Outwardly, Bradshaw's play exposes the folly of stuffing millionaires with giant senses of entitlement into tiny shoeboxes and stacking them on top of one another. "That should give me the right to have peace in my home." Has he read the condo bylaws? Following a confrontation, Ted starts rolling a bowling ball across the hardwood floors. Sarah tries to help Michael kick the habit by meditating with him between sessions of violent kinky sex (choreographed with utmost realism and nudity by Yehuda Duenyas).Įven with everything he has, Michael can't seem to concentrate in his new home: His prickly upstairs neighbor Ted (an absurdly vindictive Jeff Biehl) constantly blasts heavy metal while his daughter runs amok. He's willing to reconsider his position if Michael lands a multi-million-dollar account with a famous basketball player (Otoja Abit). Senior partner Mark (Peter McCabe) insists that Michael hasn't been passed up for being black, but for being an alcoholic. ![]() "You should be living in a five-million-dollar apartment," fellow lawyer and romantic interest Sarah (Susannah Flood) tells him, positing that the only reason he's 40 and not yet a partner is because he's black. The only problem is that Michael doesn't live in average America, but the land of unquenchable greed. While his latest, Fulfillment (now making its New York debut at the Flea Theater), isn't as viscerally revolting, Bradshaw's mélange of race, power, and ambition will leave more than a few audience members feeling queasy.įrom the vantage point of the average American, our protagonist Michael (Gbenga Akinnagbe) has everything: a well-paying job at a prestigious law firm, an exciting sex life, and a $1.5 million apartment in one of Manhattan's coolest neighborhoods. His last show in New York, Intimacy (2014 with the New Group), soaked the front rows of the audience in simulated bodily fluids. It's unfortunate that through all of her subsequent projects, which include such successful shows as The Twilight Zone, Law & Order: Special Victims Unit, CSI: Crime Scene Investigation, Cold Case, DC's Legends of Tomorrow, and Arrow, she didn't even tease her terrific ta-tas.To call playwright Thomas Bradshaw a "provocateur" is to make a serious understatement. But that's it for Susanna's skin-not just in that movie but in her career. Skin, who appreciated the exposed back, belly, and cleavage of Ms. The film was panned by most critics, the exception being Mr. ![]() Continuing with the supernatural/fantasy theme, Susanna made her best-known and most skintillating screen appearance to date in Dragonfly (2002). Owing to her ass-kicking and ass-flaunting ways, Susanna left the chick flicks for neglected-dick flicks like Star Trek: Deep Space Nine and Star Trek: Voyager. Her role as the hottie house frau on Once and Again had wankers yanking to her hardly homely looks on a weekly basis. Blonde and buxom Susanna was spookily sexy in Ghosts of Mississippi (1996) and lustfully luscious in When a Man Loves a Woman (1994). ![]() A master at the art of Aikido and stage combat, her firm boobage and buns of steel are kick ass. A master at playing vengeful vixens with double B names, the tit-illating Thompson has her own fabulous Bs to brag about. Susanna Thompson first became known among the estrogen set for appearances in TV movies such as A Woman Scorned: The Betty Broderick Story (1992) and Calendar Girl, Cop, Killer? The Bambi Bembenek Story (1992).
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