Portraying five neurotic members of a Southern California Jewish family eight times a week in a one-woman show, commuting from upstate New York to Manhattan with her six-year-old, whom she is "homeschooling," and dealing with life temporarily without...
Portraying five neurotic members of a Southern California Jewish family eight times a week in a one-woman show, commuting from upstate New York to Manhattan with her six-year-old, whom she is "homeschooling," and dealing with life temporarily without the help of her husband, who is away on business, is taking its toll on Sherry Glaser.
So, she's done what any stressed-out, modern working woman would do: she's rubbing Projest Cream on her abdomen, taking calcium lactate and practicing Jinshin Jytso.
"You rub it where your ovaries are. When you put it on, it balances you, it helps you unstress," says Glaser about the cream, sounding a little bit too much like Kahari, the loopy New Age mystic in Glaser's very funny Off-Broadway hit, "Family Secrets," at the Westside Theater. "Since I've been doing this, my performances have been much more centered."
They certainly couldn't have gotten any wackier. In the one-hour-and-40-minute performance, Glaser plays the wry family patriarch, Mort; his manic/depressive wife, Bev, who thinks she's Mary (as in the mother of Jesus); Kahari (born with the name Fern); Sandra, an angst-ridden teenager who blames her parents for her overdeveloped breasts and boy problems, and Rose, the octagenarian grandmother who attempts suicide with an oven and half a bottle of asprin.
"Fern/Kahari, yes, she's me. Rose is me, too," admits Glaser, sipping eucalyptus-licorice-root tea to help her sore throat. "Rose is very much me, how I am. But it depends on the day of the week. Sandra is based on me as a teenager, the grandmother is based on me, too."
Bev and Mort are based on the real life Mr. and Mrs. Glaser.
"The first time my father saw me play him, he didn't like it. He didn't understand it. He's subsequently been thrilled because of my success -- he doesn't have to pay the rent," she laughs.
The 33-year-old Glaser, who transforms herself during "Family Secrets" with a minimum of props and costume changes, says she learned much about her comic timing and delivery from Whoopi Goldberg, whom she worked with in California, where she was the founder of two improvisational comedy groups -- along with Kathy Najimy and Mo Gafney."We were all seedlings, and then there was Whoopi. I learned a lot watching her," Glaser says. After Goldberg left San Francisco, she even let Glaser stay in her house for five years. "She did Fontaine, an abused child and a German psychologist all in the same show. They were very real." "Family Secrets" is also very real, alternately hilarious and poignant, and after performing it for five years on the road around the country, Glaser is almost ready to start with the sequel.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast