Toronto Dance Theatre Presents Marienbad: a World Premiere by Jordan Tannahill and Christopher House

Total Page:16

File Type:pdf, Size:1020Kb

Toronto Dance Theatre Presents Marienbad: a World Premiere by Jordan Tannahill and Christopher House Media Contact Lindsey Omelon p. 416.967.1365 x 23 [email protected] FOR IMMEDIATE RELEASE – MAY 5, 2016 Toronto Dance Theatre presents Marienbad: A world premiere by Jordan Tannahill and Christopher House (Toronto, ON) – Toronto Dance Theatre (TDT) closes its 2015-16 season with Marienbad, a new duet created and performed by TDT Artistic Director Christopher House and award-winning playwright Jordan Tannahill, presented at the Winchester Street Theatre May 26-29 & June 1-4. Following on their wayward 2014 collaboration for On Display, Marienbad places two queer men in a landscape of shifting meanings and intentions. Movement, image and architecture come together in this celebration of inter- generational complicity. The theatre's orientation is reversed, with the audience seated on stage and the performance unfolding on the terraced steps. In collaboration with sound designer Matt Smith, lighting designer Simon Rossiter, production stage manager Cheryl Lalonde and rehearsal director Rosemary James. PERFORMANCE DATES Thursday, May 26 - 8:00 p.m. Friday, May 27 - 8:00 p.m. Saturday, May 28 - 8:00 p.m. Sunday, May 29 - 2:00 p.m. Wednesday, June 1 - 8:00 p.m. Thursday, June 2 – 8:00 p.m. Friday, June 3 – 8:00 p.m. Saturday, June 4 – 8:00 p.m. Winchester Street Theatre, 80 Winchester Street TICKETS: Regular: $26 | Student/Senior/CADA: $20 | Sunday, May 29: PWYC BOX OFFICE: 461.967.1365 | tdt.org/marienbad TORONTO DANCE THEATRE: tdt.org CHRISTOPHER HOUSE Born and raised in St. John’s, Newfoundland, Christopher House has been Artistic Director of Toronto Dance Theatre since 1994. In addition to contributing over sixty works to the TDT repertoire, he has created choreographies for many companies and individuals including Lisbon's Ballet Gulbenkian, The National Ballet of Canada, Les Grands Ballet Canadiens, Peggy Baker and Guillaume Côté. He has also directed two collaborations with inde-pop band The Hidden Cameras, made several short films and videos, and in 2015 was a contributing choreographer with Cirque du Soleil for the Opening Ceremony of the Pan Am Games. He recently curated Singular Bodies, a choreographic platform for visual artists and continues his performance practice in the works of Deborah Hay, Ame Henderson and Jordan Tannahill. Christopher House has received many awards and honours for his work including three Dora Mavor Moore Awards, the Muriel Sherrin Award for International Achievement in Dance and an Honorary Doctorate from Memorial University of Newfoundland. He is an Associate Dance Artist of Canada's National Arts Centre. 1 Media Contact Lindsey Omelon p. 416.967.1365 x 23 [email protected] JORDAN TANNAHILL Jordan Tannahill is a multidisciplinary artist working in performance and film. In collaboration with William Ellis, Jordan runs the alternative art space Videofag, out of a defunct barbershop in Toronto’s Kensington Market. His plays have been presented across Canada, and his films have been exhibited at venues such as the Toronto International Film Festival, the Art Gallery of Ontario, and the British Film Institute. Jordan received the 2014 Governor Generals Award for Drama for his book Age of Minority: Three Solo Plays, the 2014 John Hirsch Prize for directing, and Dora Awards for 'Outstanding New Play' for rihannaboi95 in 2013 and Concord Floral in 2015. In 2014 he directed Sheila Heti’s All Our Happy Days Are Stupid at Harbourfront Centre’s World Stage and The Kitchen in New York City and published his book Theatre of the Unimpressed with Coach House Press. His double- bill of plays, Botticelli in the Fire & Sodom in Sodom, are closing Canadian Stage's 15/16 season and Concord Floral opens their 16/17 season this fall. Sound Designer Matt Smith Lighting Designer Simon Rossiter Production Stage Manager Cheryl Lalonde Rehearsal Director Rosemary James ABOUT TORONTO DANCE THEATRE Toronto Dance Theatre is one of Canada’s leading arts organizations, recognized for the intelligent vision of its choreography, the beauty of its productions and the exceptional artistry of its dancers. Founded in 1968 by Peter Randazzo, Patricia Beatty and David Earle, and under the artistic direction of Christopher House since 1994, TDT has produced a remarkable body of original Canadian choreography. Christopher House is one of Canada’s “most enduringly inventive choreographers” (National Post). His works are acclaimed for their movement invention, musicality and deft handling of multiple layers of meaning. TDT’s dancers are passionate artists who play an essential role in the creative process, celebrated for their physicality, imaginative daring, and sensitive, playful ensemble work. Marienbad A new duet created and performed by Christopher House and Jordan Tannahill May 26-28 & June 1-4, 8:00 p.m. | May 29, 2:00 p.m. (PWYC) Tickets $20-$26 Winchester Street Theatre, 80 Winchester Street For tickets visit http://marienbad-tdt.eventbrite.ca or call 416.967.1365 | www.tdt.org -- For more information or interview requests, please contact: Lindsey Omelon, Marketing and Communications Manager, Toronto Dance Theatre 416.967.1365 x 23 | [email protected] Facebook: TorontoDanceTheatre | Twitter: @TDTWinch | Instagram: @TDTWinch | Hashtag: #MarienbadTDT ### Toronto Dance Theatre is supported by 2 .
Recommended publications
  • LATE COMPANY by Jordan Tannahill
    Press Information ! ! VIBRANT NEW WRITING | UNIQUE REDISCOVERIES Spring-Summer Season 2017 | April–July 2017 The European premiere LATE COMPANY by Jordan Tannahill. Directed by Michael Yale. Designed by Zahra Mansouri. Lighting by Nic Farman. Sound by Christopher Prosho. Presented by Stage Traffic Productions in association with Neil McPherson for the Finborough Theatre. Cast: Todd Boyce. David Leopold. Alex Lowe. Lucy Robinson. Lisa Stevenson. “When you wake up in a cold sweat at night and you think someone is watching you, well it’s me. I’m watching you. And that cold sweat on your body, those are my tears…“ As part of the Finborough Theatre’s celebrations of Canada’s 150th birthday, the European debut of “the hottest name in Canadian theatre”, Jordan Tannahill, with the European premiere of Late Company playing at the Finborough Theatre for a four week limited season on Tuesday, 25 May 2017 (Press Nights: Thursday, 27 April 2017 and Friday, 28 April 2017 at 7.30pm). One year after the suicide of their teenage son, Debora and Michael sit down to dinner with their son’s bully and his parents. Closure is on the menu, but accusations are the main course as good intentions are gradually stripped away to reveal layers of parental, sexual, and political hypocrisy – at a dinner party where grief is the loudest guest. Written with sensitivity and humour, Late Company explores restorative justice, cyber bullying, and is both a timely and timeless meditation on a parent’s struggle to comprehend the monstrous and unknown in their child. Playwright Jordan Tannahill has been described as “the future of Canadian theatre” by NOW Magazine.
    [Show full text]
  • Read Ebook {PDF EPUB} Liminal by Jordan Tannahill Jordan Tannahill's Liminal Plays Truth for Dramatic Effect
    Read Ebook {PDF EPUB} Liminal by Jordan Tannahill Jordan Tannahill's Liminal plays truth for dramatic effect. In 2014 playwright Jordan Tannahill became the youngest-ever winner of the Governor General’s Award for Drama. Now, still not 30, he has published a semi-fictional memoir. This is what’s known as a fast start for a literary career. The genre Tannahill is working is a hot one, sometimes referred to as the autobiographical novel or autofiction. Think names like Karl Ove Knausgard. The reader is given to understand that the people and events being described are, broadly speaking, real, but they are being presented and arranged in such a way as to heighten their dramatic effect. As Tannahill puts, describing his Toronto theatre project Videofag in terms that could just as easily be applied to Liminal , “it is both art and life . a sort of hyper-real portrait of a slightly more mundane reality.” This is having one’s cake and eating it, since we have a tendency to accept that what we’re getting in Liminal is a true story, even if we have no idea how much of it really is. That’s a big part of what makes these books so popular. An enhanced reality may be even better than the real thing. Read more: Tannahill begins with the moment that gives the novel its title and theme. On the morning of Sat. Jan. 21, 2017 he stands in the doorway, on the threshold, of his mother’s bedroom, not sure if she is alive or dead.
    [Show full text]
  • Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’S Life Writing
    Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’s Life Writing Emma Jenkins A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Arts and Media Faculty of Arts and Social Sciences The University of New South Wales March 2018 Thesis/Dissertation Sheet Surname/Family Name : Jenkins Given Name/s : Emma Abbreviation for degree as give in the University calendar : PhD Faculty : Faculty of Arts and Social Sciences School : School of Arts and Media Body Doubles: Uncertain Ontologies in Contemporary Experimental Women’s Thesis Title : Life Writing Abstract 350 words maximum: (PLEASE TYPE) Contemporary feminist life writing is built on an extraordinary tradition of category-testing experimentation with language and form. The specific textures and individual embodiments of gendered experience have frequently inspired challenges to accepted renditions of canonical genres of ‘the life’. This thesis argues that contemporary women’s life writing continues to interrogate the limits of the discourse and genres of the self by examining three texts by North American feminist authors. These texts are Chris Kraus’s Aliens & Anorexia (2000), Sheila Heti’s How Should A Person Be? (2010), and Maggie Nelson’s The Argonauts (2015). From the 1990s onwards, following the problematisation of the category of ‘woman’ and the ensuing ontological crisis in feminism, metatheoretical women’s life writing has been deployed to explore and manage a set of productive and seemingly irresolvable contradictions around the state of women’s identity. These contradictions manifest in these texts as parataxis, comic inversion, and as the queer strategy to sit ‘athwart’ opposing ideologies rather than ‘against’ them.
    [Show full text]
  • Late Company
    STAGE TRAFFIC PRODUCTIONS PRESENT THE EUROPEAN PREMIERE OF LATE COMPANY BY AWARD-WINNING CANADIAN PLAYWRIGHT JORDAN TANNAHILL STARRING TODD BOYCE, DAVID LEOPOLD, ALEX LOWE, LUCY ROBINSON AND LISA STEVENSON AND DIRECTED BY MICHAEL YALE AT FINBOROUGH THEATRE FROM 25 APRIL – 20 MAY 2017 As part of the Finborough Theatre’s celebrations of Canada’s 150th birthday, Canadian playwright Jordan Tannahill, “the hottest name in Canadian theatre”, will debut his play, Late Company, at the Finborough Theatre, for a strictly limited season from 25 April – 20 May 2017, with press nights on 27 April/28 April. The full cast for Late Company are: Todd Boyce (Michael), David Leopold (Curtis), AlEx LowE (Bill), Lucy Robinson (Debora) and Lisa Stevenson (Tamara). This production will be directed by MichaEl YalE, with set and costumes by Zahra Mansouri, lighting by Nic Farman and sound by Chris Prosho. One year after a terrible tragedy; 2 sets of parents, one dead son, one living son. Who is to blame? A suburban dinner party for closure after 17 year-old Joel commits suicide. The guests; his heartbroken mother and father, his so-called tormentor Curtis, and his parents. Far from finding the peace they seek, the dinner strips bare their good intentions to reveal layers of parental, sexual, and political hypocrisy. Written with sensitivity and humour, Late Company explores restorative justice, cyber bullying, and the ever-changing complexities of parenthood in the 21st century. Todd Boyce’s (MichaEl Shaun-Hastings) theatre credits includes The Exorcist (Birmingham Rep), The Last of the Boys (Southwark Playhouse), Hamlet (The Young Vic), The Women of Lockerbie (Orange Tree Theatre, Richmond), Glyn and It (Yvonne Arnaud Theatre, Guildford), Whose Afraid of Virginia Woolf (South Australian Theatre Company), The Normal Heart (Sydney Theatre Company), Limited Edition (Sydney Dance Company), Lovers from Hell (Ovalhouse), Dr Faustus (Sydney Theatre Company) and The Exonerated (Riverside Studios).
    [Show full text]
  • Israel's Religious Awakening
    Ira Wells: Michael Ignatieff’s nouveau modesty PAGE 7 $6.50 Vol. 25, No. 9 December 2017 Israel’s Religious Awakening Is the world ready for another theocracy in the Middle East? PATRICK MARTIN ALSO IN THIS ISSUE pasha malla The lie of plagiarism sarah wylie krotz Men with boats ramin jahanbegloo & jalal barzanji Forgiveness and revenge PLUS Kid lit’s subterranean genius + Culinary time travel + The hipster bourgeoisie Publications Mail Agreement #40032362. Return undeliverable Canadian addresses to LRC, Circulation Dept., PO Box 8, Station K, Toronto, ON M4P 2G1 New from University of Toronto Press Stumbling Giants Transforming Canada’s Banks for the Information Age by Patricia Meredith and Residential Schools and James L. Darroch Reconciliation Stumbling Giants presents a new vision Canada Confronts its History for the Canadian banking industry and a call to action for all stakeholders to by J.R. Miller create a banking system for the twenty- In Residential Schools and first century. Reconciliation, award winning author J. R. Miller tackles institutional responses, including from the federal government and Christian churches, to Canada’s residential school legacy. Canada’s Odyssey A Country Based on Incomplete Conquests Roads to Confederation by Peter H. Russell The Making of Canada, 1867, In Canada’s Odyssey, renowned scholar Volume 1 Peter H. Russell provides an expansive, edited by Jacqueline D. Krikorian, et. al. accessible account of Canadian history In recognition of Canada’s from the pre-Confederation period to sesquicentennial, this two-volume set the present day. brings together previously published scholarship on Confederation into one collection. The Constitution in a Hall of Mirrors Canada at 150 Roads to Confederation by David E.
    [Show full text]
  • Everything's on the Table with Our Fall 2017
    / – Everything’s on the table this fall. With over fifty years of irreverent literary history filling the shelves, our dusty old coach house doesn’t readily evoke bright lights and cold stainless steel. But spend some time watching Tony, our Coach House printer, square up a freshly printed press sheet, or take one look at our guillotine cutter, and you might begin to see a little of the surgical side that complements our love of the human and the messy. So, with a nod to the more exacting angels of our nature, this fall we’re putting everything on the table to see what’s inside. Our fall fiction titles artfully dissect questions surrounding creation, ownership, and people in disrepair. Martha Baillie’s If Clara is a compelling exploration of whose voices are heard in the modern din. And the stories in The Doll’s Alphabet , Camilla Grudova’s grotesquely enchanting debut, do more than get under a reader’s skin – they make purposeful incisions. Two new Exploded Views titles certainly add to the series’s reputation for innovative and probing work. In Curry , Naben Ruthnum grapples with the dish in its manifold culinary and cultural varieties, while Kelli María Korducki’s Hard To Do lays bare the surprising, feminist history of breaking up . In poetry, Sina Queyras puts Sylvia Plath’s Ariel , along with her own family baggage, under the knife. Jay Ritchie brings unpar - alleled wit to the everyday in Cheer Up, Jay Ritchie . And, unlike a patient etherized upon a table, Jeramy Dodds’ Drakkar Noir refuses to lie still.
    [Show full text]
  • Uneasy Portraits 1986 - 2016 (2017)
    CHRIS BUCK — BOOKS UNEASY PORTRAITS 1986 - 2016 (2017) UNEASY is a book of Chris Buck’s portraits of the famous from 1986 to 2016. It constructs a road map of contemporary culture, featuring a range of subjects from varied disciplines, including Barack Obama, Lena Dunham, Margaret Atwood, Snoop Dogg, Willie Nelson, Steve Martin, Philip Seymour Hoffman, Jay Z, Cindy Sherman, and Donald Trump. The Stories section of UNEASY features over a hundred behind-the-scenes anecdotes by the photographer. Cover Image, Joaquin Phoenix DETAILS Photographer: Chris Buck Hardcover Publisher: Norman Stuart Publishing Foreword: Sheila Heti 9.5 x 13 inches Release Date: February 2017 338 photographs Design: de.MO 484 pages, 129 stories SUBJECTS John Cale, 1986 Joel-Peter Witkin, 1989 Miss Manners (Judith Martin), 1992 Steve Albini, 1987 William S. Burroughs, 1989 Jeff Buckley, Gary Lucas/Gods & Monsters, 1992 Slow, 1986 Hank Ballard, 1989 Marisa Tomei, 1992 Graham Stewart, 1986 John Kenneth Galbraith, 1990 Quentin Tarantino, 1992 They Might Be Giants, 1986 Hal Hartley, 1989 Errol Morris, 1992 John Lydon, 1986 Adrienne Shelly, 1990 Morrissey, 1992 Hüsker Dü, 1987 Thomas McGuane, 1990 Trent Reznor/Nine Inch Nails, 1992 Pussy Galore, 1988 Spalding Gray, 1990 Frances Ford Coppola, 1992 Harvey Pekar, 1988 Ice-T, 1989 Sally Mann, 1992 Anton Corbijn, 1987 Chuck D, Public Enemy, 1991 Mark Morris, 1992 Mark E. Smith/The Fall, 1986 Cowboy Junkies, 1990 Neil Young, 1992 Volcano Suns, 1988 Richard Linklater, 1991 Conan O’Brien, 1993 Public Enemy, 1988 Carolee Schneemann,
    [Show full text]
  • Grants Listing 2015-2016
    OAC 2015-2016 GRANTS LISTING LISTE DES SUBVENTIONS 2015-2016 DU CAO Visitors move through the Painters Eleven Corridor at The Robert McLaughlin Gallery in Oshawa and view Lindsay Lauckner Gundlock’s exhibition Familiarity in the Foreign. (Photo: Lucy Villeneuve) À la galerie Robert McLaughlin d’Oshawa, des visiteurs parcourent le couloir du Groupe des Onze pour voir l’exposition « Familiarity in the Foreign », de Lindsay Lauckner Gundlock. (Photo : Lucy Villeneuve) CONTENTS SOMMAIRE OAC Grants Listing Liste des subventions du CAO Aboriginal Arts 3 Arts autochtones 3 Access and Career Development 7 Accès et évolution professionnelle 7 Arts Education 9 Éducation artistique 9 Arts Service Organizations 15 Organismes de service aux arts 15 Community Arts Councils 19 Conseils des arts communautaires 19 Community-Engaged Arts 21 Arts axés sur la communauté 21 Compass 24 Compas 24 Dance 27 Danse 27 Deaf and Disability Arts 32 Pratiques des artistes sourds ou handicapés 32 Francophone Arts 34 Arts francophones 34 Literature 41 Littérature 41 Major Organizations 52 Organismes majeurs 52 Media Arts 54 Arts médiatiques 54 Multi and Inter-Arts 59 Multiarts et interarts 59 Music 62 Musique 62 Northern Arts 74 Arts du Nord 74 Theatre 77 Théâtre 77 Touring and Audience Development 85 Tournées et développement de l’auditoire 85 Visual Arts and Crafts 92 Arts visuels et métiers d’art 92 Awards and Chalmers Program 105 Prix et programme Chalmers 105 Ontario Arts Foundation 111 Fondation des arts de l’Ontario 111 Credits 120 Collaborateurs 120 Front Cover (from top): Première de couverture (de haut en bas) : Y Josephine (left) and Amai Kuda perform at Neruda Arts’ Kultrún Festival An outdoor screening of Hip-Hop Evolution, directed by Darby Wheeler, part at Victoria Park in Kitchener.
    [Show full text]
  • Toronto Arts Council Report to Economic Development Committee
    Attachment TABLE OF CONTENTS Introduction and Grants Impact Analysis ........................................................................................... 3 Summary of Increased Funding, 2013-2016, chart ……………………………………………….……. 7 Operations Budget Allocation ……………………………………………………………………………….8 Grants Programs Overview Strategic Funding .................................................................................................................. 9 Arts Discipline Funding ......................................................................................................... 10 Assessment and Allocations Process ................................................................................... 11 Loan Fund ............................................................................................................................. 11 2016 Allocations Summary ................................................................................................................ 12 Income Statement & Program Balances for the year ended December 31, 2016............................. 13 Strategic Funding 2016 Partnership Programs .......................................................................................................... 14 Strategic Partnerships ........................................................................................................... 15 Strategic Allocations .............................................................................................................. 17 Recipient Details ..................................................................................................................
    [Show full text]
  • Book*Hug Spring Summer 2018 Catalogue (PDF)
    2018publishing the future of literature bookthug.ca Bookthug_Cat_Spr-Sum_18.indd All Pages 2017-11-06 10:50 AM A MESSAGE FROM THE PUBLISHERS Dear Faithful Booksellers and Readers, And now on to some news. By now, you have likely heard that we have decided to make a significant change here at the press. We are going The catalogue you are holding in your hand represents the end of thir- to publish under a new name. Without going into too much detail, teen years of publishing, and the beginning of our fourteenth year. And cultural changes have taken place around a word, and as a result our that is no small feat. There have been various miracles over the years name no longer feels relevant to what we do as publishers. To us this that have allowed us to continue to work as publishers to the point is fascinating: we have always believed that language is not fixed and where BookThug has become a teenager. These include expanding has no centre. So in a way it is fitting that such a thing has happened from a publisher of poetry into a literary publisher that issues books of to our name. We also decided years ago that we would never walk up fiction, nonfiction, poetry and the occational play; having smart edi- the middle of anything, and so are embracing the reality that we have tors and translators who help us choose engaged and challanging con- changed as well. And so, after much consideration, we have decided to temporary books that push the cultural needle; having designers who change our name.
    [Show full text]
  • Erik Rutherford Toronto: a City in Our Image
    Erik Rutherford Toronto: a city in our image Here in an Irish pub on the trendy rue Montorgueil, my friends and I have gathered to share a last drink. After seven years in Paris, I am moving back to my native Toronto. In only a few days, in a similar bar on College Street, I will be asked, sincerely or out of courtesy, why I have renounced life in Paris to come to ‘dreary’ Toronto. And yet for my friends here – most of them young expatriates from the U.K., Canada and the U.S. – no such expla- nations are needed. On the contrary, they spend my farewell evening sheepishly justifying their own reasons for staying behind and repeating the refrain: ‘You are right to go.’ Like them, I feel that life will be better in Toronto, not because I have better friends or a better job there, but because the city itself will allow things to happen. Why this sentiment should be so strong, especially when set against Paris, one of the world’s most envied and prestigious cities, has much to do with the very aspect of Toronto that shames many Torontonians: its physical landscape. In Jonathan Raban’s classic study of urban living, Soft City, he says that ‘Cities, unlike villages and small towns, are plastic by nature. We mould them in our images: they, in their turn, shape us by the resistance they offer when we try to impose our own personal form on them.’ Paris strongly resists our attempts to ‘impose.’ As we sit in its cafés, wander its manicured gardens, or stream down its corridor streets from one monument to the next, we bend to its dictates.
    [Show full text]
  • Maggie Nelson's Bluets
    A Strange Connectedness: On the Poetics and Uses of Shame In Contemporary Autobiography D i s s e r t a t i o n zur Erlangung des akademischen Grades Doktor der Philosophie in der Philosophischen Fakultät der Eberhard Karls Universität Tübingen vorgelegt von Jocelyn Elizabeth Parr aus Otahuhu, New Zealand 2016 Gedruckt mit Genehmigung der Philosophischen Fakultät der Eberhard Karls Universität Tübingen Dekan: Prof. Dr. Jürgen Leonhardt Hauptberichterstatter: Prof. Dr. Ingrid Hotz-Davies Mitberichterstatter: Dr. Pascale Amiot (Université de Perpignan) Tag der mündlichen Prüfung: 17. Dezember 2014 Universitätsbibliothek Tübingen: TOBIAS-Lib Abstract This dissertation studies the way that shame can be a pharmakon—a toxic affect or an intoxicating form—with as much potential to heal as it has to harm. I argue that shame informs, inspires, and limits contemporary forms of autobiography. I begin and end the dissertation with works of literary criticism that are loosely autobiographical autobiographical. Ann Cvetkovich's Depression: A Public Feeling and Kate Zambreno's Heroines both aim to rebut traditional forms of literary criticism by writing in the form of memoir, thus generating a protective enclave for identities they call ‘minor’ (queer in the case of Cvetkovich, female in the case of Zambreno). Sheila Heti's How Should a Person Be? and Ben Lerner's Leaving the Atocha Station fictionalize their autobiographies thus questioning on both a fictional and a metafictional level whether or not anything—art, in particular—can have meaning. Maggie Nelson’s Bluets traces the shame of heartbreak, depression and longing across two hundred and forty propositions, all of which are in hot pursuit of something blue.
    [Show full text]