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Pig Farm
by Greg Kotis
Saturday, July 22, 2006
Roundabout at Laura Pels Theater
directed by John Rando
No, not a review as such. I don't do "reviews." However, I and a whole bunch of other bloggers were comped in to see Greg's show in the hopes (I am assuming, here) we'd say something about it -- the reviews have been rather widely mixed, and understandably, I think, given the show -- and that the audience for this show that would "get it" might be one closer to a blog-reading theatre demographic rather than a Times-reading one. Isaac Butler (Parabasis) set this up, and he has a bit of a fuller explanation of the intent here. So this is not a review.
As always, I just give a response colored by personal experience and preferences (like all critics I suppose), and I'm a sourpuss who generally doesn't really "like" anything fully (unlike all critics, I certainly hope), and this blog is a bit of an ego trip all about me, so . . .
by Greg Kotis
Saturday, July 22, 2006
Roundabout at Laura Pels Theater
directed by John Rando
No, not a review as such. I don't do "reviews." However, I and a whole bunch of other bloggers were comped in to see Greg's show in the hopes (I am assuming, here) we'd say something about it -- the reviews have been rather widely mixed, and understandably, I think, given the show -- and that the audience for this show that would "get it" might be one closer to a blog-reading theatre demographic rather than a Times-reading one. Isaac Butler (Parabasis) set this up, and he has a bit of a fuller explanation of the intent here. So this is not a review.
As always, I just give a response colored by personal experience and preferences (like all critics I suppose), and I'm a sourpuss who generally doesn't really "like" anything fully (unlike all critics, I certainly hope), and this blog is a bit of an ego trip all about me, so . . .
Personal background first. I went to Pig Farm because, well, it was free, and more especially, it was by Greg Kotis, so it was one of the few pieces of theatre I'd bother spending more than $20 for if I could afford it (which I can't). I got fairly friendly with Greg back when he and his fellow Neo-Futurists were doing Too Much Light Makes the Baby Go Blind at Todo con Nada, Inc. on Ludlow Street when I was living and working there. Too Much Light is still (in that incarnation at least -- Greg, Ayun Halliday, Rob Neill, Bill Coelius, and Rachelle Anthes -- I haven't seen the more recent versions) one of my favorite theatrical experiences. I think I watched every show they did at Nada, Fridays and Saturdays at midnight, September to December, 1996. They did dozens of plays during that time, and while Ayun (who happens to be Greg's wife and whose recent work can be checked out here and here) remains my favorite writer/performer of the group, my favorite single Neo-Futurist play is Greg's "Joke," a bitter, terrifying monologue written in the form of a classic "Man walks into a bar . . ." joke, performed by Greg with all the lights out, standing in the open doorway of the theatre, Ludlow Street behind him, which to this day brings goosebumps to my arms and tears to my eyes whenever I think of it (I think my fanatical devotion to that play forced the cast to leave it in the show much longer than they would have otherwise).
Later, Greg put up his play Jobey and Katherine at Nada, and I did the light and sound design. More on that in a sec. Then there was Urinetown, which I was privileged to work on a little bit in very early stages (I produced an original demo tape for Greg and Mark, and gave my advice on the script to Greg, most of which, fortunately for the show, was not taken). Last time I saw Greg was about four or five years ago, and I got to congratulate him on the success of Urinetown. He still seemed a bit taken aback that it had actually made it where it had, and commented that he'd had to give in on a few things, but that he'd protected the ending (indeed, possibly the nastiest ending ever on a Broadway musical), which was the most important thing for him.
Which leads to what had been my concern going in to see Pig Farm. Greg's work, at its best, is uncompromisingly bleak, vicious, depressing, and dark, and made bearable only by the fact that Greg is also incredibly funny and surrounds the pain with big BIG laughs. A truckload of sugar to make some very nasty medicine go down, say. My kind of theatre. But would that be something the Roundabout would actually be putting on? Not necessarily that Greg would tone down his writing, but would it be produced with the correct tonal color?
I loved the script of Jobey and Katherine (here's a review with detailed description, scroll down to find it), and was proud of the sound design (music score, really) that I had created for the show. I was living out of NYC at the time, and came back to the City specifically to work on the show. Before creating the sound/music score, I had asked Greg if the play was a REALLY dark drama with enough laughs to make it bearable, or a comedy with a dark edge. He told me it was the former, so I scored it appropriately (sparse, harsh electric guitar melodies with distant sea sounds -- the play was about a fishing town -- heavily influenced by Howard Shore's score for Crash and Neil Young's for Dead Man). I came to town and discovered my score wouldn't fit the show anymore as Greg, who was also directing it, had taken the show in the other direction, for comedy, so most of my work was unusable. A couple of the actors told me that Greg had gotten it to a dark place in rehearsal, had decided it was too dark, and pulled it way back. We also had some disagreement on the light design, where I'd gone with a rather shadowy, moody look, and he wanted me to brighten it quite a bit -- we compromised just fine on that, though. The show came out okay, but uneven; I saw it four times and it was lousy once, okay once, extremely good once, and breathtakingly transcendent once, all depending on how well the three actors walked the very delicate line between comedy and tragedy that Greg had set up (or maybe more precisely, how much they gave themselves over internally to the tragic while allowing themselves to externally allow the comic to just "be").
Urinetown avoided the tonal difficulties inherent in Greg's writing, for the most part, by being a musical, and so the tension between the dark undercurrents and the peppier musical form was built in to the work from the start, the only difficulty there being in keeping the actors playing it in "classic musical" mode and not slipping in an actorial "wink" that indicates "we know this is silly parody." I couldn't see the show on Broadway (never saw it after the Fringe), so I have no idea how successful or not it was at keeping the correct tone (judging from the cast album, mostly, but maybe over the line here and there). Of course, with my unerring skill at keeping my finger on the pulse of what makes commercial theatre play in NYC (which has put me EXACTLY where I am today), my advice to Greg and Mark was to go even DARKER and not worry about it, the musical form would carry it along. Wisely, they didn't, removed some of the more grotesque elements of the script, cut the musical number that no one liked but me and replaced it with a much better one, and added Little Sally as an additional narrator figure to banter with Officer Lockstock and to humorously make the points of the show much clearer with her confused commentary. So Urinetown worked.
Still, what I read about Pig Farm indicated a play much more in the Jobey and Katherine vein, which I couldn't imagine playing in an Off-Broadway house, as much as it would deserve to (I still love the J&K script, and would really LOVE to direct/design a revival of it, but I don't think Greg would be interested in me doing it at all . . .). So I figured that no matter what Greg had written, it would be emasculated in the performance.
Nope. This looks to be Greg's play up there as he wrote it. And it's damned funny, and it's damned nasty. But not really as deep or dark or multi-layered as his best work. On the other hand, if it was, it almost certainly wouldn't be playing the Roundabout at Laura Pels. But it's funny in the deadpan, flat, deliberate-"bad"-writing style that Greg does so very well. Repetition of stupid phrases with a "heavy" quality, as though fraught with deep meaning the more times they're spoken. And an extended running-gag ending that deliberately tries the audience's patience (you're either going to laugh harder and harder or just want to get the hell out of the theatre). Apart from the ending (deliberate or not), it seems like Greg has sussed out his audience for the piece and how far he can take them -- so it's not stupid or coy at all, but neither is it HUGELY daring.
And what's the plot? Well, I hate writing synopses, so, if you want it, here's a review of the show that gives as much as you need, praises the show (including a few elements I wouldn't, but I'll get to that in a minute), and doesn't spoil anything.
What has to make this show work is the actors, and they do it.
The cast members of Pig Farm -- repeatedly referred to in almost all reviews, positive and negative, as being four of the best NYC stage actors now working (ie; on Broadway or Off-Broadway, so I wouldn't know myself) -- are indeed mostly on the money. John Ellison Conlee (Tom) and Katie Finneran (Tina) hit everything perfectly, not subtle, but never ever too broad (Fiancee Berit thought Finneran seemed to tire and wind down before the end, especially when she seemed to be "marking" through a gag in which everyone on stage runs and takes cover over and over again as a gun is swung in their direction, but I think the problem there was in the other two actors not playing up the growing tiredness and frustration at having to hide again as much as Finneran, correctly, was). Conlee has great eyes, and is great at using them to express a multitude of simultaneous emotions during pauses or silent moments. Finneran's timing is as focused and precise as a laser.
The other two actors are generally good, but a hair problematic. Logan Marshall-Green (Tim) has the hardest part, I think, in that he gets a lot of the "flat heavy dialogue to be spoken as if by a bad actor" lines, and like many actors will do when given text that, if they do it properly, may make them look like lousy actors, occasionally he crosses the line into obvious "comic" acting, as if winking at the audience to let them know, "I'm not really a bad actor, I'm just playing like I am for this show." But, when he doesn't cross the line over into "comic" acting, he's amazing. Denis O'Hare is both a bit more off and a bit more on, in that his character is an eccentric, so his at-times over the top comedic performance works for the most part, but there are times when his mannerisms don't suggest "eccentric character," but "nervous actor trying to find funny things to do." It's a lovely bass solo of a performance, but at times he keeps soloing when he should be locking in with the drummer to keep the rhythm section going.
In connection with that last point on O'Hare, all of the actors have multiple moments -- bits, gags, reactions, etc. -- that feel like "funny" things found through playing around in the rehearsal room, and which I'm sure were amusing there, and most of them are still amusing in the final show, but amusing or not, they have no place in this text or this show, and are actively destructive to it. Just because it makes the audience laugh doesn't mean it's right.
Apart from that, Rando's direction (and I hate other directors) is better than competent. He stages things well and creates clear, crisp blocking without becoming a traffic cop or puppeteer. The set is excellent, though I kept being distracted by the (necessary, I know) insanely high ceiling on this farmhouse kitchen -- the curse taken off that somewhat by the jokes made more and more about the long, steep staircase to the "second floor" at the rear (climaxing in a hysterical and unusual entrance from upstairs). The lighting is effective, though I was distracted by the noticeable speed of some of the cue changes internally in scenes.
So, with Greg writing a good, funny show that is maybe not quite so deep or heavy as his earlier work, but easier and more obviously "parodic," and not as reliant on a delicate tone to work, put over by four really good actors, with well-crafted, if a bit indulgent, direction, and excellent technical values, it sounds like something to go over like gangbusters, huh?
Depressingly, however, the venue, audience, and critical community that surround this show seem to not be the right one for it. I had looked over some of the reviews when it first opened, and again just before seeing it, and got the impression they were pretty evenly mixed, positive and negative (and really split between VERY positive and VERY negative). I just checked in more depth online and read 22 different reviews, which split up to 6 positive, 4 mixed, and 12 negative. And the 6 positive were not raves, but merely . . . positive. The negative reviews were REALLY angrily negative for the most part. People who dislike the show don't just dislike it, they despise it.
Again. Walk-outs.
And critical response that damn well indicates what happens when a show with a confusingly different aesthetic and morals and messages that can't be easily condensed into bite-size chews (or can't be put in words at all), but which would be nothing unusual Off-Off-Broadway, DARES to invade a "proper" theatre. Oh, deary-dear!
Where's the New American Play? Trying to find an audience interested in it. Which isn't, for the most part, at the Roundabout at Laura Pels.
Now, I know, Pig Farm is not a GREAT play -- it's fun, it's funny, it's frivolous, but it's not dumb, not insulting, and not a waste of time, unlike most of what passes for "serious" plays these days (please see David Cote on Rabbit Hole for further information, if you haven't already).
Okay, I've certainly opened my yap a lot in the past about my problems with the NY Fringe Festival (and I'm sure I said something I shouldn't have to Jason Zinoman when he interviewed me for the piece on the Fringe he has coming up in Time Out New York), and I don't like to knock anything that makes more theatre happen (especially Off-Off-Broadway), but one of the reviews on Pig Farm really got to me with this comment:
"The New York International Fringe Festival seems to have arrived two months ahead of schedule this year. Known for producing campy Off-Off-Broadway shows with titles like “Car Crash: The Musical” or “Silence of the Lambs: The Musical,” the Fringe is most famous for premiering “Urinetown,” which eventually went on to Broadway. And though this kind of lowbrow humor can be diverting as well as annoying, it does not belong on a prestigious Off-Broadway stage with first-rate actors."
Fringe. Campy. Off-Off-Broadway. Lowbrow. Diverting. Annoying.
vs.
Prestigious. Off-Broadway. First-rate actors.
Yes, the focus of the Fringe (or rather the Fringe's publicity) on shows with "quirky, wacky" names that will get attention from the press for those things that those "quirky, wacky" downtown theatre people do this one time of the year (no matter that there's plenty of non-quirky/wacky shows in the Fringe, who wants to hear about those?) has helped foster the climate that shows not in a "prestigious" theatre will have less-than "first-rate actors" performing "campy, lowbrow, annoying" theatre that at best might be "diverting." Oh, thank you.
While I hadn't felt that Pig Farm was exactly the best play I'd seen in a long time, I liked it, and I felt good in that it WAS a play that you could have seen in some Off-Off space, where the best work happens not from people trying to create something that could move to a bigger theatre, but from people bored and tired with what they see in those bigger theatres creating new and interesting work that doesn't fit the pigeonhole of "what sells on Broadway or Off-Broadway."
Funny way to think of it, huh? "Hey, that Off-Broadway play was good enough for Off-Off-Broadway!"
Thanks, Greg Kotis, for making us laugh about pig shit. Again.
Oh, and for those of you who do have the playgoing dollar to spend uptown and on a worthwhile show, I've been given a code to save you some bucks. Tell 'em Big Daddy Hill sent ya:
Code: PFINTE
35% off tickets to Pig Farm, now through September 3rd Only. Tickets only $39.75-$46.75 (reg $56.25-$66.25)
Call 212-719-1300 or visit www.roundabouttheatre.org. Be sure to use code PFINTE. Offer subject to availability. Cannot be combined with any other offer.
(and no, don't actually tell them I sent ya, ya dope!)
Later, Greg put up his play Jobey and Katherine at Nada, and I did the light and sound design. More on that in a sec. Then there was Urinetown, which I was privileged to work on a little bit in very early stages (I produced an original demo tape for Greg and Mark, and gave my advice on the script to Greg, most of which, fortunately for the show, was not taken). Last time I saw Greg was about four or five years ago, and I got to congratulate him on the success of Urinetown. He still seemed a bit taken aback that it had actually made it where it had, and commented that he'd had to give in on a few things, but that he'd protected the ending (indeed, possibly the nastiest ending ever on a Broadway musical), which was the most important thing for him.
Which leads to what had been my concern going in to see Pig Farm. Greg's work, at its best, is uncompromisingly bleak, vicious, depressing, and dark, and made bearable only by the fact that Greg is also incredibly funny and surrounds the pain with big BIG laughs. A truckload of sugar to make some very nasty medicine go down, say. My kind of theatre. But would that be something the Roundabout would actually be putting on? Not necessarily that Greg would tone down his writing, but would it be produced with the correct tonal color?
I loved the script of Jobey and Katherine (here's a review with detailed description, scroll down to find it), and was proud of the sound design (music score, really) that I had created for the show. I was living out of NYC at the time, and came back to the City specifically to work on the show. Before creating the sound/music score, I had asked Greg if the play was a REALLY dark drama with enough laughs to make it bearable, or a comedy with a dark edge. He told me it was the former, so I scored it appropriately (sparse, harsh electric guitar melodies with distant sea sounds -- the play was about a fishing town -- heavily influenced by Howard Shore's score for Crash and Neil Young's for Dead Man). I came to town and discovered my score wouldn't fit the show anymore as Greg, who was also directing it, had taken the show in the other direction, for comedy, so most of my work was unusable. A couple of the actors told me that Greg had gotten it to a dark place in rehearsal, had decided it was too dark, and pulled it way back. We also had some disagreement on the light design, where I'd gone with a rather shadowy, moody look, and he wanted me to brighten it quite a bit -- we compromised just fine on that, though. The show came out okay, but uneven; I saw it four times and it was lousy once, okay once, extremely good once, and breathtakingly transcendent once, all depending on how well the three actors walked the very delicate line between comedy and tragedy that Greg had set up (or maybe more precisely, how much they gave themselves over internally to the tragic while allowing themselves to externally allow the comic to just "be").
Urinetown avoided the tonal difficulties inherent in Greg's writing, for the most part, by being a musical, and so the tension between the dark undercurrents and the peppier musical form was built in to the work from the start, the only difficulty there being in keeping the actors playing it in "classic musical" mode and not slipping in an actorial "wink" that indicates "we know this is silly parody." I couldn't see the show on Broadway (never saw it after the Fringe), so I have no idea how successful or not it was at keeping the correct tone (judging from the cast album, mostly, but maybe over the line here and there). Of course, with my unerring skill at keeping my finger on the pulse of what makes commercial theatre play in NYC (which has put me EXACTLY where I am today), my advice to Greg and Mark was to go even DARKER and not worry about it, the musical form would carry it along. Wisely, they didn't, removed some of the more grotesque elements of the script, cut the musical number that no one liked but me and replaced it with a much better one, and added Little Sally as an additional narrator figure to banter with Officer Lockstock and to humorously make the points of the show much clearer with her confused commentary. So Urinetown worked.
Still, what I read about Pig Farm indicated a play much more in the Jobey and Katherine vein, which I couldn't imagine playing in an Off-Broadway house, as much as it would deserve to (I still love the J&K script, and would really LOVE to direct/design a revival of it, but I don't think Greg would be interested in me doing it at all . . .). So I figured that no matter what Greg had written, it would be emasculated in the performance.
Nope. This looks to be Greg's play up there as he wrote it. And it's damned funny, and it's damned nasty. But not really as deep or dark or multi-layered as his best work. On the other hand, if it was, it almost certainly wouldn't be playing the Roundabout at Laura Pels. But it's funny in the deadpan, flat, deliberate-"bad"-writing style that Greg does so very well. Repetition of stupid phrases with a "heavy" quality, as though fraught with deep meaning the more times they're spoken. And an extended running-gag ending that deliberately tries the audience's patience (you're either going to laugh harder and harder or just want to get the hell out of the theatre). Apart from the ending (deliberate or not), it seems like Greg has sussed out his audience for the piece and how far he can take them -- so it's not stupid or coy at all, but neither is it HUGELY daring.
And what's the plot? Well, I hate writing synopses, so, if you want it, here's a review of the show that gives as much as you need, praises the show (including a few elements I wouldn't, but I'll get to that in a minute), and doesn't spoil anything.
What has to make this show work is the actors, and they do it.
The cast members of Pig Farm -- repeatedly referred to in almost all reviews, positive and negative, as being four of the best NYC stage actors now working (ie; on Broadway or Off-Broadway, so I wouldn't know myself) -- are indeed mostly on the money. John Ellison Conlee (Tom) and Katie Finneran (Tina) hit everything perfectly, not subtle, but never ever too broad (Fiancee Berit thought Finneran seemed to tire and wind down before the end, especially when she seemed to be "marking" through a gag in which everyone on stage runs and takes cover over and over again as a gun is swung in their direction, but I think the problem there was in the other two actors not playing up the growing tiredness and frustration at having to hide again as much as Finneran, correctly, was). Conlee has great eyes, and is great at using them to express a multitude of simultaneous emotions during pauses or silent moments. Finneran's timing is as focused and precise as a laser.
The other two actors are generally good, but a hair problematic. Logan Marshall-Green (Tim) has the hardest part, I think, in that he gets a lot of the "flat heavy dialogue to be spoken as if by a bad actor" lines, and like many actors will do when given text that, if they do it properly, may make them look like lousy actors, occasionally he crosses the line into obvious "comic" acting, as if winking at the audience to let them know, "I'm not really a bad actor, I'm just playing like I am for this show." But, when he doesn't cross the line over into "comic" acting, he's amazing. Denis O'Hare is both a bit more off and a bit more on, in that his character is an eccentric, so his at-times over the top comedic performance works for the most part, but there are times when his mannerisms don't suggest "eccentric character," but "nervous actor trying to find funny things to do." It's a lovely bass solo of a performance, but at times he keeps soloing when he should be locking in with the drummer to keep the rhythm section going.
In connection with that last point on O'Hare, all of the actors have multiple moments -- bits, gags, reactions, etc. -- that feel like "funny" things found through playing around in the rehearsal room, and which I'm sure were amusing there, and most of them are still amusing in the final show, but amusing or not, they have no place in this text or this show, and are actively destructive to it. Just because it makes the audience laugh doesn't mean it's right.
Apart from that, Rando's direction (and I hate other directors) is better than competent. He stages things well and creates clear, crisp blocking without becoming a traffic cop or puppeteer. The set is excellent, though I kept being distracted by the (necessary, I know) insanely high ceiling on this farmhouse kitchen -- the curse taken off that somewhat by the jokes made more and more about the long, steep staircase to the "second floor" at the rear (climaxing in a hysterical and unusual entrance from upstairs). The lighting is effective, though I was distracted by the noticeable speed of some of the cue changes internally in scenes.
So, with Greg writing a good, funny show that is maybe not quite so deep or heavy as his earlier work, but easier and more obviously "parodic," and not as reliant on a delicate tone to work, put over by four really good actors, with well-crafted, if a bit indulgent, direction, and excellent technical values, it sounds like something to go over like gangbusters, huh?
Depressingly, however, the venue, audience, and critical community that surround this show seem to not be the right one for it. I had looked over some of the reviews when it first opened, and again just before seeing it, and got the impression they were pretty evenly mixed, positive and negative (and really split between VERY positive and VERY negative). I just checked in more depth online and read 22 different reviews, which split up to 6 positive, 4 mixed, and 12 negative. And the 6 positive were not raves, but merely . . . positive. The negative reviews were REALLY angrily negative for the most part. People who dislike the show don't just dislike it, they despise it.
Again. Walk-outs.
And critical response that damn well indicates what happens when a show with a confusingly different aesthetic and morals and messages that can't be easily condensed into bite-size chews (or can't be put in words at all), but which would be nothing unusual Off-Off-Broadway, DARES to invade a "proper" theatre. Oh, deary-dear!
Where's the New American Play? Trying to find an audience interested in it. Which isn't, for the most part, at the Roundabout at Laura Pels.
Now, I know, Pig Farm is not a GREAT play -- it's fun, it's funny, it's frivolous, but it's not dumb, not insulting, and not a waste of time, unlike most of what passes for "serious" plays these days (please see David Cote on Rabbit Hole for further information, if you haven't already).
Okay, I've certainly opened my yap a lot in the past about my problems with the NY Fringe Festival (and I'm sure I said something I shouldn't have to Jason Zinoman when he interviewed me for the piece on the Fringe he has coming up in Time Out New York), and I don't like to knock anything that makes more theatre happen (especially Off-Off-Broadway), but one of the reviews on Pig Farm really got to me with this comment:
"The New York International Fringe Festival seems to have arrived two months ahead of schedule this year. Known for producing campy Off-Off-Broadway shows with titles like “Car Crash: The Musical” or “Silence of the Lambs: The Musical,” the Fringe is most famous for premiering “Urinetown,” which eventually went on to Broadway. And though this kind of lowbrow humor can be diverting as well as annoying, it does not belong on a prestigious Off-Broadway stage with first-rate actors."
Fringe. Campy. Off-Off-Broadway. Lowbrow. Diverting. Annoying.
vs.
Prestigious. Off-Broadway. First-rate actors.
Yes, the focus of the Fringe (or rather the Fringe's publicity) on shows with "quirky, wacky" names that will get attention from the press for those things that those "quirky, wacky" downtown theatre people do this one time of the year (no matter that there's plenty of non-quirky/wacky shows in the Fringe, who wants to hear about those?) has helped foster the climate that shows not in a "prestigious" theatre will have less-than "first-rate actors" performing "campy, lowbrow, annoying" theatre that at best might be "diverting." Oh, thank you.
While I hadn't felt that Pig Farm was exactly the best play I'd seen in a long time, I liked it, and I felt good in that it WAS a play that you could have seen in some Off-Off space, where the best work happens not from people trying to create something that could move to a bigger theatre, but from people bored and tired with what they see in those bigger theatres creating new and interesting work that doesn't fit the pigeonhole of "what sells on Broadway or Off-Broadway."
Funny way to think of it, huh? "Hey, that Off-Broadway play was good enough for Off-Off-Broadway!"
Thanks, Greg Kotis, for making us laugh about pig shit. Again.
Oh, and for those of you who do have the playgoing dollar to spend uptown and on a worthwhile show, I've been given a code to save you some bucks. Tell 'em Big Daddy Hill sent ya:
Code: PFINTE
35% off tickets to Pig Farm, now through September 3rd Only. Tickets only $39.75-$46.75 (reg $56.25-$66.25)
Call 212-719-1300 or visit www.roundabouttheatre.org. Be sure to use code PFINTE. Offer subject to availability. Cannot be combined with any other offer.
(and no, don't actually tell them I sent ya, ya dope!)
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
Wow, thanks for your comments about the Fringe
Date: 2006-07-25 07:28 pm (UTC)From: (Anonymous)no subject
Date: 2006-07-25 07:41 pm (UTC)From:Contact him !
A Fringe entry you might enjoy -
Date: 2006-08-13 03:46 pm (UTC)From: (Anonymous)The creative process that produced Neon Mirage is as interesting as the result. And the result is worthwhile.
Just my $0.02 -
:-)
Спасибо за информацию
Date: 2012-01-28 01:29 pm (UTC)From: