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Big Times
Tuesday-Saturday @ 8:00 p.m.
June 18th- July 9th

Reviewed by Yolanda Shoshana

WET's (Women's Expressive Theater) new show Big Times is a homage to
vaudeville and what a homage it is. Big Times is seventy-five minutes of entertaining and clever theater, directed by Leigh Silverman and starring Mia Barron, Maggie Lacey, and Danielle Skraastad.

From the minute you walk into Walkerspace, you feel like you are in an old
vaudeville theater; there are old posters in the lobby area and a smell of popcorn in the air. The theater even has red curtains, a staple in old vaudeville theaters.

Big Times boasts three main characters: Sadie, Nellie, and Lucy. Three girls with nothing to lose, they show up in the Big City with a ukulele and a dream of making it in the Big Time. As they look for their place in the spotlight, they stumble into each other, join forces and realize there is nothing they cannot do.

Maggie Lacey as Sadie is simply delightful. Sadie is full of sweetness and naiveté, but certainly not the smartest one in the bunch. Mia Barron is a hoot as Nellie, the wisecracking orphan who has dreams of making it big. Danielle Skraastad is fabulous as Lucy, the sexy, hardened ex burlesque dancer. Lucy has the air of classic movie divas like Katherine Hepburn. She shines every time she hits the stage.

While Lacey, Barron, and Skraastad hit their mark with their individual performances, their ensemble work should be commended, as well. The timing between the actresses is impeccable. Their choreography, provided by Lisa Pilato, is consistently in sync. One of the things that is so clever about this show is that you feel like you are watching a show within a show as the characters stories intertwine with vaudeville acts. Kudos to the director, Leigh Silverman, for utilizing the talent of the cast in the best possible way.

The set is sparse with a table, a few chairs and some suitcases. The minimal setting suggests the locale and work to focus the audience on the performers. Live music provided by the Moonlighters is integrated into the play. The music fits the scenes and enhances the storytelling. The song "So Many Years Ago" begins the show and gives the audience a little background on the three ladies. When the band plays "Box Car with a View," the scene reminds you of the Hollywood Golden Era.

Big Times is another triumph for WET. Part of WET's mission is to challenge stereotypes of women's roles. And with the comeback of vaudeville being mainly male-dominated, this show helps highlight what the women of vaudeville can do.

If you want to have fun, see a great show and see some talented (not to mention hot) women, run, don't walk, to Big Times.

Tix $19. www.wetweb.org

Walkerspace 46 Walker Street

The Devil Winks

David Sirk's
The Devil Winks
(To Be or Not to Be on Ave B)
June 2-19, 2005, Tues-Sun @ 8:00 p.m.


Reviewed June 2005 by Mikal Saint George

Theatre is a process. In today’s media-saturated, cookie-cutter world most people simply sit back with arms folded, legs crossed, and vodka-lubricated, waiting to be “done.” Sitting in the dark, silently exclaiming, “I defy you to entertain me” while imagining the delights that await them at The Olive Garden. Thanks to this, we have Mama Mia, Brooklyn: The Musical and the Granddaddy of them all, the Mecca of banality…Cats.

The fun, the joy, the privilege is to be in on a creative experience from its inception. This is not a passive world and there are times when even entertainment should be a sort of interactive experience. Where the audience gets to grow with the piece - the performers being benevolent tour guides. You don’t have to like it. But to be a part of the growth of anything – to see the first spark of creative desire - is a privilege.

Such is the case for David Sirk’s The Devil Winks. A guided tour of the playwright, performer, producer, director, burnout, former yippie’s experience of the East Village in the 80’s, this is not so much a finished piece as a slice of a slice of a seminal moment in the artist’s creative journey that may or may not be finished. Ever.

Sirk is the guy at every bar, at every urban rooftop barbeque with a story to tell. Whether or not you want to hear it. Even if you just want to quietly escape, he knows his territory. Regardless of the weather, the time of day or the occasional police surveillance, he knows he will keep you there with the precise determination of Dracula on a feeding frenzy. That is his initial power. His ultimate power, however, is his ability to capture your attention. To paint a verbal picture regardless of your personal opinion, hold your attention, steer your imagination and usually – somehow – force you not only to buy him another drink, but also to like him!

In the journey that is Devil Winks, Sirk inhabits many characters to illuminate his one-man-show. His “Pope of Dope” character and rendition of Life Café founder “David Life” show plenty of promise and allow Sirk to display his most promising abilities. He has some genuine verbal gems and at times manages to be simultaneously dark, funny and poignant.

Sirk’s timeline is sometimes uneven. He refers to MTV “just taking off” at the same time that Madonna’s "Material Girl" hits the airwaves. There is at least four years between the two. Although Sirk relies heavily on the East Village heyday of the 80's to draw attention and publicity to his show, he is really more a product of the late 60’s and 70’s. In fact, he makes it a point to vilify the very artists and punks who made the area enough of a point of interest that he might be able to draw an audience based on his recollection of the time and era. It is odd to hear someone from Cleveland - who admittedly spent his time doing nothing other than drinking and getting high - complain about the infiltration of punks from Jersey. He takes the time to dismiss artists and curators of the era but never explains his claim to the area. In fact, his most prestigious achievement appears to be this show and even that is at the expense of the very people who actually make it relevant.

This is the reason it should be seen. This is a city not just for the cool, the hip, the polished or the entitled. This will always be a place to percolate ideas, ideals, dreams, hopes and complete idiocy. Success and failure are relevant terms and we must all find touchstones by which to evaluate them. I will always light candles to the David Sirks of the world who take their ideas and experiences and shine a bright light on them for us all to see. That is the very essence and often the very starting point of all things great. Or at least worth talking about over gin and tonic while killing time.

Sirk’s advice is to, “Have intense passion for the project and all the faith you can muster. Because there will be ten thousand reasons not to go on with the show.” No truer words have been spoken and let’s hope this show goes on!

Creative Place Theatre 750 8th Avenue # 602 (between 46th and 47th), NYC
June 2-19 -- Tuesday through Sunday at 8:00 p.m.,

$15 (students and seniors, $10)  

On The Web: www.thedevilwinks.com

Elephant Larry presents…
Saturdays, July 9th, 16th, 23rd @ 8:00 p.m.
August 6th, 13th, 27th @ 8:00 p.m.

Reviewed on April 23, 2005 at 9:00 p.m. by Caroline Smith

What’s more refreshing than snorting out loud because you’re laughing so hard? I guarantee that that distinctive noise hardly escapes your trunk at other amateur stand-up nights around the city. This doesn’t even happen while you’re watching SNL on a good night. But on April 23rd, I joined the circus with award-winning sketch comedy group, Elephant Larry, and laughed like a hyena. New Yorkers in general need to laugh like this.

These guys were electrifying. The funny tune that opened the show only had a snowball effect for the remainder of the hour. The audience loved the immediate energy that this group brought and their outbursts of chuckles echoed every wild and outrageous sketch. Clever jokes aside, I had the impression that these were five little boys having fun. That comes with knowing, collaborating, and surrounding oneself all the time with each other’s talent. And I was right. All five elephants were once members of Cornell University’s sketch comedy group, Skits-O-Phrenics. After graduation, their laughter moved to NYC and BOOM! history was made. Check out their success.

July-August 2004: Elephant Larry presents two shows as part of the New York International Fringe Festival.

June 2004: Elephant Larry wins the Audience & Jury Awards at the Bass Red Triangle Comedy Tour.

June 2004: Elephant Larry named Backstage Comedy Best Best of 2004.

February 2004: Elephant Larry begins their three month sold-out run of All Aboard the U.S.S. Boatship.

October 2003: Winner of Sketch Fights at Caroline’s Comedy Club, awarded the title of “New York’s Best Comedy Writers.”

May 2003: Finalist for “Best Sketch Comedy Group” at the ECNY’s (Emerging Comics of New York Awards).

In all honesty, this review has already been written. There is no bragging necessary for this talented group. But what I can say is that I admired the group’s collaboration and originality. Not only were you listening to jokes, but also you were having a multi-media and smile-inducing experience. Colorful, random video skits enhanced the live skits on stage.

It’s true that there’s a quirky and absurd quality to the makeup of this group, but this helps define and stretch the term, “sketch comedy.” The city is hungry for this kind of energy. They’re quick, smart, and keep the ball moving. Sketches influenced by puns and “What Year Is It?”, to name a couple, grabbed you. But ending with the “Earth Rap” made our hearts and laughter BOOM from our chests. Elephants never forget and neither should you, so get to The PIT and start your roaring. These guys rock.

The Elephants: Geoff Haggerty, Stefan Lawrence, Chris Principe, Jeff Solomon, and Alexander Zalben

Tickets $8. Call 212.563.7488 For Reservations or Contact: 917.309.5965
info@elephantlarry.com/ www.elephantlarry.com

The People’s Improv Theater (The PIT)|154 W. 29th Street
(Between 6th and 7th Avenues)

5% Discount Holiday Sale from Ticketsellers 

Mark O'Rowe's
Howie the Rookie

Wednesday-Saturday @ 8:00 p.m.
Sunday @ 3:00 p.m.
May 12-June 5, 2005
Irish Arts Center

Reviewed by Caridad O'Brien

Mark O'Rowe's Howie the Rookie, a play about two lads drinking themselves through a rough night in the underbelly of a depressed Dublin suburb, is a magical evening of theater. Now playing at the Irish Arts Center, the script consists of two interconnected monologues performed consecutively: one by Howie, a pit bull of a character; the other by Rookie, the local lothario. Although they are unrelated, the two unemployed louts share the same last name, Lee, which to the violence-obsessed Howie, is a wonderful tribute to his idol, Bruce Lee. O'Rowe's writing is rough and Joycean, filthy and precise. Like Irish writers Connor McPherson and Enda Walsh, he is adept at the monologue form. What's more, his racing plot lines are adorned with clever turns of phrase, wicked insults and a not overused street vernacular (lodgy-bodgy means to screw) that makes his dialogue pop and his language rhythms unique.

The play is cinematic in its storytelling as the two fellows tear through the city on their desperate adventures. Director Nancy Malone makes use of this quality and keeps her actors moving throughout the industrial set. A rusty backdrop, dingy bench and suspended pipes suggest a dodgy part of town and the many sound cues punctuate the action, bringing clarity to the often accented diction and unusual slang. Despite their heightened lack of sophistication, both characters are funny and obviously as instinctually intelligent as their writer. The script is filled with references to kung fu films and American westerns. One of many colorful screwballs introduced in the story, Chopper Al, makes the Rookie think of The High Chapparal when he says hello (Hi, Chopper Al). A vicious bruiser in his loose-fitting Bruce Lee T-shirt waiting to pounce, Howie says, "I'm like Tarzan, I dive like the fucking Weissmuller I am," a reference to the first actor to play Tarzan.

Howie is a thug looking forward to a night where he can beat the living daylights out of his former friend, the Rookie, who slept on his gay friend Ollie's mat and left scabies behind for the next visitor, Peaches. A crime magnified by the fact that Peaches was later humiliated: found by his father naked, with his pubic hair shaved and begging to be put down like a dog. Howie, about to attack the Rookie, says, "I take down my prey like a feral hunter and hold them tight." Despite the hard-hitting dialogue, Mark Byrne sensitively underplays Howie's rage, underscoring instead his frustration and lack of opportunity in life. The night ends horribly and Howie is cruelly and unfairly blamed by his parents, who should have blamed themselves. Howie is transformed by grief and it is a much altered man that we hear about (but do not see) in the Rookie's post intermission monologue.

The Rookie enters in act two, his hands down his pants scratching, not knowing that he is infected with scabies. He has to come up with seven hundred cash to pay off another thug, Ladyboy, whose exotic fish he accidentally knocked over and killed while scratching himself. So far, he has raised two hundred from the "dollies" who are besotted by him: "Handsome bastard I am - break hearts and hymens I do." He is unable to raise any off his parents because he slept with his stepmother to pay back his father for leaving his real mother, and anyway, the father didn't have any money to begin with.

In the second act, Howie is obsessed with helping the Rookie, to erase the consequences of the night before which ended in such horrible tragedy. In contrast to the Rookie, the only girl that Howie can get is his friend Peaches' two hundred and thirty pound slut of a sister, called Avalanche, who siddles up behind him while he's having a piss and jerks him off saying, "Slip into me room and slip into me womb."

The attitude of all the men toward women in the play is completely appalling and recognizably Irish. They are judged on looks alone and when not acting as masturbatory tools, expected to stay at home. In a full circle plot twist, Peaches attacks Howie for sleeping with his sister, raising her hopes even though everyone knows she is "unlovable." One attractive girl, who works at a supermarket to provide for her retarded brother, rejects Howie on her one night out (although she later sleeps with the Rookie). Howie remarks that she should be at home minding her brother (whom we later discover is actually her child, but she was too embarrassed to admit it).

The Rookie is equally repulsive, but as played by the incredibly charismatic John O'Callaghan (who premiered Connor McPherson's monologue Rum and Vodka in the US a few years ago), it is easy to see why the ladies are so attracted to him. Despite his foul mouth and despicable intentions, you find yourself rooting for him to evade another beating. Although he may not deserve a pummeling for killing the fishes, he certainly has it coming on behalf of the women he has so heinously abused. O'Callaghan is that rare actor who seems ten feet tall on stage; his sublimely talented, effervescent performance is reason enough to see the show. Howie the Rookie is definitely one of the best performances I have seen in a long time.

Tickets are $40/$45 and are available by calling 212.868.4444 or visiting www.smarttix.com

Irish Arts Center |553 W 51st St
(Between 10th and 11th Avenues)

5% Discount Holiday Sale from Ticketsellers

The York's Theatre Company's
The Musical of Musicals - The Musical!
Open Run
The New Dodger Stages

Reviewed by Wendy R. Williams

The Musical of Musicals - The Musical! is a hysterically funny musical satire depicting a simple story, about an ingénue who cannot pay her rent, told in the style of five musical comedy greats: Rodgers and Hammerstein (Corn); Stephen Sondheim (A Little Complex); Jerry Herman (Dear Abby); Andrew Lloyd Webber (Aspects of Juanita); and Kander and Ebb (Speakeasy).  All of this fun was written by Eric Rockwell (Music and Co-Writer Book) and Joanne Bogart (Lyrics and Co-Writer Book), who also appear in the show. The very talented Pamela Hunt is both director and choreographer of the show.

The show works on many levels.  First there is a marvelous cast: Lovette George (the ingénue who can't pay her rent); Craig Fols (the slightly foolish hero who will pay her rent); Joanne Bogart (the wise older woman); and Eric Rockwell (the villain/piano player).  They all have great voices and to-the-nanosecond comic timing.  They were also great fun to look at.  Their costumes were simple, variations on black cabaret-type attire, but their faces were amazing.  Lovette George, in particular, could give Jim Carrey a run for his money in a "Who's got the best rubber face?" competition. 

Then there are the jokes - total howlers for audience members familiar with the various composers, but still funny enough to elicit a laugh from a musical comedy novice.  After I saw the show I was talking about it with a relative who has performed in musical comedies since she was a child.  I told her she had to see it, because she would probably like it even more than I did because she would get some of the more obscure musical comedy references.  She then asked me if her six-year-old daughter would like it.  I thought for a moment and said, "Yes, she would.  She would not get the insider jokes, but the performers are so funny and the musical numbers are so wonderful that she would like it anyway."  But before you make reservations for a first grade class, let me add one caveat:  I know this kid and she adored Phantom and Little Shop.

All the different segments work.  The show starts with a dead-on send up of Rodgers and Hammerstein set amid the corn fields of August, then moves on to a cynically twisted scene set in an apartment house in the dark world of Sondheim.  Next it was time to idolize-a-diva in the Jerry Herman scene. I have seen many middle-aged community theater divas ham it up as Mame, so those jokes killed me. A total Phantom junkie, I loved the Andrew Lloyd Webber piece. The night I attended, when it was time for the Webber piece, someone in the audience groaned and said, "He deserves to be skewered." But they sure did laugh during the scene and all the Webberesque songs were beautiful.  The show ends with a very witty Kander and Ebb segment, with the final bits sung in many different languages.  Life is so very Cabaret! 

The York Theater has an excellent road show on their hands.  Musical has a simple set and most of the music is supplied by an onstage piano.  This show could easily be performed in a large cabaret space.  Throughout the country there are people who cut their theatrical teeth on musicals, and they will be a perfect audience for this show.  I only hope that if it tours, it tours with this cast. Bravo!

Reviewers note: I saw this show last July at the York Theater and wrote the review at that time. I saw it again on opening night February 10th and it was even more fun than the first time.

Tickets are $55 and $59.50 (Friday and Saturday evenings) and are available through Telecharge at (212) 239-6200 or at the Dodger Stages Box Office. For information visit www.musicalofmusicals.com.

Dodger Stages, Stage Five |340 W 50th St

A.R. Gurney's
Screen Play
New Extended Schedule - July 6th-30th
Monday - Saturday @ 7:00 p.m.

The Flea

Reviewed on May 29, 2005 by Frank J. Avella

It is said that art flourishes in ultraconservative times (that is before fascism takes over and censorship thrives). One can argue that we in the US are currently living in perilous political times where the far right has a stranglehold on free expression and our government appears to want to dictate what we can and cannot say and think.

Master scribe A.R. Gurney’s new work titled Screen Play brilliantly satirizes the current American sociopolitical climate while astutely theorizing about where we are headed if we aren’t careful.

Set in 2015, the stage play is presented as a dangerously subversive screenplay reading.

Borrowing heavily from the Oscar-winning classic Casablanca (made in 1942 when fascism and Nazism were threatening the world), Screen Play shows us a future fraught with wars, economic frenzy and the dominance of the religious right.

Instead of Casablanca, we find ourselves in Buffalo, NY, a waystation for many Americans who feel the need to flee the US in order to hold onto their eroding freedoms. The US has become uber-conservative after the Bush/Gore election of 2000. The rest of the plot mirrors the Humphrey Bogart/Ingrid Bergman film, adding its own modern political twists.

A screenplay reading doesn’t normally make for electrifying theatre, but in the capable hands of the Flea Theatre and director Jim Simpson, the play breezes by, provoking laughter and thought and ultimately leaving you longing for more as well as pondering how precious our freedoms truly are.

In the hands of a lesser playwright, this exercise in satire could have easily ended up a toss-away Saturday Night Live skit or a tired Naked Gun rip-off. Instead it becomes a profound comment on free speech and the need for the protection of ideas in our time.

The ensemble is uniformly excellent.

Drew Hildebrand is solidly stoic, yet playfully vulnerable as the Bogie character, Nick, who was left at the airport by Sally (a spunky Meredith Holzman) on the eve of the Gore/Bush debacle.

Brian Morvant dives into the thankless task of reading most of the scene descriptions and does so with great comic flair and vigor. He also perfectly embodies the ideals of the Paul Henreid character, Walter Wellman, a former Republican,turned radical left polemicist.

The fundamentalist Christian right and the hypocrisy they represent is masterfully sent up by John Fico as Senator Patch--a funny, frightening, appalling creature with a hilarious hidden secret.

In a clever gender-spin, the "play it again" pianist is a female named Myrna played by a charming and sexy Raushanah Simmons.

Derrick Edwards does a fine job as Charley as does Kevin T. Moore in a variety of roles--including a hilarious Peter Lorre-esque creation.

As with Gurney’s Love Letters several years ago, one can easily see Screen Play performed all over the country with different casts, each adding their own spin to the work. Imagine Tim Robbins and Susan Sarandon as the ill-fated lovers; Johnny Depp as the liberal speechmaker; Toby Keith as the conservative Senator and Whoopi Goldberg as the sassy pianist...

For now, though, the Flea cast members, known as the Bats, are more than capable. Political satire has never been this much fun!

Tickets $20. www.theatermania.com & www.theflea.org

Flea Theater 41 White Street


Daniel MacIvor's
This is a Play
Never Swim Alone

The Run is Over

Produced by The Bridge Theatre Company Production; Directed by: Jason Fraser

Reviewed by Troy Tolley

I don’t know if I have a new favorite director, or a new favorite playwright, but whichever (or both) is the case, I was so blown away by both of these plays it has become a priority of mine to see more.

This is a Play takes you by surprise by having each actor choreographed and presenting their characters as if they are fully engrossed in the play, but instead, exposing you to their inner thoughts, feelings, judgments, and distractions as these become the actual dialogue. Brilliantly, comically portrayed, each character not only reveals themselves internally, but simultaneously, self-consciously (or smugly) describes exactly the tone, stance, and motivation that is required of that particular exchange or scene of the character. This is somehow accomplished while completely and clearly unfolding the actual play, which ends up being secondary, even as it is engrossing.

The brilliant and perfect cast (and I do not exaggerate) consisted of Esther Barlow, Lori Jane Jefferson, and Robin Mervin, each contributing to the multi-layered play as we jump from mystery, to commentary, to satire and back with whiplash speed and with such humor that you may find yourself snorting out a laugh beyond your control.

Never Swim Alone continues the genius that is Daniel MacIvor and/or Jason Fraser. The play exists within an encapsulated and surreal exploration of two life-long boys-to-men friends, finding themselves in an inescapable state of competitiveness, perpetuated by a beautiful young woman acting as referee. As the two businessmen/boys begin their playful rivalry, each engages the audience in pleas for his case concerning why he is better than the other. Eventually, this playfulness turns quite sinister and even deadly as the struggle moves from one round to another, from tests of masculinity into raw exposure of the broken, wounded, and dark places within each man. Although the battle may have been prompted by the superficial, in the end, even the audience finds a very disconcerting connection to the spectrum ranging from arrogant, but lonely, top-dog to bleeding, but genuine, underdog.

The exceptionally convincing cast consisted of Amos Crawley, whose credits boast roles in both Sophia Coppola’s The Virgin Suicides, and Billy Madison with Adam Sandler; Dustin Olson; and Jennifer Laine Williams. Both Amos and Dustin were outstanding in their portrayals of the EveryMan existing within the confines of modern society’s contrived personalities, while really only barely existing outside of the desperate, constant approval of some outside force. Their absolute submersion into character made their quick disintegration of personality quite frightening and painful to watch. Jennifer Laine Williams carried out her character as the catalyst for the battle, while at once being its judge and jury. Her gorgeousness and stone-faced critique of each man as he fought for his position was a powerful irony, emphasizing the utter importance and irrelevance of her position between the two. She stood as the epitome of the worst of EveryWoman in relation to the worst of EveryMan: powerful, guiding, manipulative, exploitive, and ultimately incidental.

Stephen Dolginoff 's
Thrill Me: The Leopold & Loeb Story
Monday - Saturday @ 8:00 p.m.
Wed & Sat @ 2:30 p.m.
Now extended until July 10th
York Theatre

A dark psychological story about obsession and the sexiness of evil.

Starring: Doug Kreeger as Richard Loeb; Matt Bauer as Nathan Leopold

Reviewed by Wendy R. Williams

“Relationships can be murder,” is the tag line the York Theater is using to market their new musical, Thrill Me: The Leopold & Loeb Story. And it is a truly murderous relationship being depicted in this musical - the relationship of the infamous Nathan Leopold and Richard Loeb. Most of the people who read this review will be too young to know about Leopold and Loeb. Those murderous boys were the OJ or Scott Peterson of my mother’s generation - the bogey men who scared her at night and the reason her own mother warned her to never talk to strangers or she would end up like little Bobby Frank. Yes, little Bobby Frank, the little boy who died for no reason at all except to supply a thrill to two privileged University of Chicago students who killed little him just for the fun of it.

The York Theater’s Thrill Me takes the audience to a very dark place. The kind of place you go to and afterwards you need a bath. And you go willingly, holding onto the arm of your chair as you fall into the sick relationship between these two young men, a relationship of domination and compulsion between the masterfully evil Richard and his equally evil and willing slave, Nathan. And as you fall you get shivers down your back from the line, “Thrill me, babe!”

The York Theater’s production is spare, set on a black stage with very little in the way of setting. A piano is the only musical instrument used to play the haunting and beautiful score. (But it is a piano being played superbly by the very talented Eugene Gwozdz, recently of Fort Worth’s Casa Manana.) But the minimalism works by forcing the audience’s focus on the sickness of the relationship between the two men, and also on the beauty of the sung score. So Bravo to the York Theatre for pulling another one out of their hat. Congratulations to Director Michael Rupert and congratulations also to Jim Kierstead, the Associate Producer who shepherded this show from the Midtown Theater Festival to the York Theater.

Update: I just got an email from David McCoy, the Executive Director of the York Theater. "Also exciting is that the author (Stephen Dolginoff) is now playing the role of Nathan. He is doing a fine job ... adds a different dimension. What a talent!"

Playwright and Composer Stephen Dolginoff
AKA The Thriller

Tickets are $55. www.smarttix.com or 212-868-4444.

York Theatre Company's Website: www.yorktheatre.org

York Theatre Company at St. Peters |619 Lexington Ave


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