Fringe - Day 2 - Part 8

Racial and Gender Confusion

I found it amusing that the show music for "The Book of Names," with its all white cast, was all early African-American blues singers, while the largely African-American cast of "Apologetic Killer" did scene shifts to old Johnny Cash standards. Yes, the former were looking for soul and the latter were in prison, but still, amusing.

Though I have to admit I felt an added pang during the pre-show when I heard the late June Carter Cash singing a duet with Johnny (and I don't even like country music that much)

I don't think I could use the excuse of "Duh, I'm gay" for the fact that the ticket lady at one of the venues had to lean in and repeat herself before I realized she was flirting with me. Hmmm, that hasn't happened in a while.

The men's room at Acadia was closed, so we all had to line up for the ladies room. A guy in front of us told a woman to please remember to leave the seat up. And since it was a spacious restroom, I have to admit I certainly wouldn't have minded a little flirting from the tan young gentleman in line just ahead of me whose blue eyes matched his shirt. Sigh. Straight boys. So clueless sometimes. Of course, it does make fantasizing safer.

On the other end of the Kinsey Scale, at "3 Way," one of the young ushers was all about the eye contact. Given that the fellow knew how to fill out a tank top, I didn't mind the grin as he handed me my program. Made my day, actually.

However, the "3 Way" show cards on the coffee table at the Old Arizona, surrounded by young children waiting for "Sock Puppet Serenade" to open the house made me a little nervous - prude that I am about appearances, sometimes. Oh heck, the kids probably knew more about that show than I give them credit for. Plus, smack dab in the middle of the waiting crowd, were a leather daddy and a statuesque transexual. So I'm sure there were plenty of questions for mommy and daddy in the car on the way home anyway. Ah, the Fringe, such an inclusive definition of "family."