365inloveclothing – God’s silliest goose god’s silliest goose duck t-shirt

This is our best seller for a reason. Relaxed, tailored and ultra-comfortable, you’ll love the way you look in this durable, reliable classic 100% pre-shrunk cotton (heather gray color is 90% cotton/10% polyester, light heather gray is 98% cotton/2% polyester, heather black is 50% cotton/50% polyester) | Fabric Weight: 5.0 oz (mid-weight) Tip: Buying 2 products or more at the same time will save you quite a lot on shipping fees. You can gift it for mom dad papa mommy daddy mama boyfriend girlfriend grandpa grandma grandfather grandmother husband wife family teacher Its also casual enough to wear for working out shopping running jogging hiking biking or hanging out with friends Unique design personalized design for Valentines day St Patricks day Mothers day Fathers day Birthday More info 53 oz ? pre-shrunk cotton Double-needle stitched neckline bottom hem and sleeves Quarter turned Seven-eighths inch seamless collar Shoulder-to-shoulder taping

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Tesori comes to Kimberly Akimbo as an expert in collaborating with playwrights taking their first stab as lyricists. Before doing it with Tony Kushner and Lisa Kron, she paired up with Lindsay-Abaire on the charming score for Shrek the Musical in 2008. (“Jeanine understands how stories are built, and how characters work in a story in a way that not a lot of composers do,” Lindsay-Abaire says.) But Shrek was an arranged marriage, and they were adapting a well-known, hugely profitable film, with all the kibitzing, risk-averse Broadway producers and Hollywood executives that tend to hover over such enterprises. When it came time to choose a project of their own, Tesori suggested adapting Kimberly Akimbo, in part because of its raucous and tender humanity (“When good people don’t have the tools to handle what life throws at them, it’s very fucking funny and very fucking heartbreaking,” she says), but mostly because she saw how adding songs could serve to expand the material. “I thought, Oh, wait, there’s more to be explored here,” Tesori recalls. “I really loved how David said that, when you’re a teen, everything feels like life and death. I remember, in the seventh grade, someone passing a note, and I came home and I said to my mother, ‘I want to die. I’m not going back to school ever.’ And so here’s this girl, for whom it doesn’t just feel like life and death—it is life and death. And right there—that’s where the music can do so much work.”

God's silliest goose god's silliest goose duck t-shirt

The hallmarks of Tesori’s music are stylistic eclecticism and a gift for sublimating her virtuosity in service of character, story, and emotion. In Kimberly Akimbo, she combines bristling pop-rock ballads and jazzy show­stoppers with quieter, sweetly wistful melodies that open up its young heroine’s inner life, usually accompanied by the plinky strum of a ukulele. “Jeanine was able to translate the subtext into a musical language that feels exactly right,” Lindsay-Abaire says. “That uke is the spirit of Kimberly.” In the show’s original 2003 incarnation, Marylouise Burke gave an indelible performance as Kimberly, embodying both the adolescent mannerisms and hard-won wisdom of a teenage girl who can honestly declare, “I went through menopause four years ago.” This time around, Kimberly is being brought to life in the beguiling person of one of the finest musical theater performers alive. A 2005 Tony winner for her gorgeously nuanced, revelatory performance in The Light in the Piazza, Clark combines a shimmering soprano voice with an almost uncanny ability to inhabit the depths and contours of a character. Kimberly Akimbo’s director Jessica Stone says, “This part fits her like a glove. And her instrument is so open that she can just drop into whatever the emotional requirement is at the moment, seamlessly. And then she opens her mouth and gold comes out.”

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Fortunately, Kim finds a kindred spirit in the tuba-playing, Lord of the Rings–loving, and word-games-obsessed super-geek Seth, played by newcomer Justin Cooley in a star-making Broadway debut that balances the sure-footed craft of a pro with an unforced naturalness. It’s a measure of how completely they inhabit their roles that, when the 19-year-old Cooley and the 63-year-old Clark start tentatively reaching toward each other, you find yourself rooting for them to find happiness together—if not of the ever-after variety, then in the here and now. If you’re wondering how these elements add up to the stuff of a Broadway musical, enter Jeanine Tesori, who in her 25-year career has established herself as perhaps the most prodigiously talented and versatile composer writing for the stage today. With such unconventional shows as Violet; Caroline, or Change; and Fun Home, she has shown an unmatched gift for fusing far-flung musical styles into unified scores that express the unspoken thoughts of ordinary people and give melody to their hearts’ longings. “Not to be corny, but I truly think that everybody is ‘tuned,’ ” Tesori says. “Everybody has a unique way that they sound, their own cadence. Everybody is melodic in their own way. And honoring people who aren’t often seen on a musical stage—whose song isn’t often heard—is what I love to do.”

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