#theeffect

[doc-bryan]

I mean, it's not brain surgery......... #theatre #theeffect

[housetohalf]

Closing weekend for the #TheEffect at @studiotheatre...figured I’d see what all the fuss was about upstairs from my show. And yay @beck_a_la !!! (at Studio Theatre)

[thatwillbeit]

The Trials part 1

1.25 milligrams is enough to

sharpen my vision

as if I walked 21 years through

life with eyes

meeting the -5.

I started off with methylphenidate as a classical ‘cure’.

4 hours of living through over focusing and jaw clenching shivers counting down

the working hours. Maybe a lower dose

will do the trick. 10 milligrams

as a medium dose, 5 milligrams

will do no harm, 2 hours later I found

myself touching

the kitchen floor. What an interesting concept of an almost laminated foundation to where the hunger gets treated and life is oxygen streaming through my bloody veins keeping the attached but not so attached fingers moving as the beat of a drum against my temples tap tap double tap tap tap tap. My doctor turned into

a hotline, taking in every movement I did

not fail to mention.

‘’Maybe this is not for you.’’

The unending sea, the free fall, the jump

all for nothing if

this does not work, then

what will? What if I remain

undiagnosed,

what if nothing will ever

do ‘’the trick’’. I gave myself to

his word: my wires are plugged in to a different

power source. The battery life

is unending.

But when it dies,

it dies.

Dextro Amphetamine.

Dopamine, butterflies.

Norepinephrine, speed.

Serotonin, (sexual) appetite.

From 5 milligrams to 2.5 to 1.25.

All I need is for my battery to not die.

for me to not die.

to not die.

[faithnfrivolity]

"Leader of a retreat some thirty years ago, Catholic priest, asked the group—who attended same weekend every year—why Jesus came, why was he born. Hands went up to answer right out of the Baltimore Catechism—to die for our sins. Priest was so frustrated he said that after all their years of attending, if they weren’t willing to grow, learn anything new, next year just stay home. Wow.

I had also been drilled that Jesus came to save us from our sins, shocked by his intensity.

Christian writer and speaker, Brennan Manning, revealed in his memoir just before he died that he’d been an alcoholic since age 18, tried to be the good child stumbling into church every Sunday, ordained a priest, became a famous writer and speaker who fell in love, left the priesthood to marry, relapsed after 15 years sober. From motel to motel on speaking tours, drinking to blackout, all while inspiring so many, like me, with his writing on the radical, furious love of God…on grace. Philip Yancey wrote that we’re tempted to ask what might have been if Brennan had not given in to drink. Wrong question. Real question: what might have been if Brennan had never discovered grace?

How did Brennan discover grace? By continuing to show back up after every relapse, every failing, to find that God was still there waiting, completely unfazed, love undimmed. Our failings usher us into the presence of grace, never our successes. Only when we’ve embraced our failings, ourselves as imperfect, yet still bring ourselves back to Presence do we experience God’s love as unchanging, degreeless, graceful. Only when we have felt completely unworthy and yet completely accepted at the same time, can we see our shame for what it is—a fear of disconnection that keeps us disconnected.

Jesus didn’t come to save us from our sins.

God understands those, loves right through them. But our shame keeps us from seeing the good news of that kind of love. It’s the long way home, but Jesus came to save us from shame. Only love can do that. He came to show us the perfection of God’s love. To experience that is to lose the shame, the fear that causes all we call sinful."

- Dave Brisbin

[openingnightposts]

The Effect at the Griffin Theater

NEW YORK – The Effect at the Griffin Theater“The Effect” is the latest glorious transplant from The National Theatre in London.Well, we could circle round and round Robin Hood’s barn about this title and its meaning. The effect that the production has on the audience, on the actors, and within the story is the effect that the experiment we are witnessing has on the subjects and the supervisors. It is a lot for all of us to handle. So much so that five people walked out of the matinee I saw. Not because of the quality of work – this is an extraordinary combination of talent and skill, but for the sheer density that Lucy Preeble and director Jamie Lloyd have coaxed into being.The time, date, and location of the story are never spelled out. The external is not where we are headed, nor is it anything with which we need to concern ourselves. We are taking the local train, the milk run, into the interior of these characters and, I daresay, ourselves.Along the way, there are plenty of stops. Wherever we are, it is a place where volunteers submit to being guinea pigs in a drug trial. This particular drug is being tested to combat depression. It raises the dopamine levels in a person and thus heightens their sensitivity to joy and possibility. As we meet the participants, Connie (Taylor Russell) explains that she has been sad but not depressed. She sees these as separate. This is one smart cookie. Tristan (Paapa Essiedu) is another matter. He is street-smart with drug creds to match. The two are opposites that attract. What will happen as they are administered the drug or the placebo? Russell and Essiedu are a brilliant match in every way. This is a dance that reveals itself step by fascinating step.As that relationship rolls out like a spider’s web, the other twosome, Dr. Lorna James (the extraordinary Michele Austin) and Dr. Toby Sealey (Kobna Holdbrook-Smith), sit parenthetically at the extreme right and left of this narrow stage plonked in the middle of the audience. Over time, we realize that they are so still that we cannot tell if they are watching Connie and Tristan (who never leave the stage) or if they are looking at one another. The undercurrent is bubbling. The lighting by Jon Clark is pure magic.We watch what we think is the central story of Connie and Tristan, only to be led into the relationship of the two doctors. Then, boomerang back to the two subjects of the test. Back and forth we go. There is no letup; there is no cease. We would like to look away, but we are not given that grace, that space. That would be a lazy drive-thru, and Prebble is having none of it.These characters are laid raw by the circumstances where they cross paths. What is this drug? Of what value is the trial? Who is bluffing, and who is benefitting? When do we listen to the heart and when to the head? And PS – how are we the audience doing with all of that?The Effect has given us a huge gymnasium into which we are invited to play, engage, risk, contemplate, judge, experiment, and be our wild selves. All from the comfort of our seats. This is not easy, but “easy” is not theatre’s only job, is it?As we say on this side of the pond – Bravo to all y’all.The Effect by Lucy Prebble, directed by Jamie Lloyd.WITH Paapa Essiedu, Taylor Russell, Michele Austin and Kobna Holdbrook-Smith.Set and costume design by Soutra Gilmour, lighting design by Jon Clark, composition by Michael “Mikey J” Asante, sound design by George Dennis, movement direction by Sarah Golding and Yukiko Masui (SAY), fight direction by Kate Waters, intimacy coordination by Ingrid Mackinnon.Presented by The Shed and The National Theatre in association with The Jamie Lloyd Company. The Shed’s intimate 500-seat Griffin Theater (545 West 30th Street). This is a limited engagement through March 31, 2024. TICKETS HERE.Readers may also enjoy our reviews of Dead Outlaw, Bliss Street at City Winery, The Club, The Ally at the Public Theater, Jelly’s Last Jam, The Maid and the Mezmerizer, Seven Year Disappear, Until Dark, and This is Not a Time of Peace.https://youtu.be/RNprQYHenNI?si=ZWCsEQe1Z-_39fNo

[openingnightposts]

The Effect at the Griffin Theater

NEW YORK – The Effect at the Griffin Theater“The Effect” is the latest glorious transplant from The National Theatre in London.Well, we could circle round and round Robin Hood’s barn about this title and its meaning. The effect that the production has on the audience, on the actors, and within the story is the effect that the experiment we are witnessing has on the subjects and the supervisors. It is a lot for all of us to handle. So much so that five people walked out of the matinee I saw. Not because of the quality of work – this is an extraordinary combination of talent and skill, but for the sheer density that Lucy Preeble and director Jamie Lloyd have coaxed into being.The time, date, and location of the story are never spelled out. The external is not where we are headed, nor is it anything with which we need to concern ourselves. We are taking the local train, the milk run, into the interior of these characters and, I daresay, ourselves.Along the way, there are plenty of stops. Wherever we are, it is a place where volunteers submit to being guinea pigs in a drug trial. This particular drug is being tested to combat depression. It raises the dopamine levels in a person and thus heightens their sensitivity to joy and possibility. As we meet the participants, Connie (Taylor Russell) explains that she has been sad but not depressed. She sees these as separate. This is one smart cookie. Tristan (Paapa Essiedu) is another matter. He is street-smart with drug creds to match. The two are opposites that attract. What will happen as they are administered the drug or the placebo? Russell and Essiedu are a brilliant match in every way. This is a dance that reveals itself step by fascinating step.As that relationship rolls out like a spider’s web, the other twosome, Dr. Lorna James (the extraordinary Michele Austin) and Dr. Toby Sealey (Kobna Holdbrook-Smith), sit parenthetically at the extreme right and left of this narrow stage plonked in the middle of the audience. Over time, we realize that they are so still that we cannot tell if they are watching Connie and Tristan (who never leave the stage) or if they are looking at one another. The undercurrent is bubbling. The lighting by Jon Clark is pure magic.We watch what we think is the central story of Connie and Tristan, only to be led into the relationship of the two doctors. Then, boomerang back to the two subjects of the test. Back and forth we go. There is no letup; there is no cease. We would like to look away, but we are not given that grace, that space. That would be a lazy drive-thru, and Prebble is having none of it.These characters are laid raw by the circumstances where they cross paths. What is this drug? Of what value is the trial? Who is bluffing, and who is benefitting? When do we listen to the heart and when to the head? And PS – how are we the audience doing with all of that?The Effect has given us a huge gymnasium into which we are invited to play, engage, risk, contemplate, judge, experiment, and be our wild selves. All from the comfort of our seats. This is not easy, but “easy” is not theatre’s only job, is it?As we say on this side of the pond – Bravo to all y’all.The Effect by Lucy Prebble, directed by Jamie Lloyd.WITH Paapa Essiedu, Taylor Russell, Michele Austin and Kobna Holdbrook-Smith.Set and costume design by Soutra Gilmour, lighting design by Jon Clark, composition by Michael “Mikey J” Asante, sound design by George Dennis, movement direction by Sarah Golding and Yukiko Masui (SAY), fight direction by Kate Waters, intimacy coordination by Ingrid Mackinnon.Presented by The Shed and The National Theatre in association with The Jamie Lloyd Company. The Shed’s intimate 500-seat Griffin Theater (545 West 30th Street). This is a limited engagement through March 31, 2024. TICKETS HERE.Readers may also enjoy our reviews of Dead Outlaw, Bliss Street at City Winery, The Club, The Ally at the Public Theater, Jelly’s Last Jam, The Maid and the Mezmerizer, Seven Year Disappear, Until Dark, and This is Not a Time of Peace.https://youtu.be/RNprQYHenNI?si=ZWCsEQe1Z-_39fNo

[zykatekb]

Boys Love - Series and Movies.

The Effect

🏳‍🌈  BL - Thaïlande

                                         🔴🔴🔴🔴🔴🔴🔴

⚠ La série comporte certaines scènes qui pourraient            heurter la sensibilité des plus jeunes et des plus                                                           sensibles ⚠

                                        🔴🔴🔴🔴🔴🔴🔴

Synopsis : Alors qu'il est en retard pour un examen, Shin, un étudiant de première année timide et réservé. bouscule malencontreusement Keng, un quatrième année qui n'est autre que l'ambassadeur de l'université, populaire et aimé de tous.

Shyn a vraiment une profonde admiration pour Keng.

Au fil du temps, les deux jeunes hommes vont se rapprocher, et très vite de mauvaises rumeurs vont fusaient sur le campus.

Malgré les sentiments qu'il ressent, Shin va tenter de s'éloigner un peu de Keng, mais ce dernier continu a vouloir se rapprocher encore de Shin.

Fiche et lien de visionnage (Vostfr) sur mon blog => ICI

=> Au total la série compte 3 épisodes de 50 mins. <=

Wouahhh! J'ai pas les mots exacts pour décrire mon ressenti après avoir regarde cette histoire.

Beaucoup d'émotions, beaucoup de tristesse.

Un traumatisme violent venu d'une personne que j'avoue ne pas a voir soupçonnée. Vraiment l'histoire est brutale, pas de romance a proprement parler mais un énorme message envoyé.

J'ai vraiment eu mal au cœur après avoir visionné cette série.

            🔴Histoire non adaptée aux plus jeunes et aux plus sensibles🔴

[jealouisxhs]

Sobre todo a los tailandeses que participan en series Bl y los hacen estudiar ingeniería. #uwmaseries #lovebychance #tharntypetheseries #theoryoflove #theeffect #darkbluekiss https://www.instagram.com/p/B5mRDYLJ-tg/?igshid=zxwlqvwfultw