Cher Public

Mother lode

The new play by the ineffable Charles Busch, entitled The Confession of Lily Dare, bundles up a long weekend’s worth of TCM “pre-code fallen woman” tropes into a neatly hilarious 90 minute package. Not only that, a prominent subplot focuses on that archetype of High Culture and Class in the 1930s, Grand Opera.  Read more »

Outer Burroughs

I remember Charles Busch performing his plays at the Limbo Lounge on Avenue B and asking the audience afterwards, “Did you ever think you’d go this far east in your life?” It was scary over there. But New York is different now, and John Zorn has this hangout, The Stone, on Avenue C (you heard me) at Second Street, a performance space the size of a largeish dorm room. And thus the whirligig of Time brings in his revenges. Read more »

Fall guy

charles_buschOur Own JJ (not pictured) interviews the legendary Charles Busch and goes on to muse on drag (not in drag, on drag) at the new joint venture Thirteen/Capital.

die dritte, so traut, betrog sie mich auch?

As Peg, the boozy, washed-up screenwriter (Kathleen Turner) in Charles Busch‘s play The Third Story explains,

I told you the third story is often the best. The first is the genesis of an idea, but usually completely off the track. The second is when you go overboard with flights of imagination. The third story is when you return to the truth.

Well, you would think that La Cieca, being so boozy and washed-up herself, would keep so important a truth inscribed on a plaque or something so she’d never, never forget that, in the case of really major stories, it’s the third that finally centers in on reality.

That particular bit of wisdom has been brought home to La Cieca now that she has heard (from one of her usually reliable sources) a third and (who knows) perhaps even a truthful version of why that dramatic soprano left that opera company.  Read more »