American Conservatory Theater 3 p.m. ET In Madhuri Shekar’s play, college senior Evie prefers the online role-playing game World of Warcraft to real life. In the game, she’s a fearless warrior with a boyfriend. In real life, she ghostwrites love letters for people, even though she’s neither been in love. When Evie becomes attracted to her client Raul, she must decide whether or not to let her powerful and sexy warrior character out in the real world. Live performances 9/4, 9/5, 9/11, 9/12, in which you can chat, or on-demand 9/18 – 9/25

Eleanor Barrington Stage Company 7:30 p.m. repeated September 5 $15 This new play about Eleanor Roosevelt, by Mark St. Germain stars Harriet Harris (who also portrayed the First Lady, diplomat and activist in the recent Ryan Murphy Netflix series “Hollywood.” as well as in a forthcoming TV series, “Atlantic Crossing.”)

The Gershwin’s Porgy and Bess Metropolitan Opera 7:30 p.m. available for two days Porgy and Bess returned to the Met stage for the first time in 30 years to open the 2019–20 season, with a cast led by Eric Owens and Angel Blue singing the familiar arias “Summertime,” “It ain’t necessarily so,” and “I got plenty of nothing,

September 6

Thomas Adès’s The Tempest Metropolitan Opera 7:30 p.m. available for 23 hours

September 9

#Nword Urban Stages 7 p.m. available until September 13 In this play by Christian Elder, a white girl calls a black boy “the n word” on the school bus. His mother confronts her mother. The event escalates.

“Take the Rubbish Out, Sasha” | Ukraine International Voices Project 8 p.m. Sasha, a colonel in the Ukrainian army, who has died of a heart failure, sees his widow Katia and his step-daughter Oksana prepare his funeral feast. A year later, the country will be engulfed in the events that can make the dead rise. Sasha is ready to be resurrected, but his family is not

September 10

Incidental Moments of the Day Apple Family Plays 7:30 p.m. Available through November 5 The third and final play in “The Apple Family: Life on Zoom” sub-series, the first of which, in April, I loved, the second of which, in July, I didn’t. Written and directed by Richard Nelson, with the same reliable five-member cast (plus one additional performer), this third installment takes place after six months of self-imposed pandemic isolation. “The Apple siblings again gather on Zoom for an evening of dinner, conversation and performance, while the world continues to sputter more and more out of control, amidst anger, loss, death and a coming election.”

September 11

  Qualified Alien Here Arts 1 p.m. A puppet and their assistant petition to join the circus. Rosa Douglas and Ben Elling light a candle for the meritocracy in this short puppet play, adapted for screen.

September 12

Seneca Falls Play-PerView 7 p.m. $5-$50 This play by Jean Ann Douglas is “an anachronistic triptych through late nights in the first 72 years of the women’s suffrage movement: 72 years of… mostly a lot of waiting.” The cast includes Susannah Flood, April Matthis, Kelly McAndrew Monique St. Cyr, Erin Wilhelmi and John Zdrojeski

Tape The Shared Screen 8 p.m., available until September 21 After 10 years, three self-absorbed people are forced to reckon with the unresolved trauma of a high school love triangle.

September 16

The Incels Urban Stages 7 p.m. available until September 20 In this play by Ruth Zamoyta, two depressed, bitter men can’t find girlfriends. Can a third man convince them to put down their guns?

“All Adventurous Women Do” | Serbia International Voices Project 8 p.m. A play about the necessity of going elsewhere to fully realize one’s sexuality,

Jack Was Kind All for One Theater 8 p.m. Through October 10 Tracy Thorne wrote and performs this “intimate, confessional play examines long-seated issues of privilege and complicity.” The production will be presented live on Zoom, four times a week, Wednesday-Saturday through October 10 for limited audiences.

September 17

Laura Benanti

DO RE #METOO 9 p.m. A virtual concert of badass feminists led by Laura Benanti, Peppermint and Margaret Cho covering the most sexist songs ever written!

September 18

Downtown Variety Take 14 La MaMa ETC The launch of La MaMa’s 59th season with a virtual afterparty, featuring Belarus Free Theatre, Annie-B Parson, Stacy Stearns, Paul D. Miller aka DJ Spooky, D’Mani Thomas.

Cannabis! Here Arts Baba Israel, Grace Galu, and their band Soul Inscribed use music and spoken word to explore the history of cannabis in a theatrical concert based on “Smoke Signals: A Social History of Marijuana – Medical, Recreational, and Scientific” by Martin A. Lee

September 19

Sheldon Best and Chinaza Uche in Sugar in Our Wounds at MTC

Sugar in Our Wounds Play-PerView 7 p.m. A “reunion reading” (with the original Off-Broadway cast) of Donja Love’s play about a romance about a slave on a plantation during the Civil War and a passing stranger.

September 21

Artistic Stamp This new company, with scripts by six playwrights, takes “audiences” on an unusual journey, through handwritten correspondence. For each play, the actors exchange seven letters over several months with audience members becoming a character in the story, replying to the letters and playing a role in deciding the outcome. All six plays launch today.

September 23

The Silverfish Urban Stages 7 p.m. available until September 27 Meghan Loughran’s play starring Holly Davis, Nikki M. James, George Salazar and Kate Wetherhead tells the story of a young, broke couple in love thrown a curveball, and come up with a plan. “It might not be a plan that “good people” would go for, but when you’re young and in love and desperate and poor, the word “good” can mean a lot of things.”

“Testosterone” | Germany International Voices Project 8 p.m. This comedy offers a parable about toxic masculinities and the limits of liberal do-goodery in extreme times.

September 26

Hamlet in Bed Play-PerView 7 p.m. A “reunion reading” of Michael Laurences Off-Broadway play featuring Annette O’Toole and John Glover

September 30

“Decomposed Theatre” | Romania International Voices Project 8 p.m. Imagine the fragments of a shattered mirror. The challenge before us is to reconstruct the original

Voyeur: The Windows of Toulouse Lautrec Bated Breath Theater Company In this open air, intimate theatrical experience, you and five other masked audience members will be guided through the dreams of iconic artist Toulouse-Lautrec as he recalls his final absinthe-laced years living and working in Montmartre. The sidewalks, doorways and windows of Greenwich Village become the setting as live accompaniment collides with the city’s soundscape, transporting you into the bohemian world of 1899 Paris.

Suddenly dancing The Madison in The Boys in the Band: Robin De Jesus, Michael Benjamin Washington, Andrew Rannells, Jim Parsons

Boys in the Band Netflix

A video capture of the 2018 starry Broadway production   of Mart Crowley’s landmark gay play. (Subscription required.)

September 2020 Online Theater Openings: What’s streaming day by day Below is the day-by-day calendar of “theater openings”* in September, 2020, as we enter the sixth month of winging it online -- and experimenting back offline.

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Microplastic in Atlantic Ocean ‘could weigh 21 million tonnes’

Image copyright Getty Photos

Image caption The last notice exercise of plastics is in packaging – the attach it tends to be outmoded excellent once earlier than being thrown away

There are 12-21 million tonnes of tiny plastic fragments floating within the Atlantic Ocean, scientists dangle figured out.

A gape, led by the UK’s National Oceanography Centre, scooped thru layers of the upper 200m (650toes) of the ocean all the arrangement thru a study expedition thru the center of the Atlantic.

Such an amount of plastic – 21 million tonnes – might well perhaps well well be sufficient to fully load practically 1,000 container ships.

The findings are published within the journal Nature Communications.

Image copyright National Oceanography Centre

Image caption The researchers outmoded a instrument to sift ocean water for the smallest fragments of plastic they might well perhaps well perchance rating

Dr Katsia Pabortsava, from the National Oceanography Centre, who led the gape, said by measuring the mass of very minute plastic particles within the tip 5% of the ocean, she and her colleagues might well perhaps well well estimate “the burden of plastic within the full Atlantic” which is “significant bigger” than the old pick.

“Beforehand, we have not been ready to balance the amount of plastic we figured out within the ocean with the amount we belief we had build in,” she said.

“That’s because we weren’t measuring the very smallest particles.”

Image copyright NOC

Image caption The plastics study expedition traversed the Atlantic Ocean

On their expedition – from the UK to the Falkland Islands – she and her colleagues detected as a lot as 7,000 particles per cubic metre of seawater.

They analysed their samples for the three most gradually outmoded, and most gradually discarded, polymers – polyethylene, polypropylene and polystyrene – all generally outmoded in packaging.

The findings, the team hopes, will wait on future efforts to measure the ecological and environmental harm that shall be attributable to those plastic fragments, by offering a more “sturdy measure” of its accumulation in a ways off ingredients of the ocean.

Image caption Where legacy landfill net sites are eroded by the sea, even buried plastic can gain its arrangement into the marine atmosphere

Jamie Woodward, an educated in plastic pollution, from the University of Manchester, suggested BBC News the findings verify earlier study that the microplastic load within the oceans is “significant better than [we had] estimated”.

“The geographical scale of the gape is spectacular,” he said.

“And the authors estimate inputs over 65 years. That is serious because microplastics were flooding into the oceans for many decades.

“We now dangle to sign the ecological impacts of this contamination in all ingredients of the ocean, since they’ve been within the oceans at all depths for a undoubtedly prolonged time.”

Image caption Plastics can snatch a total bunch of years to degrade

Amid the coronavirus pandemic, some environmental groups dangle reported the disposable face cowl is now one amongst essentially the most typical items of plastic litter.

Susannah Bleakley, from the Cumbria-based charity Morecambe Bay Partnership, which co-ordinates seaside tidy-ups, suggested BBC News: “We now gain more disposable masks than plastic bags.

“What we’re undoubtedly asking is, as significant as that you might well perhaps well well factor in, can of us decrease their exercise of single-exercise plastics and if of us can eradicate it fastidiously.”

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