I hope we can muster a quorum this week, what with the competition for your entertainment nickels, dimes and quarters. Several of you, I know, are tempted to accompany The Jay Man to the Shubert Theater in New Haven to see the Mark Morris Dance Group perform "Dido and Aeneas," a breathtaking production of dance and dramatic poetry that the New York Times captured so succinctly in the headline atop Alastair Macaulay's review: "What Carthage Women Wanted, as Imagined (and Danced) by Men."
Nonetheless, I will attempt to get a game together at my studio, 4 Ridgedell Ave., for who those of you who are not joining Jay's caravan northwest this Wednesday evening and will be available from 8:27 onwards. As a special enticement, I have come up with a theme for the night: "What Real Card Sharps Wanted as Imagined (and Perverted) by Cronies."
Dennis, I know you are one of those who are teetering. Let me assure you, for you are relatively new to our ways, that for every scintillating detail that Morris's production offers, we have an equivalent. For example, Macaulay writes that "The Sorceress is literally what Dido becomes when she lets her hair down: Dido's flip side, queeny low camp to her queenly high camp, autoerotic where she is a frustrated romantic, wicked where she is courteous."
Well, I ask, Is not Prof. P's card-playing alter-ego wicked where his professorial mein is courteous? Does not Bobaloo let his hairs down (when he is present)? And speaking about queeny (because I'm not going near autoerotic/frustrated romantic), can it really get any lower camp than this? (Anyone else out there who has not completed his homework assignment? Oh yeah. Well, see last week for that.)