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Artist Interview: Clare Barron
Note: This interview contains spoilers about the contents of Dance Nation
Tim Sanford: So, let's talk about how theater caught you.
Clare Barron: I was in a Shakespeare troupe for children in my hometown of Wenatchee, Washington, which was run by the playwright Heidi Schreck's mother, Sherry Schreck. It was called The Short Shakespearians. And it was like kids ages four to 14 and we did a Shakespeare comedy every summer. I was late to start — I think I started when I was like, oh gosh, 12? 13? I don't remember anymore. I just remember that it was A Midsummer Night's Dream and I was by far the oldest fairy — like all the other fairies were, like, four and I was like 11 — and my job was basically to wrangle the baby fairies. And then, I also played Philostrate that year, who was the servant, and then the next year, I played the Concubine in The Comedy of Errors—
We changed the Concubine to the Fortuneteller, so I was a fortune teller instead of a concubine. And I had to have an accent for that part, I remember. And then I played Rosalind. I got like a big upgrade and played Rosalind when I was 14.
Were you interested in theater before that? Like it seems sort of a big leap: "I'm gonna do some Shakespeare in the summer!"
I think The Short Shakespearians was kind of a phenomenon. I remember I went to a production of The Tempest they did, and the costumes were all so beautiful. They were all homemade from the mothers: elaborate, sparkly, sequin-y Elizabethan costumes made from cheap fabrics at Jo-Ann's. There was something very seductive about this homemade world. My mom hated to sew and was not happy about the idea of having to make a costume but she asked me, "Would you want to do something like that?" And I think I just said, "Yes." It was really like being at camp or something. And you developed these really intense friendships. And it was only after doing that for years and years that I was sort of like, "Oh I guess I like theater," and started auditioning for the high school musicals.
Did you know Sherry Schreck before this?
Well, she lives like two blocks from where we live. I think we knew her by reputation but not personally. It was a small town.
Did you have to audition?
No. Sherry would just assign us parts. You had to kind of work your way up the ladder. Hence starting as the fairy and, like, slowly—
Working your way inexorably to Rosalind.
— becoming the prostitute and then becoming Rosalind.
Let's pause and enjoy the progression. So this was about the age of...?
This was my middle school years.
Like the Dance Nation characters.
Yeah. And I was also dancing ballet at this age with a woman named Joan Mason, who actually passed away on our dress rehearsal, which was like a very strange coincidence. She was 96. She lived a very long life. She was sort of the grand dame of ballet in Wenatchee, Washington. And there was a lot of overlap between The Short Shakespearians and the ballet company; some of the other girls in The Short Shakespearians were also in the ballet. And Sherry knew Joan — there was sort of a little ballet-Shakespeare mafia. And similarly, Joan had this like huge closet full of all these costumes — like rabbit costumes and mice and queen costumes from Snow White to Beatrix Potter. And I remember so strongly when I played a girl at the party in The Nutcracker, the blue dress I wore and we had to do our hair in braids in this particular way, and being backstage and it was just so magical. You're still at that age where it's kind of like theater, but it's actually more like make-believe. Like you actually kind of believe it as you're doing it. So that was as much my theater beginnings as The Short Shakespearians – both of which were quite remarkable for a small agricultural city in eastern Washington State. It was more like a hiking, water-skiing, tractor-driving kind of place and here you had 20-year-old Shakespeare and ballet companies.
What was your "ah ha!" as an actor? Was it Rosalind? Or was it something later?
My "ah ha" as an actor was when I went to the Tisch Summer Program. One of my best friend's dreams was to go. He was a year older than me and I was totally in love with him. So the next year, when I was his age, I was like, "I want to go to Tisch."
This was when you were in high school?
Yes, the summer before my senior year. So I applied and I got in. And the month before I went, my boyfriend broke up with me suddenly. I found out later he'd been like cheating on me, but at the time I didn't know, so it was very disorienting and confusing because it came out of nowhere. And when I went to the Tisch summer program when I was 17, I like cried through the whole thing. Like, no matter what scene I was in… I was just crying, and so I got the reputation of being one of the best actors because I could like cry so easily. And that made me feel really talented.
How did writing enter into this?
Writing enters with a woman named Deb Margolin, a playwright/performer that I met that summer at Tisch. She taught a writing workshop I took and I wrote a monologue. And then I think I actually reached out to her when I was deciding where to go to college because I was looking at Tisch and I was looking at Yale, and Deb was like, "Go to Yale," basically. "I'm going to Yale to teach." And so I, in some ways, followed Deb to Yale.
Did you write other stuff before you wrote this monologue?
When I was, like, seven, I read Little Women and became obsessed and wanted to be a writer from like first through third grade. And I wrote a bunch of "novels."
Dance Nation is kind of your version of Little Women.
Is it?
It's got all the types. What happened to your writing after the third grade?
I got really into animals. I grew up in a house with 12 animals.
What was your strangest animal?
We had an iguana.
An iguana?
Yeah, we had a six-foot iguana who was so big that he didn't have a cage, so he would just walk around our house. He was my mom's baby. So I got really into animals and wanted to do wildlife biology. And, also, I met these amazing people who had a wolf and did like wolf education in rural communities.
All this stuff is in your play!
Yeah, the wolf thing is definitely from that.
And the pets in the "I want to heal the world through dance" section.
Oh yeah!
Like if dance could stop people from abandoning their pets.
I was very into pets. And then I got the acting bug. And it wasn't until later that I started returning to that early writer impulse but in the theater this time, instead of novels.
Did you like the monologue you wrote?
The first one? The one I wrote for Deb? I performed it and I cried. So I felt pretty good about it. (Laughs)
Was that why you wrote it?
I don't know. I've always been like such an emotional person. And I've also always been like such a perverse person, filled with weird thoughts and feelings and things I'm not quite sure how to express. And so I think when I first started writing, when I wrote that first monologue and could combine my emotion with my perversity and then like put it public, there was like some chemical reaction that happened that was just like very, very exciting to me. And when I saw Deb again at Yale, I kept writing — for a while the only thing I could do was write monologues. Like I didn't quite have the brain yet to think in plays. And like monologues were so immediate and so emotional, so for a while I really just wrote solo pieces that I would perform myself. And then I took a couple playwriting classes at Yale and started writing my first kind of lumpy plays.
What was perverse about your thinking?
I feel like I've always had a very big interior fantasy life that was a little bit out of control. Like Zuzu in the play. I was like dreaming about my biology teacher delivering my baby, and weird fantasies like that. I also have always been explosively emotional and struggled with my emotions. And also I am a very sexual person and also a very bodily person…like in my body. And my parents are like these chill, crazy people who go hiking in western China and paint their house hot pink and are super adventurous and curious, but I grew up in a community that was conservative and pretty Christian. And a lot of my friends and I wanted to save our virginities for marriage. So there was definitely some intense repression going on in terms of having sexual feelings but feeling like I couldn't act on them. And so writing became an outlet, I think, for me to get out all these emotions and urges that I felt I had to repress.
Surely you must have learned at some point that the feelings you're calling perverse were shared by other girls.
By other people! But yes, I never felt totally alone in having these feelings, but also I felt totally alone. I do remember when I arrived at Yale they put us in suites. And they tried to put us in suites with people they thought we would be "compatible" with. So I had five roommates and we all had ties to Christianity, and every one of us except one was a virgin.
And did that contribute to you feeling perverse?
I don't think I thought of myself as perverse then. I think I had a positive relationship to my interior life. I liked being weird.
I guess the older you get, the better perversity sounds. (Laughs)
Yeah, exactly. But I did have a lot of shame around actually having sex. That's where my shame came in, in my actual relationships, not so much in my interior life. I was never more religious in my life than my freshman year at Yale. And I think that's because I had been separated from my community. Here I was on the East Coast, at an institution like Yale, surrounded by a totally different culture. I grew up in a small town on the West Coast at a public high school and going to Yale with kids from New York City and prep schools was really disorienting. And it was right after the Bush/Kerry election so all this political stuff was really at the front, and I came from a red part of the state, even though my politics were liberal. And I felt so lost. And I developed a really intense, internal relationship with like Jesus basically. I remember going on these long meditative runs, and feeling like Jesus in my body. But this is not answering your question.
Well. You're describing your interior world and your point of view. What was your writing like?
Well, my first play that I wrote in college was called Trouble in The Flesh, and it was about a young woman well into her twenties who was still a virgin. And she was the caretaker for this old man. She had to like wash him, and dress him, and he had a wife that then later, it was revealed that the wife was a ghost. She had already died. And the young woman falls in love with the old man. And when I took it to my advisor to read, she was like, "This play is about losing your virginity." And I was like, "What are you talking about? No, it isn't." And now, of course, I'm like, "Oh my god, yes." That play was totally about all these complicated feelings I had about having sex or not having sex, or when to have sex, or who to have sex with. So, I was already, on an unconscious level, using my writing to process some of these feelings.
I'm interested in how your work has expanded over time. When I look at your plays, they feel very personal but not confessional, per se. And all of your characters seem living, breathing. But what astounded me about Dance Nation is how the canvas just explodes. And I guess what I'm wondering is if the exploratory expressiveness of your writing remained an end in itself or did it develop into an aesthetic in its own right. Does that make any sense?
I think it does. I mean, the answer for me is that I always write a play out of a huge well of emotion. Like in almost an embarrassing way. I don't really write a play until I emotionally need to write a play. And then I do. And I'm sort of profoundly uninterested in writing a play that I don't emotionally need to write. I do think that as I've written more plays, my sense of dramatic structure has just naturally increased. So I'm more unconsciously able to build the scaffoldings and the world around the emotional core. So with Dance Nation, there is a white-hot emotional core, and then I enjoy building the building around that. But I would never build the building before tapping into that center. If that makes sense?
Is that something you discovered as an undergraduate? Did you feel called to write?
No, no, no. Or maybe! I don't know. When I was an undergraduate, I only wrote plays when I was in a playwriting class and had to write a play for an assignment. So, in some ways, the emotional need in those undergraduate plays was a little more accidental and unconscious. I was writing what I thought was a "Good Play." I was reading like Who's Afraid of Virginia Woolf? and wanting to write like that. And if my own stuff showed up, it was more accidental. But the thing that Deb taught me that was so, so precious and that has given birth, really, to my entire writing process was, "Write today what you would need to say, if you were to die tomorrow." Which is a very intense prompt! But I think that's where this seed of urgency came in my writing. Like I want to be writing as if there's a clock on the wall. So after I graduated college, I applied to every single playwriting program under the sun. I got rejected from every single playwriting program under the sun, and then I quit playwriting. I ended up following my best friend from college who is Syrian-American to Lebanon and living with him for a while. Then when I came back, I just was like, "I'm gonna be an actor." And then the blinders were on, and I was just like acting, acting, acting, waking up at six in the morning to go stand in the line at the Equity building and pray for a slot to be seen for a two-minute audition.
Were you getting parts?
(Big sigh) Kind of.
(Laughs) (To Kim Golding, New Works Lab Fellow) Can you transcribe that sigh?
I just remember this experience of — I had to go to three callbacks to be in a reading. And it was bad play. And when I got the part I was like, "Oh I'm so happy! I got the part." And then later I was like, "I had to go to three fucking callbacks to be in a shitty reading." That's the level of what we're looking at here. The one good thing that came out of that period is I actually got my Equity card out of working with David Herskovits and Target Margin. I did this amazing production of The Tempest with them that Purva Bedi, who's in Dance Nation, was actually in. That was like a real turning point for me, in terms of finding an artistic community.
How did you get that? You just had an audition?
I went to one of those auditions at Equity at 7 AM. They're called Equity Principle Auditions. And they're basically fake auditions because nobody's actually looking to cast you. That's my cynical view of them. But when I went to the EPA for Target Margin, the difference was, David Herskovits was at that EPA the whole day.
He's such a great guy.
He's a really good guy. So, I auditioned for him and didn't get the part, but he kept my headshot, and a year later he called me to come and audition for The Tempest. And then I got my Equity card.
And you did Heidi's play, what was it called again?
The Consultant. At the Long Wharf.
That's a high-profile gig.
Yeah, that was a real thing. I mean, I also have known the playwright since I was like a child, so maybe it doesn't count! The crazy thing about that gig is that it was happening while my life was falling apart. My dad was diagnosed with Stage Four cancer. And at the same time, my relationship of five years ended, and that guy was my boss. I had been working at his company and he fired me when we broke up. So I had no job, and no health insurance, and my dad had cancer, and I was out in Washington helping take care of my dad, and I got a callback for Heidi's play. And I remember filming the callback in my dad's hospital room and the callback was set in a hospital room, so it was like a really weird—
Did you cry?
I totally cried! Of course, I cried.
We haven't gotten back to you starting to write again.
Yea. It happened in a really weird way. So basically I was focusing on acting, and I guess I would describe my acting career as I had just enough bright spots to not quit, but not a lot in between. Also, the other thing you should know from my acting career is I almost entirely was cast as like 15 year olds. And that's a little bit where the inspiration for this play came from like, "Why can't anyone see me as a woman?!" And around this time my roommate and best friend, an amazing playwright Alex Borinsky, was like, "Annie Baker is teaching a three-week course in Florida. We have to apply." And so, you only needed 10 pages to apply. You didn't even have to submit a play. So I was able to go back into my college plays, and pull out 10 good pages that I felt proud of and both Alex and I got into the program. It was at Atlantic Center for Arts, a couple of hours outside Orlando. There were a lot of playwrights there our year, like Josh Harmon and Rachel Bonds and Brian Otaño. Annie was the "Master Artist." She would teach a class for an hour each day, and the rest of the time was free. And we're supposed to write a play over the three weeks. Annie kind of walked me though writing what I kind of consider my first adult play. She's an amazing teacher; she had a lot of fantastic techniques — a lot of which I think she got from Mac Wellman at Brooklyn College, which is where she went — but they were totally new ideas to me. And she was exposing me to totally new writers, and it kind of like blew my mind. So I wrote this play called a boy put this girl in a cage with a dog and the dog killed the girl, and it felt different from all my earlier plays. And that play got me into Youngblood, which is this writer's group for playwrights under 30 at Ensemble Studio Theatre.
What was your Circle Mirror [Transformation] story again? How old were you?
I think I was around 22. I had just graduated from college. And Heidi's mom was in town, and she knew I was in New York now, and she asked me if I wanted to go see Heidi's new play. So, Heidi's mom brought me here.
Heidi being Heidi the actor, for the record.
Yea. Heidi Schreck's mom, Sherry Schreck, who founded The Short Shakespearians, brought me to Playwrights Horizons to see Circle Mirror Transformation.
By Annie Baker.
Just being here in the space, seeing something that felt so different, and new, and alive, it really changed me.
Was Youngblood productive for you?
Yea, it was super productive for me. I would not be a playwright without Youngblood. After I got into Youngblood, I didn't write a play for a year. I was still doing acting jobs; I just didn't write a play. And then you have to do a reading with Youngblood at the end of the year, and so like three weeks before my reading I freaked out and wrote a play.
What was that?
It was called Baby Screams Miracle, which ended up being done at Clubbed Thumb. But the same exact thing happened the next year. I didn't write a play all year and then I had like three weeks before my final Youngblood reading and I scrambled and wrote a play. For like two or three years in a row, the only reason I wrote a play — 'cause nobody was asking to read my plays at that point — the only reason I wrote a play was because there was this annual pressure from Youngblood saying, "Hey. Where's your play?" Also, Youngblood just like gave me community. You're literally part of like 25 writers; you're just surrounded by other playwrights who become friends.
So was that impulse you talked about — an emotional need that churned up and forced you to write — was that still the motor of these three-week long writing processes?
Yes, and no. There are little pockets in them. But the first play that really came out in that way was called Dirty Crusty, which is about ballet. It's a super sexual play. And starting with Dirty Crusty, writing from that motor of need becomes much more the M.O. Then I wrote I'll Never Love Again, which is the play that happened at The Bushwick Starr that was made out of my diary. That was written in response to a toxic relationship I was in. And then I wrote You Got Older, which was written in response to my situation with my dad's cancer diagnosis and my breakup. And then I wrote Dance Nation.
Were you influenced by other playwrights at any period of this process?
Yeah, totally. I remember when I was writing at Atlantic Center for the Arts, before I would write, I would read another playwright until I got inspired to write. I remember reading Young Jean Lee while I was writing that play. Even though my play didn't resemble what I was reading, there was something about being inside of something inspiring. I also feel like I get more inspired by writer's behavior than necessarily their work. I really admire writers who are sort of like bad asses, who are really protective of their work and stand up for themselves.
Who's in that category?
Anne Washburn. I think Anne Washburn is a visionary. She's super community-minded. She's always creating new programs that help other writers. But I also feel like what I admire about Anne Washburn is that she really takes risks in her writing and that each play is a really different experiment. And I love that about her. I feel like Annie [Baker] is also someone who really has this sort of force about her. I feel like Branden Jacobs-Jenkins does. I really like that Robert O'Hara writes and directs his own work. I feel like his work could only come out of his brain. I get really annoyed when I see writers' work that feels derivative of other people. Even if it's good, if it reminds me of some other thing, I'm sort of not very interested in it. Obviously we're all influenced, we're all derivative of something! But I want to feel inside of that — that baggage that we all carry — I want to feel something really singular. And I feel that way every time I see a Robert O'Hara play.
When you were first getting attention, with Annie, Youngblood, Clubbed Thumb, did you get a sense of what it was about your work that was appealing to people? Did you get a sense of, "Oh I should write more towards this because this is working?" You know? Or was it totally self-directed?
I definitely got lots of valuable feedback and had amazing mentors. But also, I tried not to listen too much to what other people thought of my writing because I didn't want to write towards any given outcome or idea of success. I wanted to keep it private, and I wanted each play to be new. I did find it really exciting to write something that people told me they felt secretly. I mean, it all goes back to this feeling of repression, and the desire to say something that people feel like they can't let come out, and so they're given, like, a release when the play lets it out into the room.
I think that repression gets expressed tonally in your work through big powerful, almost expressionistic scenes that break out along with very intimate, inarticulate dialogue.
I think that's true. Even though my plays have a lot of blood and guts in them, they also have a lot of small, very quiet scenes. And I got some positive reinforcement in that regard too, that kind of made me keep that quiet color in my writing. But like the work I was doing in Youngblood, for example — I remember there's this piece I did in Youngblood that was extremely confessional, and it ended with Alex [Borinsky] and I like drinking my menstrual blood basically on stage. So, there's definitely part of me that's always been drawn towards that kind of intensity.
Does it amuse you when Sofia anoints herself with her menstrual blood and the audience goes "EWWWWW!" Only one or two people do it, but it always surprises me. Like really? "Ew?" It's 2018, you know.
I'm always shocked how squeamish audiences are. Also, the moment where Ashlee touches her sweat and puts it on Connie.
Right?! It's just sweat for Christ's sake. You know in Uncommon Women — did you read that play? (Clare shakes her head) There's a character, Rita — Swoozie Kurtz played her — who announces, "I've drunk my own menstrual blood!"
(Laughs) Exactly.
You Got Older got a lot of attention. That play would seem to have been written out of the kind of strong internal motor we were talking about. Did it?
I wrote You Got Older literally when my life was in crisis. I was part of the Soho Rep. Writer/Director Lab. And an hour before the Lab, we're supposed to bring in 20 pages, and I would panic and write 20 pages, and bring it into the Lab. So I was writing it in an hour chunk, every two weeks basically. And then some of it, I was literally writing in my dad's hospital room. Not on purpose, but just things were coming into my head when I was staying with him. I wrote a lot of the Mac and Mae scenes — Mac is this guy that the daughter has a relationship with while she's dealing with her father having cancer — and I wrote that stuff while I was home with my family. Also, the whole time I was writing the play, I did not give a shit about it. Like I was not trying. If that makes sense. I was really not trying. My mind was preoccupied.
So, when you went home to Washington, you didn't have a clock to like—
I didn't have a clock.
How did You Got Older turn into a production?
I was the Page 73 Fellow, and they came to my Soho Rep. reading. And then, very shortly after, were like, "We want to produce it in the fall." And it was very fast. Like I hadn't even told my parents I had written the play…and I found out I was getting a production. It was very emotionally intense.
That's understandable given how much was going on in your life. But was part of it because it's also such a benchmark in your transformation as a writer.
I did not enjoy any of the success that came out of that play.
One, probably, just to be like very, very candid — I was dealing with some pretty significant depression and mental health issues. One, because I think I felt incredibly weird about having success out of something that caused my family a huge amount of pain. And it really isn't about my dad. Like the dad in the play is not my dad. I mean, they're certain little things that are my dad. And my dad after he saw the play, he was like, "I should get a co-writing credit. Because you stole all these things I said!" And I did steal, like, his best stories. But I just also think I felt a little bit weird having that play turn into something really positive for me. I had an allergic reaction to having any amount of, like, success. Like I felt very, very guilty basically.
In Dance Nation, that happens all the time, but usually articulated as: "My success is at the cost of someone else's failure."
I do think that there's this feeling in the theater world that we're not living in a healthy ecosystem right now. I think that resources are scarce. And I think that people are exhausted. I think there's no good way to make a living in New York, and there's no good way to make a living as a playwright. So, I do feel like it's kind of a toxic environment, in terms of — I don't even want to say competition because I don't even feel like it's really competing, but I feel like a lot of people don't feel good about the way things are. And so it feels a little overwhelming when all of a sudden you get a pile on of good things because this is what the theater industry likes to do. It likes to pick one person, and then give them everything. And it's very frustrating because lots of times — and you can throw me in this boat, like I can be one of these people — but lots of times the play's like not that great. Or, it's not that different than any other number of great plays. But because it gets like anointed in some way, all of these institutions are like, "This play, this play, this play, this play." And they're saying "this play" not because they're actively choosing this play, but because they've been told that this is the play that is — I think — you're frowning at me.
I don't want to be that person. I love your play! I saw You Got Older, and I don't think it was the first play of yours we read. I've got a gatekeeper of my own sitting over there in the literary office [Associate Artistic Director Adam Greenfield].
He read a boy put this girl in a cage with a dog... He totally read that play. I know he did.
But I was so moved and blown away by the honesty and by the brave writing.
No, I appreciate that. And as I'm going off on my tirade, like, I'm really, really proud of that play. And of that production, in particular.
When were you able to be proud? Did you ever feel some satisfaction? Did you get far enough away from it that you could say, "Huh, I've come a long way"?
I loved working with Anne Kauffman. And I had a lot of moments in that production that made me feel proud.
Brooke Bloom is a good actor for your work.
She's amazing. Our whole team was, like, really amazing.
Reed [Birney] will be mad if he reads it and I haven't mentioned him.
Reed was especially amazing.
He was!
He's just a magician of the craft. He totally blew me away. And my relationship with Anne was really special and really amazing. And I'm totally embarrassed to say this, but in trying to be transparent about questions of success and ambition, I totally did have a moment when I found out I was winning an Obie. And I remember walking around the streets towards the river, and it was a cold spring day, feeling like, "Wow. This is something that I…" I didn't like specifically dream that. I wasn't like, "Please. This is what I need, Lord. Like give me an Obie." But like, it was definitely like—
"Dear God, let me play the part of Gandhi…"
Exactly! It was definitely something that I saw as a benchmark. And I definitely was a little bit stunned to have that reaction to my work. So I don't want to say that I felt no joy around the success. But I also felt a lot of stress and a lot of guilt. And it was mostly just because I wanted everyone to do well. Like here I am sitting on six commissions. Like I want everyone to have that kind of—
"That would be perfect."
I know! That would be perfect!
How did Dance Nation come about?
I first wrote the first 10 pages of it for the Clubbed Thumb Biennial Commission in 2013. So, the first 10 pages came out of an application.
And you're talking about the scene after the broken sailor, when the lights come up and they're warming up.
Yes, exactly. Those pages sat around for two years. And then in 2015, I wrote the Ashlee monologue, which is this crazy monologue in the middle of the play where she says that she thinks she's gorgeous, and she thinks she's really smart, and she's gonna be, like, the king of the world basically.
So you wrote the first scene for this application you were writing. Where was the emotion that was driving it?
The part that came out of emotion, in those first pages, is the Zuzu monologue: "People say I dance with a lot of grace and that I'm beautiful and above-average and stuff. Here's what they don't say. They don't say I'm sensational." Just that fear of trying your best, and it still not being good enough. That you're missing a crucial something.
Was your relationship to dancing as a kid coming back to you for some reason?
The only part of this play that is related to my experience with dancing is the friendships. I had such intense, intense friendships with the girls that I danced with. And we really, really loved each other. That was the biggest part from my own life. I had a really hard — Joan, whom I mentioned, my ballet teacher, she was really a tough lady, but very, very different than Dance Teacher Pat.
So, when you wrote the Ashlee monologue, was that linked to the other scene in your mind right away?
Oh, yeah. I knew it was related to this play.
So, you wrote that scene and put it away, but you thought there's something here. I'll get to it when I need to.
I probably had to write a play for grad school. I went to Brooklyn College, and I wrote the first draft there. Often times when I have to write a play in three weeks, I go find something that I've already started and then I just finish it. So yeah it came together pretty quickly. And yeah, it came from a personal place, but all over the spectrum, you know? I really identify with all the girls in the play; in some ways they're all like shadow versions of my different personalities.
There's so much in Ashlee's monologue. It is kind of a titanic affirmation of her power as a woman and a person. But she also talks about her discomfort accepting it.
I think there's something really uncomfortable with a woman being like, "I like my body. I like my breasts. I like my face." It's like that song, "She doesn't know she's beautiful." What's that song?
Kim: Oh. Ah... One Direction? "You don't know you're beautiful?" That...?
I don't know! I think it's a country song. I'll look it up. But there's this song that's like "She doesn't know she's beautiful," and I feel like that's sort of how women are supposed to feel about themselves. We're all supposed to be beautiful and not know. Like be totally unaware. But that monologue also just came out of a kind of devilish part in me that wanted to have a 13-year-old girl say all those things. I remember being that age and feeling so powerful. And obviously, it's kind of a paradox because I also feel that at that age I was crippled with insecurity. I felt bad about myself all the time when I was 13. But I would have these moments when I was 13 where I just felt like I ruled the world. You know? I just felt this intense ferocity and this feeling that "I was amazing." And I still remember those feelings. And sometimes I feel like it was the most powerful I've ever felt in my entire life.
I'd like to talk about the structure surrounding Ashlee's monologue. It comes out of what you call the Baby Sexy Robot Dance that starts with Zuzu.
Well, it really starts with the pussy game at the barre. So, it really starts with Zuzu's mom having a fight with Dance Teacher Pat, and poor Zuzu's alone in the dressing room. And then the girls play this pussy game at the barre, where they whisper "pussy" to try to get Amina, who's leading the class, to say "pussy" out loud. So, there's like this little current of feral fun. And then Zuzu gets her fangs. And she's feeling very upset because her mom and the teacher are fighting. Her fangs come out of that emotion of feeling upset. And she comes into the class with her fangs, and they all start to dance. And it's somewhere between the intersection of that little pussy energy—that little sexual energy — and the ferocity of Zuzu's fangs, then like all the girls get fangs. And they sort of do this weird feral dance of sexual energy and rebellion, and they scare the teacher away. And out of that comes this monologue where this 13-year-old girl basically says everything that she likes about herself, and how she's gonna make you her bitch basically.
I want to go back to Zuzu's fangs coming out of hearing the tension between her mom and Dance Teacher Pat. The way you describe it felt like they're an expression of her pain.
I think so. We were talking about this the other night; there's something kind of tricky in this play about pain and self-destruction leading to power. Like normally we think about self-destruction as something that makes us less powerful. But there's something in this play where pain and the desire to hurt yourself is a way of burrowing deeper into something, to a place of more primal power. I think that's what the fangs are about.
Dance Teacher Pat, you said, was different from your ballet teacher.
Oh, for sure. Yeah.
Where did he come from?
That character, honestly, came a little bit out of Dance Moms which is one of my secret inspirations for the show. It's a reality show that follows this group of like 10 to 13-year-olds who do competitive dance. And their teacher is this crazy woman named Abby Lee Miller, who actually just got out of prison, I think, for tax fraud. And she's just like a bully, basically. She's this really intense, intense teacher, but she clearly loves the girls and loves dance, and is also an amazing choreographer. So, it's a very complicated mix of things. And Dance Teacher Pat is not the male version of Abby Lee. He's his own person. But some of the qualities in her are in him. He definitely crosses boundaries and pushes things too far.
He's also so funny — his scenes are. And that's one of the things that's, for me, so different about this play is how happily comedic it is at times.
Yeah. It's weird. I don't normally write very comedic plays, so I don't quite know why—
Why you gave yourself permission to?
Yeah. I don't know.
Yeah. I think you gave yourself permission to go stylistically wherever it wanted to. Something allowed you just to open it all up.
Yeah, it's weird. I don't remember writing this play. I remember rewriting this play, for sure. But I don't really remember writing it the first time.
Do you remember liking it?
Like, as I was writing it?
No, at some point like, "Oh. This is different. This is pretty good."
I've had moments of liking it and I've had moments of loathing it. I'm super hard on myself. I think the other thing that's really scary about writing impulsively, is you're kind of like, "What have I done???" You're not quite sure what you've made. Whether it's for good or for evil. You know?
I often hear this from writers, that things come out of them that they do not feel they control. I will ask about structural subtleties, the interplay of motifs or imagery and they will acknowledge the legitimacy of my observations but disclaim their role in fashioning them. Sometimes I think that part of writing is channeling. You've talked about growing up religious, and in the talkback the other night, you mentioned you think there's a spiritual component to the play. Would you talk about that?
There's a lot of spiritual stuff in this play, and I always worry the spiritual stuff will be funny, rather than — I mean, I'm always looking for — this sounds so pretentious — but I'm always interested in moments of transcendence in theater. And I'm always hoping that these moments of transcendence or whatever won't happen for people all at the same time. Like my ultimate theatrical experience is for everyone to cry, but they're all crying at different moments, so it's more of a personal path through the play.
What do you think are the spiritual moments in the play?
The chanting, the prayers, parts of Ashlee's monologue, the future monologues, the moon tracking slowly across the stage...
I'm curious what your view of the locker room scene is where they all strip down and change in front of us.
Textually, I was really interested in the language shifting gears a lot. I feel like that's what happens when you're in those locker room situations, or having group chat. One second you're talking about dogs, and then the next second you're talking about masturbation. The conversation kind of has a life of its own. And so textually, I was looking for something with that kind of crazy flow. And then — we only wanted to do nudity in that scene if our actors were comfortable with it, so it was definitely a conversation, and I definitely think the scene could happen without it. But what we found is that the nudity in the scene — oh gosh — I mean, it does a lot of things in the play. It totally changes the audience perception of what kind of play it is, just from the first two scenes. You know, we're watching these people tap dance, and then someone gets hurt, and then there's this kind of stylized scene with the dance teacher telling them they're going to Tampa Bay. And so then all of a sudden you're in this intimate space, and you're being close with these actors and their bodies in a very different way, and you can kind of feel the whole audience be like, "Whoa. This was not the play I thought I was watching." And then, I think it also really grounds the play in the sense that this really is a play about women. It's not a play about little girls. And we are embracing and celebrating our actual actresses wherever they're at in their lives, as adults. And then also, for me, I'm just very interested in desexualizing female nudity. Here they're all in a locker room, changing, and there's something quotidian about it. And also because they're all changing at the same time, we're not really ever watching one person — it's nudity in motion. And because there is this energetic text bubbling on top of it, for me, when I'm watching it, I find myself in a different kind of relationship to female nudity than I have felt at other moments in the theater. And I hope it functions like that for the audience, too.
I wrote in the program how I read this play right after the Access Hollywood tapes came out, and how it just excited me to have this play with women proclaiming the word "pussy" as an affirmation and a gesture of defiance to the pussy-grabbers. Would you talk about your use of the word?
Of the word pussy? I mean, it's really complicated. A lot of people have shared with me, both in the cast and in the audience, that they don't like that word. It makes them uncomfortable. I love the word. I really like it. I would have never used the word "pussy" growing up, or like even in college or anything. So there's something, for me, about being able to use that word now as an adult that feels empowering. But then also, I met this woman when I was 22 who's Greek, and she did this amazing performance piece called "Pussy Pocket," and it was all about her pussy. And she would always say "pussy" with this amazing, Greek accent, and it kind of made me fall in love with the word. So what I hope for this play is that maybe even if in the barre scene, when they're whispering "pussy," it feels a little bit prickly for people who don't like that word, I hope that by the end of the play, when they're doing the chant, and it's so clearly rooted in a source of internal power, both for men and women, that the word kind of transforms into something mythic.
I want to talk about Zuzu's and Amina's journeys. Zuzu's big moment ends in disaster. But then at the end, she goes off with Luke and she ends that scene just beaming.
When I wrote this play, I wanted to subvert the underdog story, the American Dream myth where the Mighty Ducks win.
I can't believe you saw The Mighty Ducks!
I love Mighty Ducks. I wanted to write a play where the winner keeps winning, and the person who normally doesn't win, loses. But there's a paradox in the play; Amina is the winner, she wins. Zuzu is her friend who's always in her shadow, she loses. But Zuzu, who in some ways has the biggest emotional life of all the girls and who is the most mature and most imaginative, sees forward into her life, and sees backwards into her life and realizes that dance is not for her and she's going to do something else, and that there's something really freeing in that discovery.
So when she says, "From the time I was two, I wanted to be a dancer," she doesn't know that yet? And then the play shows her what she really wants?
I think she's releasing that thing that she thought she always wanted. I think lots of us grapple with, "This thing that I thought I wanted to do makes me fucking miserable. How long do I keep doing the thing that makes me miserable?" And I think in this play she decides, "I'm not doing this anymore," and is actually kind of relieved, and free, and happy. Whereas like Amina doubles down and is, like, totally tortured.
I don't take Amina's final monologue as tortured —it's lonely and hard but she's something like a hero to me. You see it as...?
I think she's a hero, but I think there's a lot of pain in what she's feeling, I guess. I think that probably both Amina and Zuzu are going to be okay, but I think that Zuzu experiences her pain in the middle of the play and then comes out of it. And I feel like Amina experiences her pain at the end of the play, and we leave her still in it. I think she has a painful road ahead of her.
But for me, the final gesture of the play is Amina dancing. And it's so beautiful and transformative. To me it really embodies what the play's about.
Sometimes I see her final speech and her dancing as a giant "Fuck you." It feels angry to me. Other times, I think she's transcending something. She's willing herself into the future and taking control of her own destiny and letting her life force out without apology — and there's definitely something beautiful in that.


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OFA 2.0: Obama for America converts into nonprofit group
With what's most likely his final campaign behind him, President Obama is turning his massive organization and much praised ground game into a new group that will keep supporting him as he kicks off his second term.
Barack Obama's campaign organization, Obama for America, will relaunch this Sunday into a nonprofit organization that will work to mobilize support for his policies. The new group, Organizing for Action, will relaunch in its new form just as the president begins his second term.
In an email to supporters, the president urged readers to join the new phase of his campaign for issues rather than office.
"We may have started this as a long-shot presidential primary campaign in 2007, but it's always been about more than just winning an election. Together, we've made our communities stronger, we've fought for historic legislation, and we've brought more people than ever before into the political process," Obama wrote. "Organizing for Action will be a permanent commitment to this mission."
He highlighted immigration reform, climate change, gun violence, and the Affordable Care Act's implementation as key issues, along with "growing the economy from the middle out" and pursuing "balanced" deficit reduction.
The conversion of a campaign group into a nonprofit is unprecedented, especially because the organization will live outside of the DNC, which has traditionally served as the president's political muscle. The group will be chaired by Obama's 2012 campaign manager Jim Messina. Leadership will reportedly include campaign veterans like Stephanie Cutter, Robert Gibbs, and even David Plouffe, once he leaves the White house. Google CEO Eric Schmidt is set to serve as well.
The new OFA will be a 501(c)4 group which can run issue ads but not support specific candidates, unlike Priorities USA, the pro-Obama super PAC that could accept unlimited financial contributions for his reelection campaign. OFA insiders tell NBC News that the group will disclose all of its donors, even though it is not legally required to do so.
First Lady Michelle Obama championed the new group in a video announcement shared with supporters via email. "The next phase of our movement for change."
"For the past six years, you've done something so much bigger than elect a president. You've given ordinary people a place in our democratic process again," she said. "The relationships you made, the tools you built, and the lesson you've learned have already begun to change our politics, and in the coming years they can change our country. And that's the mission of Organizing for Action, to build on the work we've already done by training and empowering the next generation of leaders and supporting the grassroots organizing you want to do on the issues that matter most to your community and to our country."
She quoted her own husband, "Winning an election won't bring about the change we seek, it's simply the chance to make that change. So I hope you will join Organizing for Action to seize that chance."
Robert Gibbs hinted at the development of the new group on msnbc's Morning Joe on Wednesday, indicating that the new OFA may take on gun violence as its first issue.
"The president has the most exciting campaign apparatus ever built. It's time to turn that loose," Gibbs said. "It's time to turn that loose for something more than just an election. If the NRA's got a list, then Obama for America has a bigger list."


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Over the first 20 years of my professional life, I worked primarily as a Strategic Business Consultant with large corporations in various industries across Western Europe and North America. My primary role was to help corporations define and achieve more effective and efficient customer operations and ultimately improve their bottom line. Now continuing to work with businesses and individuals, Angela is an Investment Advisor with Odlum Brown. She is passionate about giving back to the community and also is currently the Vice President of Kelowna Women in Business.
Angela Gordon
Hockey Games Played
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For the past weeks, we have been working on the production of the eMEDia Film, a new documentary video about the eMEDia project "A bottom up approach for the design and pilot of a joint master course in cross-media journalism". The 16-minutes video tells the story of our activities and the results achieved working on cross-media journalism education in Tunisia during the last 3 years. Today, on January 26 2017, the European Commission hosted the first presentation of the eMEDia Film during the Erasmus+ CBHE 2016 Grant Holders Conference in Brussels. Marcello Scalisi, UNIMED Director, in...More
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Cross Media Master Course Opening Ceremony broadcasted on Tunis Al Wataniya 1
Mediterranean Universities Union, ItalyMore
University of Tampere, FinlandMore
Libera Università di Lingue e Comunicazione IULM, ItalyMore
University of Barcelona, SpainMore
University of Sousse
University of Sousse, TunisiaMore
University of Sfax
University of Sfax, TunisiaMore
IPSI, Institut de Presse et des Sciences de l'Information, University of La Manouba, TunisiaMore
Ministry of Higher Education and Scientific Research, TunisiaMore


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Jean & John ~ Packington Moor Farm
Who would have thought when 2 little children met on a holiday many years ago that all these years later they would tie the knot…. Jean & John… probably the youngest holiday romance ever 😉 did and what a wonderful time we all had on their wedding day. When Jean and John met me at a Bridal Fayre 2 years ago we did nothing but laugh and I knew when they booked we would be in for a fun day. And fun is exactly what we got. The day started off perfectly at Jean's childhood home where she grew up and still lives today. On the wedding day Jean, her 3 sisters, 3 nieces and John's daughter enjoyed the hustle and bustle of a wedding day, which was playing out nicely. Meanwhile John had already started celebrating at The Crown Pub in Alrewas with his 2 Bestmen, his son and his good friend. So the pints were flowing, the banter had begun and the day was well and truly underway. Guests made their way to All Saints Church in Alrewas for the ceremony and were followed by the beautiful Bridesmaids and our stunning Bride. John had a bet with me that Jean would be late as she is late for everything but she did me proud and arrived TEN minutes early!!! It was a lovely ceremony and before long the vows had been made and the ring exchanged, the deal was sealed with a cheeky little kiss, the registers were signed and Emily, Jeans Niece, entertained the congregation by singing and playing the piano for us, she was amazing. Back out into the sunshine and Jean and John enjoyed some time with their guests before making our way to Packington Moor Farm. As you will see below we took some beautiful pictures. Jean and John opted for a more natural approach but with some quiet romantic moments for the two of them also. It was soon time for the wedding breakfast and the hilarious speeches. Jean's father's dear old friend Geoff made the Father of the Bride speech and did a marvellous job, he had us all laughing happily away with stories of how the newly weds met all those years ago and John followed this up having everyone in stitches with his little presentation to Geoff! Finally it was time to kick off our shoes and have a good boogie to the band after Jean and John shared their first dance together. It really had been a wonderful day. Thank you Jean and John for your hospitality and making us feel like part of the family, we thoroughly enjoyed ourselves. We wish you both a very happy and long married life together. Thank you Packington moor Farm for all your hard work, it was a pleasure to be back.


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Real Estate Analysis and Commentary in WINTER HAVEN
Polk County Housing Market Continues To Advance
March 25th, 2015 11:06 AM
The Polk County, Florida residential real estate market continued to strengthen in February 2015. Existing home sales for the County were 543 which was up 3% from January according Florida Realtors. The Polk County median single family home price was $141,000 which is an increase of 12.8% from February 2014. While for all Florida, single family residential home sales were up 19% from the previous year. Statewide the median home price for February was $179,995 which is a 9.1% increase from last year.
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Posted by Dave Hohman, ASA on March 25th, 2015 11:06 AM
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Rebeca Narvaez
Rebeca's charity of choice is Samaritan's Feet. Originally from beautiful Costa Rica, Rebeca moved to the USA, land of opportunity nine years ago and has called North Carolina her home for the last eight years. Rebeca is a very creative and driven person, she has a background in Interior Design and also has a passion for fitness. She has dedicated part of her time in recent years to the fitness industry as a Personal Trainer. Rebeca chose Samaritan's Feet because she connected deeply with their mission, coming from a third world country she knew about the lack and necessity of shoes, especially for children.
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12595 SW 137th Ave Ste 208B Miami, FL 33186
We were originally founded as the solution for people who were overwhelmed by the process of cleaning out a property for a loved one who was moving to an assisted living facility or who had passed away. Before long, we were approached by clients who wanted to prepare the properties for sale or for rental. Our company then evolved into offering services that included some renovation and clean up for real estate property managers.


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As a couple, you may have spent numerous years making an effort not to imagine an infant by having secured sex. Presently, you have settled on a choice to get pregnant, and need to get it going rapidly. This article examines the best time to have a go at getting pregnant, and techniques that you can use to imagine an infant, alongside helpful hints and recommendations that you can use, as a couple, to consider a sound child normally.
- How to Get Pregnant Fast?
- Guarantee that you are engaging in sexual relations routinely.
- Pull back conception prevention measures ahead of time.
- At the point when is the Best Time to Conceive?
- Ovulation strips
- Note any expansion in your basal body temperature.
- Note any change in vaginal emissions.
- Have intercourse Before the Ovulation Time Period
- Most ideal Ways to Increase your Chances of Pregnancy
- Stay away from the utilization and utilization of the accompanying:
- Helpful Tips for Getting Pregnant Fast and Naturally
How to Get Pregnant Fast?
As a youthful couple younger than 35, on the off chance that you have been having unprotected sex routinely, it should take a greatest of a half year to imagine a child. Be that as it may, it is most likely time to look for therapeutic help on the off chance that you have not considered in spite of striving for over a year. A similar proposal goes for couples beyond 35 a years old, have not considered following a time of a half year.
In the meantime, it is vital to recall that considering can require some serious energy. It is assessed that a solid 30-year old lady just has a 20% possibility of getting pregnant any given month. Henceforth, as a couple, you should not worry about not getting pregnant, and must keep on enjoying your sexual coexistence frequently.
Recorded underneath are a portion of the essential advances you should take as a couple to build your odds of origination:
Guarantee that you are engaging in sexual relations routinely.
As indicated by richness specialists, you ought to engage in sexual relations consistently, yet not day by day, as sperm can undoubtedly make due up to 7 days. Keep up adequate time hole between the frequencies of sex, with a specific end goal to give enough time for the sperm to develop. Also, there are just 6 days in multi month when you can imagine a child. This incorporates the 5 days before ovulation, alongside the day of ovulation.
Pull back conception prevention measures ahead of time.
Some hormonal types of conception prevention can lessen your ripeness even after you end their utilization. On account of conception prevention pills, its hormone impact ought not be enduring, and you ought to have the capacity to come back to your customary menstrual cycles before the utilization of these pills. On the off chance that you utilize intrauterine gadgets (IUD), guarantee that you get the gadget evacuated by a human services proficient with a specific end goal to recapture your fruitfulness. The impacts of Depo-Provera can be all the more enduring; in this manner, quit taking the shots no less than a year before attempting to consider, to enhance your odds of pregnancy.
Also, you should dispose of any undesirable propensities, for example, smoking and liquor utilization, to enable you to consider a solid child. Following a consistent measurements of folic corrosive (no less than multi month before endeavoring to consider) can enhance your odds and lessen the danger of any birth deserts in your infant. Keeping up a typical body weight and constraining your admission of caffeine to around 16 ounces every day can likewise help.
At the point when is the Best Time to Conceive?
The best time to get pregnant is amid the ovulation time frame, a period when a develop egg is discharged from the ovary. While a sperm can get by for 48 to 72 hours after sex, the develop egg can live for 12 to 24 hours after ovulation. This implies the female egg can just get treated 12-24 hours after it is discharged. Consequently, to expand your odds of origination, it is best to engage in sexual relations around 2-3 days before ovulation. This guarantees there is a sound supply of sperm in the Fallopian tube to prepare the egg when it is at last discharged.
Foreseeing when your ovulation will happen can help gigantically in imagining your child.
Ovulation strips
In the normal 28-day feminine cycle for any lady, ovulation happens just once and is for the most part around 14 days before the beginning of the following cycle. Be that as it may, ladies with a 28-day period cycle are in the minority, as most ladies have a feminine cycle enduring between 24 to 35 days. As ovulation happens 14 days before the most recent day of the cycle, or the day when you get your periods, it implies that it could occur on day 10 for a lady with a 24-day feminine cycle or on day 21 for a lady with a 35-day monthly cycle.
Ladies with customary menstrual cycles can make utilization of gadgets, for example, the ovulation mini-computer, to foresee your ovulation time every month. Furthermore, ovulation expectation units that test your hormone levels all through your monthly cycle period, will have the capacity to figure out which day you are probably going to ovulate.
For ladies with unpredictable periods, anticipating when ovulation will happen can be somewhat troublesome. In the event that your menstrual cycle is sporadic, you can search for the accompanying manifestations that could demonstrate that ovulation is going on:
Note any expansion in your basal body temperature.
Your basal body temperature is the temperature of your body very still. This temperature increments somewhat amid the ovulation procedure. Take an estimation of your body temperature utilizing a thermometer every morning before you get off your bed. You can recognize your temperature designs from your chronicles. Fruitfulness will be at the most elevated 2-3 days before the temperature rise.
Note any change in vaginal emissions.
Watch any expansion in wet and sticky vaginal discharges, which happens just before ovulation. After ovulation, the cervical bodily fluid reduces and gives off an impression of being thicker and cloudier.
Have intercourse Before the Ovulation Time Period
When you have assessed the month to month time allotment of your ovulation, you should plan to engage in sexual relations amid the ripeness window, which keeps going a few days before ovulation and upon the arrival of your ovulation.
In the event that you are uncertain about the fruitfulness window, expect to have sex routinely amid the second and third seven day stretch of your feminine cycle. This will guarantee that there are sufficient solid and dynamic sperm in the Fallopian tube before the arrival of the egg.
Extra tips about engaging in sexual relations previously ovulation incorporate guaranteeing that you, as a couple, have not experienced the long drought of not having intercourse preceding having sex amid the fruitfulness time frame. To keep the development of dead sperm in his semen, men ought to likewise discharge at any rate once in the prior days having sex.
Most ideal Ways to Increase your Chances of Pregnancy
As a couple, you should both be in the best of physical wellbeing before you even attempt to consider a child. Most specialists would suggest that you settle a meeting with an obstetrician to talk about any medical issues and to get screened for any hereditary issue. Furthermore, your specialist can suggest you roll out some way of life related improvements, which can enhance your odds of origination.
Stay away from the utilization and utilization of the accompanying:
1. Utilization of Vaginal Lubricants
Many research examines have demonstrated that the utilization of vaginal ointments can harm the sperm and meddle with their development to the uterus to prepare the egg. This is on the grounds that the pH level (acridity) of oils are sufficiently high to slaughter the sperm. Rather than unsafe greases, utilize foreplay exercises, for example, touchy contacting, kissing, and embracing for 15 to 20 minutes before engaging in sexual relations. On the off chance that foreplay does not work, it is smarter to utilize warm water as an ointment, as water isn't dangerous to sperm.
2. High Caffeine Consumption
Research examines have demonstrated the connection between high caffeine utilization and the powerlessness to imagine. While expending around 200-300 mg of caffeine (equal to some espresso) every day is fine, utilization of more than 500 mg (or some espresso) ought to be stayed away from, as it can diminish richness over the long haul.
3. Liquor Consumption
In spite of the fact that there has been no examination about the sheltered levels of liquor utilization, ladies who are endeavoring to get pregnant must stay away from its utilization totally. It is likewise suggested that ladies don't drink amid the second 50% of the feminine cycle, after the ovulation.
4. Smoking
Logical examinations have demonstrated that couples who smoke set aside a long opportunity to consider. Smoking must be entirely maintained a strategic distance from by the two accomplices when endeavoring to have an infant. Not exclusively can consistent smoking effect your richness, it can even effect your youngster's future ripeness level. Also, smoking can hurt the female ovaries, cause low sperm tally in men, increment the loss of eggs, and even outcome in early menopause for the lady.
Extra intricacies caused because of smoking incorporate expanded dangers of unsuccessful labor, alongside untimely or underweight children.
5. Stress
Large amounts of pressure can influence richness in men and effect ovulation in ladies. Stress can cause a deferral in the ovulation cycle, influence you to miss ovulation, or even increment the span of the period cycle. Worry because of accounts, evolving houses, and vocations, that couples confront, can postpone their origination endeavors.
Stress-assuaging works out, for example, yoga or any mind-body unwinding programs, can enable you to unwind and enhance your general odds of origination.
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Helpful Tips for Getting Pregnant Fast and Naturally
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- Sex Positions: The exemplary man-on-top position would be the best proposal. Stay away from instantly jumping out of bed after the culmination of the sex. Also, holding a cushion under your hips and keeping your legs raised after sex for around 20 minutes can enhance the odds of the sperm entering the egg.
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Get new frontline employees up to speed faster and staying with you longer
You invest a lot of time and resources into each new hire. Keep them happier and higher performing with onboarding that starts them off strong, keeps a good thing going and adjusts on the fly.
Get your onboarding pro kit
Set up your new hires for long-term success
Axonify onboarding helps employees quickly feel confident in their new role, and then continues to feed them bites of learning while reinforcing the important things they need to remember with every shift.Watch the video
A smarter way to onboard
Avoid the red zone
The traditional, accelerated onboarding timeline firehoses information at new hires, checks a box that onboarding is complete and throws them into the operation expecting that they're ready and capable to perform on the job.
The abrupt stopping point of formal onboarding followed by an immediate transition to the operation and expectation that new hires are set up to perform on the job leaves them frustrated, guessing and unsure. The result? The Red Zone—the first 45 days where 22% of turnover occurs, costing organizations millions every year.
Make onboarding continuous
With continuous support and readily accessible information, new employees never enter the Red Zone. By continuing to boost knowledge over time, Axonify ensures employees are capable and ready to flourish in their new role and beyond.
The learning and support never stop
It's true—our approach to onboarding gets your frontline off to a really positive start. But the reason Axonify is so good at driving meaningful engagement and behavior change is because it continues to provide each employee with personalized learning and reinforcement.
Get them to productivity faster
Axonify condenses the "formal" onboarding period by focusing only on the critical training topics employees need to start performing. That's because, unlike traditional onboarding with a hard stop date, our adaptive AI creates a continuous learning experience that lasts for as long as the employee stays with you.
Keep supporting top performance
Axonify continues to build employee knowledge and performance over time—right in the flow of work—reinforcing what they've already learned, adding new topics and communicating important information in real time.
Make them feel the love
Guide each employee through a learning path that's fun, personalized and built just for them. This keeps them feeling more engaged and happy—so they're more likely to stick around longer.
ROI calculator
How much could smarter onboarding save you?
Check out our handy onboarding calculator to see just how much your organization could save by implementing continuous onboarding.
"I wish I could bottle it up. Because when I speak to the new advisors now, compared to previously, I would say they're much more knowledgeable. They're much more confident when talking about the products and services BT provides."
Transition Center Manager for BT Consumer
Fast-track your onboarding success with a bundle of insights and resources delivered right to your inbox.
Ready to build an onboarding program that keeps employees smiling?
Learn more about how our approach get get your employees on the job quickly, performing better and sticking with your organization long term.
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#OnboardingSOS Series
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How to get onboarding right: The 7 C's for success
Find out why NOW is the time to get onboarding right, with real-world examples of British Telecom's unique approach.Watch on demand
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Learn how Axonify onboarding sets employees up for long-term success.Learn more
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Melissa Jackson from PointClickCare
See how Melissa Jackson from PointClickCare reduced onboarding and certification time from 6 months to 6 weeks.Watch video
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This part-time frontline retail employee quit after only four weeks and onboarding was to blame
Find out why in this true-life story of a part-time frontline employee who quit after only 4 weeks on the job.Read post
Learn how a continuous onboarding model starts employees off strong and keeps a good thing going—keeping your frontline happier and your bottom line healthier.Read guide
Understand the true cost of high retail associate turnover and how a smarter approach to onboarding can stop the bleed and save you money.Learn more
Learn how Axonify onboarding sets employees up for long-term success.Learn more
Case Study
At Home
See how powerhouse home decor retailer, At Home, reduced onboarding time by 90%Read case study


text: The preparatory year programme is designed to help you prepare for the first year of High School. Not only will it help you acquire the necessary knowledge, but it will also give you an insight into the curriculum. We recognize that each student has different interests, which is why we offer a variety of options and activities not only in the classroom, but inside the campus as well. This differentiation is also a key part of the programme, as assessments and teaching methods are tailored to allow young learners to take advantage of their individual skills.


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Gam-si-ja-deul / Cold Eyes (2013) - A grounded action-thriller with three addicting main characters - 7/10 (18/01/14)Par kluseba dans Asian Movies le 27 Janvier 2014 à 07:00
"Cold Eyes" is a South Korean action-thriller inspired by the Hongkong movie "Eye In The Sky" which came out six years prior to this film.
The Korean remake has a rather odd beginning from my point of view. The film takes too much time to introduce many characters but only three are truly addicting or important to the story where a special police department is hunting down high profile criminals. The first thirty minutes where everybody gets to know each other in the department and where the team follows a stupid criminal nicknamed "Thirsty Hippo" are rather lengthy. Some rather faceless unit members on one side and exchangeable criminals on the other are the main reasons for a mellow start of this movie. Once the three main characters take the lead and once some unimportant side-stories are eliminated, the movie gets a lot more dynamical around forty minutes into the film.
The film is then carried by three characters. First off, there is the nervous rookie which is very well incarnated by actress Han Hyo-Ju. This character is very smart and has some impressive visual skills. On the other side, the young cop does a few fatal mistakes on her first mission. Han Hyo-Ju's acting feels natural and shows us a young woman torn between cold professionalism and emotional struggles who is growing throughout this story. This character is easily the most addicting one and carries the entire movie.
Chief Hwang is very well played Sol Kyung-Gu. At first sight, his character seems to be quite professional but also very arrogant, cold and severe at moments. Towards the end of the movie, his personal values come into play and show us a softer core where the aged expert is ready to sacrifice everything to save his men. He also becomes somehow a father figure for the rookie cop. This dynamical character and his actions add some diversity and a few philosophical thoughts to this film.
Last but not least, there is the cold-hearted, well organized and extremely smart veteran villain incarnated by Jung Woo-Sung. This character also has some quite different sides. He seems pitiless at first sight but he also cares about his men and refuses to blindly follow his superiors. It's a man that follows his convictions, his experience and his instinct. That's why he has some identical character qualities with the rookie cop on one side and her chief on the other. This explains why he is a quite respectable villain and not just a one- dimensional brutal bully.
The clash of these three characters is what makes the movie really outstanding. The film gets more and more tension-filled towards the end. The last twenty minutes or so are dedicated to an amazing chase through the city of Seoul where each of the three characters has to sacrifice something. These scenes will bring you on the edge of your seat.
The modern film techniques are effectively used without adding too many special effects to it. The film always remains as grounded and realistic as possible. The settings in this movie are well chosen but not exceptional either. While the story is nothing innovating, it's especially the great acting of the three main characters and the constantly growing pace leading to a dramatic turn of events that convince most. This is a welcome change to the effect-ridden Hollywood productions like "Mission Impossible" or "The Bourne" series.
If you watch this grounded and well-acted action-thriller, just be sure to be patient enough to make it through the first thirty or forty minutes that are not completely useless but rather ordinary in comparison to what follows afterwards. Genre fans and those who care for South Korean cinema should appreciate this film even though it can't mess with some of the contemporary cinematic milestones coming from this extraordinary country.« 47 Ronin (2013) - An epic fantasy movie about a legendary tale of Japanese culture - 8/10 (17/01/14)Working on weird news with high school students »


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Office 604-855-7653 | firstname.lastname@example.com
Vybe: the atmosphere of a place as communicated to and felt by others.
Abbotsford and Fraser Valley Real Estate
Vybe Realty Listings
33281 DALKE Avenue in Mission: Mission BC House for sale : MLS®# R2072771
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Data was last updated March 31, 2020 at 02:05 AM (UTC)


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Heathrow Airport: third runway on arrival
Project opposed for high costs and pollution
The project for the construction of a third 3500-meter runway at London-Heathrow airport has been approved by Theresa May and it will be voted by Parliament.
The setting up of the new asphalt strip that could be completed by 2026 has been discussed for years. The plan was approved by the Labor government already in 2009 but it was blocked the following year by the liberal-democratic executive. As an alternative to the creation of the runway, the expansion of the Gatwick airport has been proposed but Theresa May's Tory government had strongly re-launched the Heathrow project, despite the firm opposition of a part of the Tories and the Foreign Minister and former mayor of London Boris Johnson. The elected deputy in the colleges of Uxbridge and South Ruislip, areas affected by the construction of the new runway, had in fact threatened to shield his body by opposing the bulldozers at the time of the start of construction.
The idea of setting up a third runway is alarming due to the considerable costs and the implications in terms of noise and environmental pollution. The project involves a total investment of about 17 billion pounds. 2.6 billion puonds will be spent on compensation for the residents of the 800 houses that will be demolished and of the 4 thousand houses exposed to noise for which specific measures to reduce sound pollution will be implemented. The inauguration of the new project would in fact lead to a massive increase in air traffic (about 700 more aircraft a day in the area) which would lead to an increase in noise pollution and a worsening of air quality. Against 77 thousand possible new jobs for an estimated economic surplus of between 65 and 130 billion pounds, those who oppose the expansion of the airport remember the high costs and the18 billion pounds that will be added to the initial investment to complete the modernisation and the renovation of roads and infrastructures for the reception of passengers. Meanwhile, the Transport Minister Chris Grayling reassures citizens and promises that the runway's construction will be completed only in full compliance with the directives for air quality assurance.
© AVIONEWS - World Aeronautical Press Agency Srl


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Talk to Us!
We'd love to hear from you
Tel: (303) 670-4549
Visit Us!
Visit our shop in the Bergen Village Shopping Center
1254 Bergen Parkway
Evergreen, CO 80439
About HearthFire
HearthFire Books and Treats is Evergreen's only full service bookstore and the locals' favorite place to have their "mind, spirit and imagination" sparked with great books and great writing. We're an independent bookstore, with a hand-selected collection of current literature, fiction, history and memoirs, politics and business, psychology and inspiration, and the works of local authors. We're especially proud of a large children's area, complete with a reading chair, a reading bear, and a pint-sized table perfect for playing with puzzles and other toys.
Our History: HearthFire Books has been a part of Evergreen for 20 years, opening first as Lovin's Bookstore in another Evergreen location. Kappy Kling purchased HearthFire Books in 2010 and has expanded the bookstore to include a cafe and personalized stationery service.
Please read more about HearthFire in the recent Denver Post YourHub Business Profiles article.
When you're away from Evergreen, you can continue to get great service by shopping at our online store. Shipping is free and our online store includes music and DVDs as well!


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Virtual Library
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J. Ashworth-Sharpe
Author of
MINI 22 - New Technology (ID 134)
- Event: WCLC 2015
- Type: Mini Oral
- Track: Biology, Pathology, and Molecular Testing
- Presentations: 1
MINI22.03 - Next Generation Immunohistochemical Stains; True Multiplex (Quadruple) Immunohistochemical Panel for Non-Small Cell Lung Carcinoma (ID 2119)
16:45 - 18:15 | Author(s): J. Ashworth-Sharpe
- Abstract
- Presentation
- Slides
Lung cancer is the most common cancer worldwide and has the highest mortality rate. Carcinomas comprise 95% of all lung cancers, the vast majority of which are non-small cell lung carcinomas (NSCC). It is critical to further distinguish adenocarcinomas from squamous carcinomas in order to optimize the efficiency of the precision medicine analysis for the detection of active molecular targets for therapies. Currently Thyroid Transcription Factor-1 (TTF-1) and Napsin-A are the most commonly used immunohistochemical (IHC) stains to identify primary lung adenocarcinoma, and p40 and cytokeratin 5/6 (CK5/6) are used for squamous cell carcinoma. IHC stains for these markers, are performed either individually (IHC brown staining) or in combination as dual immunostains (i.e. TTF-1 + Napsin-A and p40 + CK5/6, utilizing brown and red chromogens). Here we present a novel, truly multiplex immunohistochemical approach that combines staining with the above four antibodies on a single tissue section utilizing four different chromogens to accurately diagnose primary lung adenocarcinomas, squamous cell carcinomas, and combined adenosquamous carcinomas of the lung.
Developmental reagents from Ventana Medical Systems, Inc. were leveraged for this study. Detection of CK 5/6 and p40 [BC28] was used to identify squamous cell carcinoma cells. Detection of Napsin A and TTF-1 was used to identify adenocarcinoma cells. Detection was accomplished using secondary antibody:enzyme conjugates and orthogonal chromogenic detection chemistries to simultaneously detect all 4 biomarkers. Fully automated multiplexed detection was performed on a Benchmark XT with 4 microns thick sections from formalin fixed paraffin embedded, non-small cell lung cancer specimens obtained from both the Ventana Medical Systems, Inc. tissue bank and from the Thomas Jefferson University's Department of Pathology, Anatomy and Cell Biology laboratories. Detection of each marker in multiplex was compared to individual detections using diaminobenzidine deposition according to established Ventana Medical Systems, Inc. protocols. All detections were reviewed by a board certified pathologist.
Adenocarcinomas (7 of 7) and the adenocarcinoma components of the adenosquamous carcinomas (6 of 6) stained positive for TTF-1 (yellow nuclear stain) and Napsin-A (pink cytoplasmic granular stain). Squamous cell carcinomas (5 of 5) and the squamous cell carcinoma components of the adenosquamous carcinomas (6 of 6) stained positive for p40 (blue nuclear stain) and CK5/6 (brown cytoplasmic stain). The colors were clear, distinct, easily differentiated and recognizable. There was no discrepancy between the expression of the individual antibodies and the expression of the same antibodies in the multiplex setting.
Increasingly, the diagnosis of lung cancer is established by examination of small tissue specimens obtained by minimally invasive techniques. It is critical to employ these tissues at maximum efficiency in order to render an accurate pathologic diagnosis and to perform theranostic studies, either genomic or IHC, to demonstrate genetic mutations that make patients eligible for molecularly targeted agents. This new quadriplex IHC offers the capability with a single 4 micron section to accurately diagnose primary lung adenocarcinoma, squamous cell carcinoma or adenosquamous carcinoma and while conserving tissue for additional molecular testing.
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Shows like a Model Home! Don't miss this stunning property offering exceptional details from top to bottom. Get a new home without the wait in sold out Laurel Ridge- The Meadows. Come fall in love immediately with this open concept that is ready for entertaining or relaxing at home surrounded by the tranquil setting of the preserved forests. Featuring 3 bedrooms, 3.5 bath rooms, upper level laundry, walk in closets and 2 car garage with over 3000+ square feet of living space. This is an exceptional value for a home of this size and Patterson Mill School District. Immaculate hardwood flooring throughout the main floor and 8 ft extension bump outs on every level! Designed to suit anyone's tastes and upgrades galore throughout every room, this home will not disappoint!
© 2020 BRIGHT, All Rights Reserved. Information deemed reliable but not guaranteed. The data relating to real estate for sale on this website appears in part through the BRIGHT Internet Data Exchange program, a voluntary cooperative exchange of property listing data between licensed real estate brokerage firms in which Fulcrum Properties Group participates, and is provided by BRIGHT through a licensing agreement. Real estate listings held by brokerage firms other than Fulcrum Properties Group are marked with the IDX logo and detailed information about each listing includes the name of the listing broker.The information provided by this website is for the personal, non-commercial use of consumers and may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. Some properties which appear for sale on this website may no longer be available because they are under contract, have Closed or are no longer being offered for sale. Some real estate firms do not participate in IDX and their listings do not appear on this website. Some properties listed with participating firms do not appear on this website at the request of the seller.
Listing information last updated on April 9th, 2020 at 2:03am EDT.