Matilda the Musical | Segarini: Don't Believe a Word I Say

Archive for Matilda the Musical

Roxanne Tellier: The Best Medicine

Posted in Opinion with tags Alexei Sayle, BeetleJuice, Bob Segarini, Bossy Pants, Californication, Charlie Murphy, Dark Side, Dave Chapelle, DBAWIS, Don't Believe a Word I Say, Eddie Murphy, Edinburgh Fringe Festival, Fly Girls, Homey the Clown, In Living Color, Jake Edwards, J’Lo, Jennifer Lopez, Jim Carrey, Maclean and Maclean, Matilda the Musical, Melbourne International Comedy Festival, Men on Film, Mrs. Champ, Olivier Award, Phonetic Punctuation, Rick James, Roald Dahl, Rock n Roll Nerd, Roxanne Tellier, Second City, The Champ, The First Family, The Smothers Brothers, Tim Minchin, Tina Fey, Tony Award, Vaughn Meader, Victor Borge, Wayan Brothers, Woody Allen Jesus on June 22, 2014 by segarini

Here’s a shocker for you: sometimes life ain’t fair. Sometimes your best laid plans are not gonna work out, and all of your hard work will be ignored. Sometimes you’re the windshield, and sometimes you’re the bug.

I had one of those weeks, just last week. A combination of disrespect, petty behaviour, chintziness and general meanspiritedness made what should have been a fun volunteer experience into something more akin to a shift at a Chinese iPhone factory. Ok, clearly not quite as gruelling, but I approached each of the three days with a similar feeling of dread and fear.

Continue reading →

Darrell Vickers: A Tux on Both Their Houses

Posted in Opinion with tags Abigail Washburn, Avett Brothers, Black Prairie, Danny Kaye, Darrell Vickers, DBAWIS, Don't Believe a Word I Say, Gillian Welch, Gotya, Grammy Awards, Indie Music, Kinky Boots, Matilda the Musical, Milk Carton Kids, Neil Patrick Harris, NPR, People’s Choice Awards, radio, Radiovickers, Taylor Swift, Television, Tiny Desk, Tony Awards, White Christmas on June 17, 2013 by segarini

Danny Kaye once musically opined (in the movie White Christmas), “The theater. The Theater. What’s happened to the Theater?” Now, he was expressing disappointment in his beloved Broadway’s movement towards artsy-fartsy choreography and away from “Chaps who did taps.” But, if he were around today and got a glimpse of what the current Great White Way had to offer, he’d be on 24-hour-a-day suicide watch.