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Sirr Royalty Essenti Group

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Efrem Kulagin
Efrem Kulagin

I Like It Hot


Unlike other styles of yoga vinyasa is connecting breath with movement creating a flow to the poses during the class. The studio is heated 95 degree F with approximately 50% humidity. The heat adds to create space in the body in order to ease the body into the poses. Power yoga is a dynamic, energizing form of exercise that tones every muscle while calming the mind. Power Yoga chisels away at the excess baggage in your brain. Don't let Power You INTIMIDATE you! Anyone can modify to safely benefit from this practice. Power yoga is different from other forms of yoga. It's purposefully challenging. You get a lot from what you put into it, on and off your mat. Everyone has the ability to just START. After you start, the sky's the limit.




I Like It Hot



What a work of art and nature is Marilyn Monroe. She hasn't aged into an icon, some citizen of the past, but still seems to be inventing herself as we watch her. She has the gift of appearing to hit on her lines of dialogue by happy inspiration, and there are passages in Billy Wilder's "Some Like It Hot" where she and Tony Curtis exchange one-liners like hot potatoes.


Poured into a dress that offers her breasts like jolly treats for needy boys, she seems totally oblivious to sex while at the same time melting men into helpless desire. "Look at that!" Jack Lemmon tells Curtis as he watches her adoringly. "Look how she moves. Like Jell-O on springs. She must have some sort of built-in motor. I tell you, it's a whole different sex."


Consider her solo of "I Wanna Be Loved by You." The situation is as basic as it can be: a pretty girl standing in front of an orchestra and singing a song. Monroe and Wilder turn it into one of the most mesmerizing and blatantly sexual scenes in the movies. She wears that clinging, see-through dress, gauze covering the upper slopes of her breasts, the neckline scooping to a censor's eyebrow north of trouble. Wilder places her in the center of a round spotlight that does not simply illuminate her from the waist up, as an ordinary spotlight would, but toys with her like a surrogate neckline, dipping and clinging as Monroe moves her body higher and lower in the light with teasing precision. It is a striptease in which nudity would have been superfluous. All the time she seems unaware of the effect, singing the song innocently, as if she thinks it's the literal truth. To experience that scene is to understand why no other actor, male or female, has more sexual chemistry with the camera than Monroe.


Capturing the chemistry was not all that simple. Legends surround "Some Like It Hot." Kissing Marilyn, Curtis famously said, was like kissing Hitler. Monroe had so much trouble saying one line ("Where's the bourbon?") while looking in a dresser drawer that Wilder had the line pasted inside the drawer. Then she opened the wrong drawer. So he had it pasted inside every drawer.


The movie is really the story of the Lemmon and Curtis characters, and it's got a top-shelf supporting cast (Joe E. Brown, George Raft, Pat O'Brien), but Monroe steals it, as she walked away with every movie she was in. It is an act of the will to watch anyone else while she is on the screen. Tony Curtis' performance is all the more admirable because we know how many takes she needed--Curtis must have felt at times like he was in a pro-am tournament. Yet he stays fresh and alive in sparkling dialogue scenes like their first meeting on the beach, where he introduces himself as the Shell Oil heir and wickedly parodies Cary Grant. Watch his timing in the yacht seduction scene, and the way his character plays with her naivete. "Water polo? Isn't that terribly dangerous?" asks Monroe. Curtis: "I'll say! I had two ponies drown under me."


Watch, too, for Wilder's knack of hiding bold sexual symbolism in plain view. When Monroe first kisses Curtis while they're both horizontal on the couch, notice how his patent-leather shoe rises phallically in the mid-distance behind her. Does Wilder intend this effect? Undoubtedly, because a little later, after the frigid millionaire confesses he has been cured, he says, "I've got a funny sensation in my toes--like someone was barbecuing them over a slow flame." Monroe's reply: "Let's throw another log on the fire."


A movie as iconic as that one requires an equally iconic team of creators and actors to bring it to life on stage. Some Like It Hot has just that: director/choreographer Casey Nicholaw, known for spectacular musical comedies like The Book of Mormon; Marc Shaiman and Scott Wittman, the composer/lyricists behind Hairspray; comedian Amber Ruffin and playwright Matthew Lopez, who adapted the script; and a cast led by Broadway vets Christian Borle, J. Harrison Ghee, and Adrianna Hicks.


What she brings to a classic character: It's lovely to have [Monroe] as a blueprint for shoes I'm about to step into. It is also a little like, "Oh my God, are they expecting Marilyn Monroe?" But what I love about [Nicholaw] is how he was like, "We want you. We're not trying to put on a Marilyn; we're not trying to do that. We want Adrianna Hicks."


How the musical compares to the movie: We're set in the 30s, and we are an interracial band traveling the country during Prohibition and during the Great Depression. There are little moments we run into where we're like, "Could that happen? Did that happen?"


It's also been adapted because it is a diverse cast. It is an inclusive message. It's being adapted to say there's space for everybody, and whoever you are, you're welcome here... There's a line that says, "There's something on the menu for everyone." And I say, I hope you like it hot. But however you like it, you can find it here.


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