Thanks!

What will you miss most about playing Elle Woods?
I will miss being on stage with the cast, and finding new moments… and shaking my junk!

How much has the character of Elle changed throughout the run of the show?
Quite a bit.  I feel she has become more real as I have grown personally throughout this year.  She is quirkier because I am more fearless and willing to take more chances on stage.  I am also more connected to her now and I understand her more…  she has a bit more depth…  there is fine line between me and Elle.  We have grown up together.

Do you have a favorite memory from the run of the show or the rehearsal process?
There are too many to count, but I loved the creative process.   My collaboration with Christian Borle (Emmett) is something I am truly proud of.  We always spoke up about things that we thought were not working or holes in the material during the rehearsal process.  We worked very hard to make these characters and their relationship real and believable.  The creative team was very open to collaborating with us and it made a huge difference.   We still go out there every night and create, and come up with new things.

My favorite memories were being out of town with everyone in San Francisco .  It was a blast and we all became very close.  It was the binding agent for us as a cast.  We worked our butts off, but we learned a lot about each other.  We became a family.

Do you plan to “borrow” any costumes or memorabilia from the show when you leave?
Maybe a few things…  but no costumes.

Elle Woods is seen as being a role model for young women. Do you have any advice that you’d like to pass on to young women?
Be true to yourself.  And be fearless.  Life is a journey and it is ultimately about living in the now and finding what makes you happy, not what makes others happy.

What is your main goal with your Take it From the Top workshops?
To give students the opportunity to learn the skills necessary to have a career in the performing arts.  I also want to instill confidence in them… give them a safe place where they can use their imaginations and be creative.

We’ve heard you’re planning on working on a second album. Will it be a follow-up to Longing for a Place Already Gone and be “y’alternative” or are you planning on doing something completely different?
I’m not exactly sure of the direction of the album yet.  It will most certainly be country, and it will probably be a bit y’alternative– as that tends to be my preference.  But it will be on a major label this time, and have more radio potential.

You seem to have many diverse interests in the entertainment industry. Where would you like to be in ten years?
When you are living in the moment, you can’t think about ten years from now.  I’m having too much fun!
However, in ten years I would like to have produced at least one musical on Broadway, released another album (or two/three), gone on the road for a major tour, spent more time in Europe, made a big difference with Kreative Kids (like starting a few schools around the country) and have helped the Broadway community reach out to young people, have a few more films under my belt, as well as a Variety show, and some straight plays…  Producing is the direction I’m heading.  I love it and I want to do more of it…  and, maybe I’ll have a baby??… On a personal note, in ten years… I hope I stay true to myself and I grow along the way…  I hope that I learn to love in more more situations and that I am a peaceful person who is able to relax when necessary… and that I remember who I am.

To learn more about Laura Bell Bundy visit her official website.
To purchase Laura’s debut album click here:Longing For A Place Already Gone
To learn more about the Take it From the Top Workshops click here.
To learn more about the Kreative Kids Foundation click here.

The production’s physique is one of lighthearted comedic fare; a bright – primarily solid red – set, a cheerful pastel color scheme pervading the women’s costumes set against classic black and white on the men, and an altogether averagely merry wedding scene opens the play. But what follows is neither average nor merry, despite the fact that the indicative colors and overall sitcom feel stay put throughout.

Bette and Boo have, as the title suggests, just been married – we find out shortly after the ceremony that they have only known each other for a few months, and that for one of the pair, the relationship was largely a rebound fling. But, there is a sharp, often overlooked distinction between a “marriage” and a “wedding.” The play, narrated by Bette and Boo’s son Matthew (nicknamed Skippy after Bette’s favorite film) is comprised of thirty-three short scenes (over two acts). It meanders throughout roughly the next two decades – showing us not simply a wedding, but rather, a marriage – for all its ups, and (primarily) difficult downs.

The play reads somewhat like a 50’s sitcom – the way those old T.V. shows seem to wear constant cheesy smiles across their proverbial faces. It puts Bette, Boo and their respective immediate families under a microscope – their lives, actions and situations magnified so heavily that at times, it feels almost like watching a cartoon. The performances (save for Charles Socarides, as Matthew, who is often removed from the story) all fit the mold well. In particular, Victoria Clark is underused, but endearing nonetheless, Kate Jennings Grant embraces the necessity of walking the fine line between realism and saturated cartoon behavior with her performance as Bette, and Heather Burns (Miss Congeniality) is most loveable as Bette’s younger, naïve, nervous sister Emily. Socarides’ performance has the most sincerity about it, a luxury he is afforded by nature of his direct-address monologues to the audience. Their often wry and witty humor is a highlight of Durang’s script, with an earnest, perceptive perspective on family, love, life, and the way we respond to it all.

Bette and Boo has more to it than a cartoon-y portrayal of a quirky family, however. It peels away a layer of reality, pulling out the simple essence of what we’re really saying in those situations where we just say what’s expected of us by the rules of mannered behavior – or what we really see when we look at others, but try to be polite and accepting anyway. It mocks the impersonality of required formality, begging us to reconsider the absurdity of the way we treat others because we’re “supposed” to. For example, at a family funeral, the local priest says, quite simply, that the deceased was a good man and now he’s dead. And unfortunate a reality as that may be, isn’t that really all any average, casually involved, present-because-he’s-obligated priest is saying underneath the flowery language? A cynical outlook certainly, but a lot of the play’s humor comes from its blunt, honest accuracy.

While it is a comedy, however, The Marriage of Bette and Boo incorporates – albeit exaggerated versions for comic effect – some weighty issues: death, disease, failed relationships, quashed dreams. (And then there are the dead babies, but explaining those would spoil a bit too much.) It is a fine balance to strike, in successfully making such a sad story quite so funny – and Durang’s script does so with skill. But you might wonder if it should be so funny. The laughter from the audience isn’t uncomfortable, per se — but you might feel uncomfortable doing it.

Durang’s dark, twisted humor adeptly makes sadness funny, but with this kind of play, the emotional exchange is a two-way street. The other side of the coin, then, is of course whether Durang can equally well make the emotional content poignant. His characters are thinly laid, but purposefully so. They are flat by design for the sake of the aforementioned humor, not by fault of the writing; but they do create a flaw in the storytelling. Because of the painful situations the family faces, the play must turn from humor to heartache on a proverbial dime, and often it totters, struggling to make the turn sharply enough. Some of the more emotionally charged scenes are better than others; some could stand to be more effective. It’s difficult to tell whether the blame lies primarily within the writing or in Walter Bobbie’s direction, but it’s a shame that an otherwise well-crafted production doesn’t quite pack a punch the way it should.

By Deborah Blumenthal

The most glaring problem in trying to make comparisons of the relevance of New York and London theatre is that there are so many things about the two countries that are not comparable. To start with there is the basic difference in size. Of course, this brings up the matter of socially relevant to whom? When we say “socially relevant West End theatre” do we mean relevant to citizens of London, citizens of England, or both? When we say “socially relevant Broadway theatre” do we mean relevant to New Yorkers or relevant to everyone in the United States? Although, some might argue that New York is barely in the United States, until we officially succeed from the Union, it seems to me that most Broadway theatre tries to encompass an audience that can include people from all over the country. Assuming West End theatre is the same way that would mean that the average West End play attempts to be relevant to a country about the size of Oregon (albeit more populated). Sheer mathematics would prove that it’s quite a bit harder for Broadway theatre to be relevant to all of America when the United States is so much larger than England.

It’s not only size though, but also the make up of the population. America has always been a melting pot (remember that phrase from high school government?), and therefore, again, the issue of “relevant to who” has to come up when discussing Broadway theatre. Without getting too much into the subject, it’s hard to ignore the amount of things recently written addressing the problems of separation among different ethnic groups in Europe. While America is far from perfect in this regard, on a whole there is far more diversity here, and therefore for socially relevant theatre might have to come in a different form on Broadway than it does on the West End.

Lastly, it isn’t always so easy to determine what a “national dialogue” is or what is really relevant to a society. A recent article by David Brooks explored how scientists are now realizing that in many cases the isolation and control of one gene can’t always determine a cause for behavior. This observation was then extrapolated on to conclude that the isolation and control of one factor in any social issue, such as the causes of poverty, can rarely effect the actual outcome, since instead it is a great many factors both tangible and intangible that make up most experiences. Much the same can be said about theatre. In the same way that we can’t always know why a show succeeds or fails, we can’t always know or try to gage in what way a show is relevant, and that relevance might vary greatly in every society, since most groups of people have deeply embedded ways of handling situations. Therefore, while some might argue that a play that spends two hours discussing the upcoming election is highly relevant, there is also a strong argument to be made that a show like In the Heights that does not deeply engage in discussions of politics is equally relevant to the Hispanic person who sees it, and is himself made to feel relevant.

I suppose my point in this column is simply that sometimes national relevance for theatre is more complicated than just the subject matter of the plays. Well, that, and, of course, this column should serve as a reminder to not run in Claridge’s.

By Victoria Myers

Last Night’s Show: Mr. Green’s Opus at Birdland and Small Talk with Stephanie J. Block

(where were you)

Last night David Green gathered former students and friends for a night of music to celebrate his dedication to performing arts education. Among Mr. Green’s former students from the Orange County High School of the Performing Arts were Stephanie J. Block, Matthew Morrison, Becca Ayers, Lindsay Mendez, and Krysta Rodriguez. Also, joining in the performance were Sebastian Arcelus and Marissa Perry. Plus, Mr. Green brought along some recent graduates who made their Birdland debuts to a packed house.

The evening started off with, “The Least Famous Writing Team”, a song written by Mr. Green and his collaborator, John Glaudini, for this special occasion that both celebrated the opportunity to perform at Birdland, but was also charmingly self-deprecating. After this fun introduction, Mr. Green took the audience through the various songs he has written throughout his career. He started with a series of songs from Neverland, a musical based on Peter Pan told from Wendy’s perspective. Other songs included a song inspired by the television show Bridezilla, holiday songs (“If I Had One Wish” and “Thankful”) that were originally written to benefit the Joyful Child Foundation performed by Stephanie J. Block and Matthew Morrison, and original songs performed by Sebastian Arcelus and Krysta Rodriguez. A highlight of the evening was a series of songs from a new musical that Mr. Green wrote entitled How The Nurse Feels about a high school production of Romeo and Juliet. Singing the female lead was Lindsay Mendez who brought down the house with “That Girl Isn’t Me” a song about the complexities of being a high school drama student. She was then joined by other cast members for a comedic number about the challenges of finding straight guys in musical theater (“Mr. Wright”), and was then joined by Matthew Morrison for a duet about falling in love. Later Stephanie J. Block and Sebastian Arcelus returned to the stage for a touching number where they played parents, which prompted Stephanie to remark, “If you’re 30, you’re a parent. Damnit.”  To close the show Mr. Green presented another piece written specifically for the evening that he dedicated to “a couple hundred kids along the way.”

We spoke with one of those “kids,” Stephanie J. Block, after the show to get her thoughts on the evening, her upcoming projects, and, of course, what she wore.

“The music that you heard tonight was by John Glaudini and David Green. David Green, I auditioned for him when I was fourteen for a group called The Young Americans, which is kind of a performance group that’s out in California. I was going to an all-girls Catholic high school, and David said, “I really think you should come to the Orange County High School of the Performing Arts.” So, my parents were dragging their feet. They didn’t think it was appropriate. They wanted me to really stay true to my curriculum and my studies, and he was able to get them to allow me to go to school. So, it changed my life. I mean it changed my whole dedication to the arts. I was going to school from seven in the morning- depending on what show we were doing- till about ten o’clock at night, and most of that was dedicated to music and acting. He’s just something special, because it’s true: I sang a song tonight called One Small Life, and it’s true his life has changed so many, and I just think he’s all heart, and he’s real, and I think people will recognize that in who he is and also in his lyrics.”

Do you have a favorite memory from performing in high school?
“I played Mama Rose when I was seventeen. I think every teenager needs to play Mama Rose and they need to play Tevye. I think it’s very important. In fact my mother had to be my dresser, because I was so furious with the quick changes and the volunteers that were there that I was like, “I’ve got to be on stage. Come on people! Chop-chop,” and my mom was like, “I think I’m the only one that can ever dress you,” and that was in high school, so the diva was already popping out then.”

How are 9 to 5 rehearsals going?
Totally exciting. We have our press day tomorrow (July 15th), which Dolly Parton will make the announcement of what the future of the show is, hopefully announce the Broadway house, and our opening Broadway date. We’re working fast and furious. We leave in about a month, and we’re in really great shape. It’s so fun. It has so much life to it. You know, just the one song, 9 to 5, has such a pulse that it carries through the whole show, so I think people are really going to leave the theatre excited and have this inner-metronome inside.

And, of course, tell us about what you are wearing?
“Loehmann’s. I’m all about TJ Maxx, the Marshalls, and the Loehmann’s. You spend the money on the bags and the shoes, but everything in between:  Loehmann’s.”

Complete Cast List:

Sebastian Arcelus
Becca Ayers
Scott Barnhardt
Stephanie Block
Jessica Burrows
Adam Mantell
Lindsay Mendez
Matt Morrison
Marissa Parry
Teri Ralston
Sarah Remley
Krysta Rodriguez
Joelle Teeter

For more information about the California Conservatory of the Arts click here.

By Jaimie Geddes and Victoria Myers

I’m not sure how many times I’ve heard someone say “yeah, but that part was easy for (insert name of current actor getting a lot of praise) since they were basically just playing themselves.” In fact, last August I was having brunch with my extended family, and at one point something came up about the Tony Awards. My aunt commented that she had at first been happy that Julie White won for The Little Dog Laughed, but upon hearing her acceptance speech she changed her mind. Her reasoning? She thought that Julie White seemed too similar to the character she had portrayed in the play, and therefore she should not have won. All of this my aunt decided from a thirty-second acceptance speech. I asked her why she thought any similarities between the actor and the character would de-value a performance that she’d seen and enjoyed, and she responded with “when I go to the theatre I’m paying to see someone transformed.” I guess if Julie White had gained thirty pounds and worn a fake nose my aunt would have thought she deserved the Tony.

It seems to me that if someone goes to a show and enjoys the performances it should be irrelevant whether the similarities between the character and the actor extend beyond physical appearance. Why is it that people feel they need to see some sign that the actor has been working really really really hard on preparing for their role, and that the preparation must be a complete personality transformation? Isn’t it enough that the actor just be good? The point of theatre is to tell a story, and the best way to do that is by having the best actors for the parts, and if there happen to be similarities between the actor and the character then so be it. Just be glad that, hopefully, it will lead to seeing a real person on stage instead of just a caricature.

The other facet of this is how many of us are actually intimately acquainted with any actor enough to have any idea whether they are playing themselves or not? Now, I’m as guilty as the next person of sometimes feeling like I know (insert name of actor of your choosing) since I’ve seen everything they’ve ever done, and read all their interviews, but I’d like to think that the more reasonable part of my brain knows that isn’t true. Think how long it takes to really get to know your friends; is there anyway you can really know someone who your only conversation with has occurred at the stage door? Also, we live in a world that is full of US Weeklies, Entertainment Tonights, and Internet message boards that trade on telling us more and more about actors personal lives, and try to make us feel like we know them. So which is it? The more you know (or think you know) about an actor the harder it is to see them as the character they are playing.

Of course, there is also the issue of whether it’s even possible for an actor to be “just playing themselves.” I’d think basic reasoning skills would lead one to believe that if an actor is handed a script with lines written by another person, given direction by a person who is not themselves, and put up on a stage in front of hundreds of people nightly that it would be fairly difficult to, as my mother might say, “just be yourself.”

By Victoria Myers

Last Night’s Show: Musikids Benefit at The Zipper and Small Talk with Julia Murney

(where were you)

Last night audiences from New York, Connecticut (and many families from Wagner College) came out to support local charity Musikids, CT Inc.., a non-profit that helps musically talented students by providing musical instruments, lessons, camps, etc. Hosting the evening was the charity’s founder and Wagner alum Colin Sheehan. The evening boasted the talents of Andrea McArdle, Julia Murney, Kate Pazakis, Natalie Weiss, the Broadway Boys, the Wagner College Alumni Ensemble, and the musical direction of Brian Nash.

Highlights of the evening included the opening song, “Heart and Music”, led by Colin Sheehan and featuring the Wagner College Alumni Ensemble, a fantastic version of Cyndi Lauper’s “I’m Gonna Be Strong” by Kate Pazakis, a nostalgic rendition of “Tomorrow” by Andrea McArdle (with help from Jake Wilson of The Battery’s Down and Colin Sheehan), and a medley of “No One is Alone” and “Move On” by Julia Murney. Murney additionally sang “Raise the Roof” from The Wild Party, but agreed to pinch hit for a sick Kathy Brier and sang the aforementioned Sondheim medley with no rehearsal and the words scribbled on the back of sheet music. What a star!

We spoke with Julia after the show and she told us why she decided to participate in this event.
“I did today’s event because of Colin. Colin is great and who decides instead of having a birthday party to have a benefit for other people? And that was a beautiful thing.”

In the spirit of reminding people of the importance of music in young people’s lives we asked Julia: if she were in middle school today, and singing in the school talent show what would she sing?
“Oh my goodness…I don’t know… probably something from Wicked. I didn’t really know shows when I was in junior high.”

And if she could sing something not from a musical?
“Then probably some Alanis Morissette  or you know who I like? How do you say her name? Sarah…Bareilles?” Julia than sang “I’m not going to  write you a love song”  (from “Love Song”) “Yeah, her. I’d sing one of her songs.”

And, what is Julia doing next?
“I’m doing Evita in three weeks for eight performances in Sacramento.”

To find out where and when you can see Julia in Evita please click here.

By Jaimie Geddes and Victoria Myers

As if our Summer Theatrical Reading list wasn’t enough, we’ve prepared a Summer Listening List (for when reading while sun bathing in Central Park just becomes too much effort).

Wonder in the World
Kelli O’Hara

We’ve had this one on repeat for the last few weeks. Although, it’s probably not the best choice for a summer barbeque or clam bake, if you’re in the mood to unwind or listen to something contemplative then we recommend Kelli’s lyrically inspired debut album (Kelli, if by some chance you’re reading this, please start working on album number two- we have some song ideas).
To buy click here: Wonder In The World

Sunday In New York
Christine Ebersole and Billy Stritch

Christine and Billy’s newest CD provides the perfect mix of up-tempo and mellow jazz standards that would be perfect as mood music during a summer cocktail party with friends. For more information about Sunday In New York please visit our Last Nights Show coverage.
To buy click here:Sunday In New York

In the Heights
Original Broadway Cast

If we worked out more regularly then this would be the CD we’d play. However, it’s just as much fun to listen to while dancing around the apartment, and pretending you’re in the show, if you’ve given up on that bikini body for summer.
To buy click here: In The Heights

South Pacific
2008 Revival Cast

If you can’t get tickets to Lincoln Center’s sold out revival then the album is the next best thing. Also, it’s a CD that can be shared with the whole family during those summer family vacations. Your grandparents will love you for it, but we have a feeling you’ll love it just as much as they do.
To buy click here: Rodgers and Hammerstein’s South Pacific (The New Broadway Cast)

[title of show]
Original Off-Broadway Cast

If you’re sitting around over the summer trying to think of a creative project than listen to this CD for inspiration and hear how fun theatre can be. Standout tracks include “Die Vampire, Die!,” “A Way Back To Then,” and “Nine People’s Favorite Thing.”
To buy click here: [title of show] (2006 Original Off-Broadway Cast)

Fifteen Seconds of Grace
Victoria Clark

If you haven’t had a chance to listen to Victoria Clark’s new CD summer is the perfect opportunity. Maybe it’s just the cover art, but it feels like a weekend in the Hamptons to us, and if anyone reading this wants to invite us to their Hamptons house we’ll even bring the CD.
To buy click here: Victoria Clark: Fifteen Seconds of Grace

A Happening in Central Park
Barbra Streisand

Clearly not a new release, but if you haven’t heard the recording of Barbra’s live 1967 concert then do yourself a favor and download this CD onto your ipod and go lie in the Sheep Meadow and listen. The album is a mixture of classic Streisand torch songs and belting, with some comic numbers thrown into the mix.
To buy click here: A Happening in Central Park

West Side Story
Original Broadway Cast

With all the talk of the Broadway revival, it seems like a good time to re-listen to the original cast album. Nothing says summer in New York City like the music of West Side Story.
To buy click here: West Side Story (1957 Original Broadway Cast)

Bye, Bye, Birdie
Original Broadway Cast

Remember doing this show at camp? We do! So, if you want to re-live your camp days put this CD on and sing along.
To buy click here: Bye Bye Birdie (1960 Original Broadway Cast)

Legally Blonde
Original Broadway Cast

It’s summer and The Search for Elle Woods is the only thing on TV. Do we need more of an explanation?
To buy click here: Legally Blonde (2007 Original Broadway Cast)

By Jaimie Geddes and Victoria Myers

Recently, I’ve had slightly too much free time during the day. It appears that New York has gotten too hot for the ladies of The View, and so while they’ve fled to the Hamptons, I’m left without a distraction. Seriously, you know things are dire when you’ve watched the same episode of Rachael Ray three times and have yet to grasp how any of the meals she makes are simple (which is really just as well since any attempt to use my oven would result in me having to find another place to store all the junk that’s in it). Anyway, I’ve had a lot of time to play on the Internet, and since there are only so many times one can refresh GawkerStalker I went to read some articles on The Huffington Post. What caught my eye was an article by Alec Baldwin called What The World Needs Now is Patti LuPone. Now, we can all imagine the various voicemail messages that Patti and Alec could leave each other, but there’s something more intriguing about this than that.

I’m not actually sure what the point of Alec’s article was other than Patti is good and everyone should go see her, but what I assumed the initial premise of his piece was going to be (and this is what got me thinking) was something about how going to theatre and being moved by what one sees can lead to positive change in the world. With the upcoming election and the current state of the country now is an important time to think about what effects us, and how we can contribute. I don’t know how many times I’ve read or heard an interview with an actor where they state that what they do isn’t important or that they feel ashamed by their job. However, isn’t telling stories important?

Storytelling is important not only as a way to remember history, but also as a conduit towards increased tolerance. The impact of storytelling can be much greater when it’s being done live in front of an audience, and the people in their seats forget that they’re watching actors, and instead feel like they’re watching real people. If one empathizes with a character in a play who is different than they are then aren’t they more likely to empathize with a character in real life that is different than they are? Plus, there are a number of productions currently playing on Broadway that make one think and ask questions, and anything that encourages people to ask questions is a positive force for change.

It’s hard to make general statements about every show on Broadway, since for every show that’s designed to be thought-provoking there is also one that is designed to be entertaining (and, of course, those two things do not have to be mutually exclusive). However, they all should make the audience care. Whether one leaves being moved by the social issues that were explored, or one leaves having become completely enamored of one of the performances; the point is one leaves caring and engaged, and having citizens that are those things is exactly what the world needs.

It’s much harder to not care about the world off-stage when one is invested in the world on stage.

By Victoria Myers

Last Night’s Show: Christine Ebersole and Small Talk with Christine Ebersole

(where were you)

Last night Christine Ebersole and Billy Stritch celebrated the release of their second collaborative CD, “Sunday in New York” at Birdland.  The duo began the evening with some new material, which was certainly a treat for their regular concert go-ers, paired with their standard comedic banter, which even for the regular concert go-ers, like us, never seems to be tired.  A highlight from the start of the show was Ebersole’s rendition of the Bette Midler classic “Big Noise from Winnetka” (which is coincidentally Ebersole’s hometown).  She encouraged the audience to sing along, claiming to not be familiar with the words, but stepped up her game by not only delivering the lyrics with sass and style, but by adding her infamous “nose trumpet” to the end of the tune.  Also featured were Tom Hubbard on bass and Tony Tedesco on drums, both adding sensational rhythm to the piece.

The rest of the evening was dedicated to the songs of “Sunday in New York”.  Vocal standouts were Ebersole on “Surrey with a Fringe on Top” and “What’ll I Do?”, Stritch on “Give Me the Simple Life/Tea for Two”, and the pair duet-ing on the uptempo and jaunty medley of Nat King Cole’s classics “Hit that Jive, Jack/Errand Girl for Rhythm”.  The evening concluded with a sentimental version of Harbung and Arlen’s “Right as the Rain” and, what we think will be a classic ballad, the always-touching “Will You?” from Grey Gardens. Upon taking the stage for their encore, Ebersole was particularly moved by the response of the audience and revealed to them how honored she felt to be able to sing and share her gift in a time when our country is facing trouble.  The pair gave an emotional encore of the Sondheim classic “Not While I’m Around”.

After the show we had the chance to speak with Ebersole.  Being that Ebersole is equally known for her political opinions as her impressive talent, we decided to ask her what advice she had for young people to consider going into the presidential election. Ebersole shared her thoughts on the current political climate.

“I’m reading this book right now called The Creature from Jekyll Island: A Second Look at the Federal Reserve, which is about the creation of the Federal Reserve. It was done completely in secret. It’s not federal. It’s not reserved. It’s a private banking cartel, and it has nothing to do with the United States government. It’s a way that bankers set up the banking system- an economic system- to keep us in slavery. And what they did- and it’s all on purpose- nothings an accident. They want you to have this perception that they’re just a bunch of bumbling idiots, and they don’t know what they’re doing, and George Bush can’t even finish a sentence, and ‘what a bunch of bumbling idiots’, and it’s so not that. It’s not that at all. It’s absolutely completely and utterly successful. It’s an institution that has failed the people. ”

- Christine Ebersole

Christine’s recommended viewing/reading:
-9/11 Mysteries
-America: Freedom to Fascism
-Youtube: The Council on Foreign Relations

For more information on Christine, visit her website www.christineebersole.com and for further reading on her political philosophy visit her blog www.christineebersole.com/blog. To purchase her cd, visit:

Sunday In New York

Commentary by Jaimie Geddes.

Interview by Jaimie Geddes and Victoria Myers

Photos by Victoria Myers