Christmas Eve Sexcapades

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To her astonishment, he shifts into a ruggedly handsome man. A man with a strong need to mate with her. Will the dark-haired beauty succumb to the dragon's charms? And what happens when Sir Richard comes looking for his stolen bride?

Home for the Villagers.

Warning, this 10, word novella contains extremely explicit consensual sex between adults, sex with mythological creatures, sex with a dragon shifter, and breeding with a Happy Ever After. Snippet: His fierce, dark eyes locked with hers. Holding her captive for several long breathless seconds.

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Only the need to breath broke her out of her trance, and she quickly averted her eyes as she panted, hot and shaken. When he took a step closer, she hazard a glance his way, but didn't let her eyes rise above shoulder level. She loved the way he said her name, practically breathing it out. A slogan-pin popular with aging lotharios states : "The older I get the better I was.

Designed to house musicians particularly, the fictional lodge focuses on four former opera soloists who a lifetime ago performed Giuseppi Verdi's "Rigoletto" together. To honour Verdi, "the best composer for voice who ever lived", a gala is performed at the lodge on the anniversary of Verdi's birthday each October 10th. Along the way playwright Ronald Harwood has each of the characters reveal snippets of their long-ago selves, secrets and gossip, revelations of sexcapades both real and imagined from back in the day.


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Reg is aghast that the lodge would take Jean in as a resident without consulting him first, given their history. He is apopleptic about her imminent arrival. His baritone buddy Wilf David Petersen is a widower -- a randy and priapic old lech. When Jean arrives she delivers Reg a speech apologizing for ditching him shortly after their nuptials, asking that he treat her nice, and then promptly announces "There!

I've done it.

I've been practicing that for weeks! The effervescent Cissy, meanwhile -- who avoids Wilf's droolish monologues toward her by donning earphones to listen to old opera CD's of them all -- emerges from one of these opera swoons to propose they re-mount the quartet for the Verdi gala. Jean is adamant. And that's final. Depressed at being at the lodge "on charity", she bivouacs in her apartment and weeps, rages and throws things for a couple of days. Reg softens. She is vulnerable after all, not just a heartless mannequin. One lesson that perhaps ought to have not been lost on RAP Director Matthew Bissett is that the Hoffman big screen show ran for 98 minutes, full-stop.

That's some 25 or so minutes shorter than Mr. Bissett's Cordero Street stage version. Twenty-five minutes easily shaveable from the original script i. That said, the play is heartwarming and seasonal in its "all's well that ends well" plotline. Because both through their characters' lines and in real Vancouver life, too, the cast acts out this proposition : Life is not 'then'.

BrokenLegReviews: December

Life is not 'when'. Life is now. And now is what you make of it. So get on with it. Jean isn't quite 'there' yet. Nor are we. We've aged, that's all. And it happened so fast we didn't have time to change. In spirit, I'm the same lovely lad I always was.

Youtube Poop: Arthur's Sexcapades

I just happen to be trapped in a cage made of rusty iron bars. Earlier, Reg tries to win Jean over to the quartet re-mount idea. Not so in the RAP production. To this reviewer, Ms. Donaldson's Cissy is the glue that holds the production together. She has the brightest glint in her eye, she has the ginger snap in her lines, she has the gesticulations and blocking quick-step that make her character the most likeable and believable and rich.

Hot sexy events: Library sexcapades and the new kind of bang

Aside from his "rusty iron bars" soliloquy that was grand, Mr. Petersen's Wilf character as drawn by Harwood is mostly a dowdy version of Artie Johnson the lech from t. Petersen does his damndest to flesh out. Reg is thoughtful to a fault, an impotent force when not in tenor mode, except for a seemingly odd-character lapse when he rages at one of the aides, repeatedly, for failing to give him marmalade for brekkie instead of jam. Sean Allen marks him well. As Jean, Ms. Adalian turns in a nuanced rendition of a somewhat crippled soul who finally grasps that "was" was then and except for a few CD re-mount sales, "was" don't matter no more to no one.

Excellent throughout! As a kind of play-within-a-play given the PAL connection of its cast, it proves the point of Wilf's soliloquy and does so touchingly.


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