Lyricist, BMI Lehman-Engel Music Theatre Workshop (auditor)Īctors Studio Playwrights/Directors Workshop. Playwrighting studies with Curt Dempster, Laura-Maria Censabella, Stuart Spencer, Shirley Lauro, Neal Bell, John Augustine, Romulus Linney, and Bruce Whitacre.Ĭalifornia Institute of the Arts (BFA) Musical composition. *** Honorable Mention, Writer’s Digest AwardĪctor’s Studio, New School University (MFA) Playwrighting.ĬityLab, led by the Ensemble Studio Theatre’s Curt Dempster (1999-2005) ** Winner, Maxim Mazundar One-Act Play Competition Nuyorican Poets Café (2010) Samuel French One-Act Festival (2001) Ensemble Studio Theatre (2000) Pulse Ensemble Theatre (2001) O’Connor Theatre Project (2001)Įnsemble Studio Theatre (2001) O’Connor Theatre Project (2001)Īlleyway Theatre (Buffalo, 1999) Atlantic Theatre Lab Last Frontier (Edward Albee) Theatre Conference (2003) Strawberry One-Act Festival (finalist, 2003) StageWorks (Kinderhook, NY) (2002) Ensemble Studio Theatre (2001) Staged readings: New Playwrights Series (NJ) (2005) Ensemble Studio Theatre, Atlantic Theatre Company (2005) Early drafts, Ensemble Studio Theatre (2004) (2002) Summer 2018 One-Act Competition (Finalist)Įdinburgh Festival Fringe (2009) 59E59 Theaters (2009) Manhattan Rep Fall Theatre Festival (2008) World Premiere: REDCAT Theatre, Walt Disney Concert Hall, LA (2004) Staged Reading: Looking Glass Theatre (NYC, 2001) Selections from: Ensemble Studio Theatre (2000) O’Connor Theatre Project (Oxford, Miss., 2001)īay Street Theatre (Sag Harbor, NY) (2007) ![]() (libretto Dan Moses Schreier, music and lyrics)Īctors Studio Playwrights/Directors Workshop Festival(2018) obtuse love triangle guarantees a play full of hilarious spins and tragic detours, minor idiosyncrasies and major indiscretions, all of which can all too easily be recognized by any New Yorker who has ever been-or currently is-in love."ĭeveloped in Marcy Heisler’s Lyricist Workshopĭeveloped through the BMI Music Theatre Workshop characters are quirky, relatable, and real, and given an exceptional edge due to Lovelace's writing. this comedic love triangle between a neurotic man, his unfulfilled wife, and their ineffectual marriage guidance counsellor Dr Bob, is subtly very amusing." - The Scotsman " A New York comedy that pulls no punches when it comes to therapy and matters of the heart.my bet is Couples Counseling will enjoy a long and happy future. ".disarming and refreshing in equal measure." - The London Sunday Times Pavilion of the 2013 Venice Biennale and is Executive Managing Director of Loose Change Productions, specializing in transcultural collaborative stagings. Her Stormy Waters, The Long Way Home is included in Applause Books’ Best Short Plays.Īn art writer and independent curator as well as a playwright, she was Co-Commissioner of the U.S. ![]() ![]() ![]() Winner of the Maxim Mazumdar One-Act Play Competition, she is a member of the BMI Music Theatre Workshop and the Actor’s Studio Playwrights/Directors Workshop. Carey Lovelace's has had over fifty productions of her plays at venues throughout the United States and abroad, including a staging of her comedy Couples Counseling at the Edinburgh Fringe Festival.
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![]() I can see why they did this, but it really left me hating the second boss level, and even caused me to give up altogether on the third. Having other characters in a game for noobs like me to use as levers is a great idea – one that this game sadly throws away by forcing you to use Meat Boy for bosses. I later unlocked a character who can even double jump, though his jumps are lower than Meat Boy’s. ![]() With him in hand I was able to make it through levels I really couldn’t otherwise have done. Joy of joys! Commander Video can float ala Princess Peach – the easy mode of Super Mario Brothers 2 (best Mario game ever, shut your face) – and is markedly slower than Meat Boy. Still, I managed to crawl through the first few levels on my Xbox 360 pad, and found myself in a Warp Zone where I unlocked a character apparently from BIT.TRIP RUNNER: Commander Video. This might not be a problem in a regular platformer – one with tight controls – but I found it pretty frustrating in Super Meat Boy. In some Warp Zone before world three I was required to land meat boy on a single tile, near the end of a level, after a series of difficult jumps with no respite, where falling on any side meant death and a restart from the beginning of the level. I’m sure there are plenty out there who’ll contradict me on this point but I just cannot handle him, and I’m sure I’m not alone. ![]() The best way I can describe it is that it’s like Meat Boy is on a piece of elastic and you’re flinging him around the level. While these have improved significantly since the flash game – the addition of a run button is nice, allowing you to choose whether you want to move too fast or too slow on the fly – they still feel awfully floaty to me. What makes me hate Super Meat Boy, despite all that? I’m afraid it’s the way that the magnificent, hardcore level design couples with the damn controls. Visiting Warp Zones continues to be a treat for me as I’ve always been a fan of retro games, and some of these levels are actually better than the main game’s. I couldn’t swear by the number of worlds (I’ve only completed three), but each has 21 levels, numerous Warp Zones, and bandages hidden about the place which you can collect to unlock new characters. What really makes the game is the depth and amount of content supplied. The cut scenes didn’t do much for me, though I do appreciate their style. ![]() Every level is a real challenge, expertly designed, and a real sonofabitch. The gameplay in Super Meat Boy is fairly solid and is constantly enlivened by leaping into Warp Zones or facing down new obstacles. I’m so glad I got the soundtracks to all these games because I’ll be revisiting that, even if I never touch the game again. The music in this game is top notch, truly magnificent, and varies as much as the graphics do. This is one of the few instances where graphics massively enhance a game, and is probably my favourite aspect of Super Meat Boy.ĭid I say the graphics were my favourite part? Oops – I seem to have forgotten the music for a second. Some of the regular levels also change-up the visuals in various ways such as silhouetted terrain and characters, and the constantly changing visuals make the game feel truly alive. A game might as well be a bad movie if you can just walk through it.Īs I previously stated, the graphics in this game are greatly varied, ranging from drawn-in-flash style cut scenes to highly polished gameplay graphics with features such as dynamic lighting, to stylized Warp Zones reminiscent of old games consoles such as the Gameboy and NES. I love hard games: I love Gradius, Ninja Gaiden, Castlevania, Gremlins 2, Kabuki: Quantum Fighter, and F-Zero I’ve completed Devil May Cry 4 and Lost Planet on pretty much every difficulty setting, and I always try to do my first run of a game on Hard. Super Meat Boy is a hard game – that should be made clear from the start, but it’s not a bad thing. This is possibly one of the shiniest, prettiest, most entertaining games of its type: the soundtrack is banging the graphics are simple, but lovingly crafted, varied, and thoughtful and the game offers depth far beyond what I expected – so why do I hate it? Second chances are where it’s all at though, right? We’ll find out in the first of my Humble Indie Bundle reviews.Ī lot has changed since flash game Meat Boy. It was an okay game, but the controls were far too floaty for my liking, the game was un-engaging, and I was bored. I’m familiar with Meat Boy, the flash game, from a long time ago, and I didn’t like it back then. You may have guessed from the title of this post that I am no fan of Super Meat Boy. In 1994, Star Jets closed, was torn down, and Astro Orbiter was built, premiering in 1995. On July 1, 1975, WEDway People Mover opened and the area pretty much took on its current form. Star Jets was an attraction along the same lines as the current Astro Orbiter, though it had fewer rockets and they orbited around a large rocket ship. Construction soon began however and on November 28, 1974, Star Jets opened. When the park opened the space now occupied by Astro Orbiter and Tomorrowland Transit Authority was completely empty. At this location: Tomorrowland wasn't quite ready for primetime when the park openedin 1971.If large or tall, it may be very uncomfortable to ride with another adult or a large child. Weight and Size Issues: The rockets aren't the biggest things in the world, but should generally be comfortable if riding alone. ![]() At rest, the units are near ground level but it will be necessary to step up and then down into them.Īudio: Spoken instructions are given for loading and unloading, but no translation or captioning devices are available for this attraction. Wheelchair Transfer: It is necessary to transfer from a wheelchair or ECV into one of the rocket ride units. Ride Access: The queue is accessible to wheelchairs and ECVs. A fear of heights may also be problematic. Health Restriction: People with heart problems should not ride. Queue Description: Not particularly themed, wrapped around the ride itself. ![]() ![]() It isn't the most popular attraction in the park, however, and lines generally aren't too bad, rarely more than 30 minutes. Wait Times: As with most hub-and-spoke attractions, Astro Orbiter is low capacity (not many people per ride and it takes almost as long to load and unload the vehicle as it does to ride). Open/Close: Open and close with the park. |