November 19 - 25, 2004 • Vol. 24 - No. 47

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Disney’s Beauty and the Beast Most Anticipated
Production in Actors’ Playhouse History

Actors’ Playhouse at the Miracle Theatre has a long-standing reputation as the top musical producer in South Florida, with more than 50 Carbonell Awards to prove it. But as the first theatre in South Florida to be granted the opportunity to present Disney’s Beauty and the Beast, the company has pulled out all the stops. The show, just finishing more than ten years on Broadway, will play for seven weeks at the Miracle Theatre in Coral Gables, with opening night set for November 19 and a limited run that must end on January 2, 2005.

Artistic Director David Arisco is pleased to present a show of this scope and magnitude. ”We’ve built, hired, dressed, rehearsed—everything our audiences will see and hear, we put together right here in Miami. It’s the perfect family show for the holiday season. A timeless love story, a Broadway musical for the young and young at heart.”

“We are so fortunate to be the first theatre in this region to receive the rights for one of Broadway’s best musicals. It’s exhilarating too for our artistic team to design such a creative show,” added Executive Producing Director Barbara S. Stein.

The musical, set in a small provincial town in France, is based on the 1991 Disney animated movie, with book by Linda Woolverton. Beauty and the Beast tells a classic magical tale of love, betrayal, hope and forgiveness. It reminds us all of that old adage—beauty is only skin-deep; the radiance of character lies in our depth. The stunningly beautiful music, including songs “Be Our Guest,” “Home,” “Gaston,” “Human Again,” and the title song “Beauty and the Beast” is by Alan Menken with lyrics by Howard Ashman and Tim Rice.

Arisco directs an immensely talented cast of regional and New York based actors. Tally Sessions, winner of the 2003 Carbonell Award for Best Actor in a Musical for the critically acclaimed Floyd Collins, stars as the Beast. Sharing the show’s name and spotlight is Carbonell nominee Gwen Hollander as Belle. Carbonell award-winning actor Gary Marachek plays the inventive Maurice, Belle’s father. Robert Rokicki plays the muscled, in-love-with-Belle Gaston. David Perez-Ribada plays Lefou, Gaston’s sidekick.

Evening performances are at 8pm. Wednesday through Saturday and matinees are scheduled Saturdays and Sundays at 2pm. Special additional holiday matinees will be presented at 2pm on Wednesday, December 22 and 29. Tickets are $37.50-$45, with discounts for groups of 15 or more. Seniors and students receive special discounts subject to restrictions. For reservations and information, call the box office at 305-444-9293. Tickets may also be purchased online at
1. Gwen Hollander as Belle and Tally Sessions as the Beast
2.  Terrell Hardcastle as Cogsworth, Lourelene Snedeker as Mrs. Potts, and Bill Perlach as Lumiere
Photos by Daniel Portno

Palm Beach Dramaworks Scores Big with ‘night,
Mother, as Cast, Director Shine

 by Ron Levitt
Contributing Writer

In 1981, Marsha Norman wrote a compelling play entitled ‘night, Mother, which premiered on Broadway starring Anne Pitoniak and Kathy Bates, and was praised by the audience and critics alike. The play won the 1983 Pulitzer Prize for drama.

In 1986, the author used her script to author a movie of the same name. It starred Anne Bancroft and Sissy Spacek and got a so-so reception when critics said it lacked “the electricity of a live performance.”

Since that time, the play has been produced in many cities, as it recounts the story of a small-town Southern mother spending the evening trying to talk her unhappy daughter out of committing suicide. ‘night, Mother is what the author intended—a drama. It is the kind of production that makes its two-member cast either sink or swim by the strength of their performances. The production currently at the Palm Beach Dramaworks on Banyan Road in downtown West Palm Beach swims!

It is a stark drama, elegantly played by its stars, Barbara Bradshaw and Nanique Gheridian as the mother-daughter. Bradshaw, a three-time Carbonell winner, is magical as the slovenly mother, while Gheridian, whose Carbonell nominations mount year after year, is perfect as the troubled daughter.
Both the original Broadway version and the 1986 movie were directed by Tom Moore, a Broadway stage director, which seems to explain the acceptance and differential between the play and motion picture.  Fortunately, at Palm Beach Dramaworks, the direction was in the hands of one of South Florida’s most able stage directors, William Hayes, who also has a distinguished career as an actor—2003 Curtain Up award as Best Actor and a Carbonell nominee for The Dresser. This time, Hayes obviously got the most out of his two actors. His sense of direction gives this production so much of its heart and his handiwork on the play is evident.

This ‘night, Mother is the kind of excellence one has started to expect from this tiny theatre in West Palm Beach. Recently, Palm Beach Dramaworks waltzed off with the Carbonell award for Best Musical, Jacques Bril. It is hoping its audience likes its drama as well.

“‘night, Mother” runs through December 5. For reservations and more information, call the box office at 561-514-4042.

The Blonde, The Maven, and
“The” Jay Leno meet for The Arc of Palm Beach

by The Blonde and The Maven
Contributing Writers


On Friday, November 13, at the Palm Beach County Convention Center, The Blonde and The Maven met up with Jay Leno doing a charity function for The Arc of Palm Beach. The Arc is a foundation that, for 46 years, has provided quality services for children and adults who are developmentally disabled.
This successful sold-out evening was a wonderful occasion for a very worthy cause. It was well-organized and beautifully planned. The festivities included casino games, a live auction, with amazing prizes, cocktails, snacks and a cigar terrace.

The actual Jay Leno Live Show began with Channel 5's own, the lovely newscaster Laurel Sauer, and “the voice of the Hurricane coverage,” Steve Weagle. They introduced distinguished guests such as State Attorney General Charles Crist, the Mayor of Palm Beach Lois Frankel and the Honorary Chair of this event, Congressman Mark Foley, who introduced Jay Leno.
Jay walked onto the stage to a cheering crowd of around 4,000 people. He performed for a little over an hour, with his famous brand of comedy that included politics, his parents, infamous legal cases, and, of course, his love of cars. His humor included a personal touch as he spoke directly to the audience, making each person feel as if he or she was his personal friend. His warm, human, clean-cut comedy separates him from all his peers. His very Bill Cosby-type of non-vulgar humor seemed to go over very well with the crowd. Leno's performance showed us all why he is such a super-star comedian.  It is no wonder why Johnny Carson felt comfortable entrusting his position as host of the “Tonight Show” to him. That is one handing over of the baton I am sure the very talented and likeable Jay Leno is proud and happy to have received.

The Blonde: What a wonderful night for a wonderful cause. I love when people come together to do something so giving and honorable. Now moving right along…Maven, Jay was so funny, adorable and truly a class act, but I just couldn't help myself from wanting to throw some gray hair-color on his head to finish off that last section of black that he has remaining. It bugs me.  But… that's just me! In lieu of sounding cliché, he also looks thinner in person.

The Maven: What an entertaining evening we had. Just take the first five minutes of “The Tonight Show” and stretch it to an hour and you get a sore face from laughing. His humor leaves no one untouched from Indian Casinos—“I still haven't met an Indian in one yet”; to pet behavior—“Ever notice how dogs pretend to be interested in everything you say?” He delivers a whole gambit of topical subjects. AND Blonde, LEAVE HIS HAIR ALONE! He is a natural, real guy.

The Blonde: You know, I find it refreshing that Jay, as powerful in the industry as he is, remains kind and humble and doesn’t flaunt an attitude or ego. I love that. I would have LIKED to flirt with him, but unfortunately he's married. All the good ones are!

The Maven: I admire the fact that Leno's comedy is wholesome, non-offensive and not even off-color.
The Blonde: Why, you liked Andrew Dice Clay? But I agree with you, his performance was a delightful change.  

The Maven and the Blonde: We are both impressed with Jay Leno's sense of charity and goodness. All in all, it was a wonderful evening of festivities and comedy.
To contribute to The Arc of Palm Beach County, the address is 1201 Australian Avenue Riviera Beach, Florida  33404-9942. You can also call 561- 842-3213 or visit
 1.&2. Jay Leno
 Photos by Kelly Owen

Morning’s at Seven—Caldwell Opens Season with
Fun Classic, Tony-Winning Delight

by  Ron Levitt
Contributing Writer

Caldwell Theatre Company’s Artistic Director Michael Hall knows how to start his theatre’s season, have the audience beg for his next show, and give them good news about the theatre’s future.

That’s the positive feeling one gets after attending Caldwell’s opening of Morning’s at Seven at the Boca Raton-based venerable regional theatre. Morning’s at Seven, replete with its history as a Tony Award-winning play by Paul Osborn, already has a reputation as an American classic.
This presentation only adds luster to the scripting of Osborn’s already noteworthy three-acts. It reminds the theatre-goer what a class act Caldwell is and how timeless this 1930s play can be.

And, thanks to this ensemble cast, this rendition of a truly funny play takes on even more shine than its reputation for fine writing. The cast all deserves praise: Dennis Creaghan, Pat Nesbitt, Angie Rodash, Jacqueline Knapp, Arland Russell, Carl Danielson, Margery Lowe, Cary Anne Spear and Ronald Siebert. One might wonder how director Hall could find such faultless fits for the unconventional characters in this comedy/drama.   

The 1938 backyard setting by designer Tim Bennett is the perfect background for the Gibbs and their folksy, countrified families, who are a portrait of four sisters living side by side, having known way too many intimacies about each other through the years. If this excellent group of actors looks familiar, many of them were cast members from last year’s The Dining Room at the Caldwell.
You have until December 19th to see this play—a play which has been back on Broadway three separate times over the years.

First nighters not only enjoyed this production, but got the news the Caldwell Theatre eventually would have its new home, in the same basic location. The audience learned that Caldwell Theatre Company and the Owner/Developer of the 20-plus acre Levitz Shopping Center—a joint venture between two Boca Raton based companies, Newman Realty Group and Falcone Group, LLC—have signed a contract to incorporate Caldwell’s new building into their proposed mixed-use project. This new tri-partnership will extend Caldwell’s current lease until the new theater building is completed. Caldwell will be the anchor of the new community consisting of residential townhouses and condominiums, offices, restaurants and retail shops. Construction of the new theater is anticipated for the summer of 2005, which would ensure final completion before the start of the 2006 Mainstage season. There is a campaign underfoot at Caldwell to raise an additional $1.2 million so that the new facility can be constructed debt-free.

For tickets and more information, call the box office at 561-241-7432 or visit
1. Pat Nesbit, Dennis Creaghan and Angie Rodash are three of the cast in Morning's at Seven

Virsky Ukrainian National Dance Company to Dance in
One South Florida Performance Sunday, November 28

The Virsky Ukrainian National Dance Company, made up of 60 dancers and 15 musicians, will dance its only South Florida performance on Sunday, November 28, 3pm, presented by Judy Drucker’s Concert Association of Florida at and in association with the Broward Center for the Performing Arts, 201 SW 5th Ave. As a special offer for the holiday weekend, patrons will receive a free ticket for every ticket purchased at full price.

Led by Artistic Director Myroslav Vantukh, the Virsky is famous for its bright colors, its unity of content and the vivid embodiment of its native Ukraine, performing traditional folk dance and showcasing the artistic wealth and splendor of its unique region.

Founded in 1937 by Pavlo Virsky and Mykola Bolotov, well-known Ukrainian ballet masters, Virsky Ukrainian National Dance Company began as a small group of folk dancers and has since evolved into a dynamic company whose main objective and continuing creative quest is the careful preservation and development of folk choreographic art. The company has since toured Austria, England, Argentina, Brazil, Spain, Cuba, Italy, Ecuador, China, Canada Switzerland, the U.S., and many other nations.

A recent performance at Washington D.C.’s Kennedy Center Concert Hall elicited rave reviews from The Washington Post. “From the lavishly costumed opening, Ukraino, My Ukraino!, when quick-footed women skimmed the stage, to the stirring finale, Hopak, with its breathtaking solos for the men, who spin on a dime, jump into straddle splits and barrel-leap parallel to the floor, the program swelled in momentum… It took just three dances for the audience to erupt in rhythmic clapping; by the end they called back the company—60 dancers and 15 musicians—for a double encore.”

Tickets for the Virsky Ukrainian National Dance Company are available by calling the Concert Association of Florida, 305-808-7446, ext. 301, TicketMaster and all TicketMaster outlets, 305-358-5885, 954-523-3309 or 561-966-3309, or through the Broward Center Box Office, 954-462-0222. Additional information about the Concert Association is available online at
 1. Virsky Ukrainian National Dance Company

A Legend in His Own Mind:
An Interview with Jay London

by Reymond Levy
Contributing Writer

It’s difficult to tell if Jay London is putting you on. When I talked to him over the phone, for instance, the comedian—most known from NBC’s reality contest show, “Last Comic Standing” Seasons 2 and 3—initially offered to call me back, saying that I sounded as if I had just gotten home, and stating that he didn’t want to rush me right as I walked in the door. However, at the point that I made it clear I was ready to conduct our interview, and asked him for his consent to my taping our conversation, he replied, “Go ahead; give it to the FBI.” As I tried to catch up to this abrupt rhetorical turnaround, I realized that London may have been joking all along—but I couldn’t be sure.

That ambiguity is central to London’s persona. At one moment courteous and considerate, only to be dismissive and almost rudely frank the next, the comic—who, while wearing overalls during his routine and sporting long hair, combines the style of Steven Wright with the sounds and looks of a hipster Gilbert Gottfried—is, in his own words, “complicated.” More precisely, he is the embodiment of a certain contradiction: the innovative original looking for acceptance. Over the course of our discussion, I found myself having to, several times, ask him to clarify his references and expressions. This, in turn, made me aware that not only were London’s sayings and frame of knowledge obscure, they were outdated—maybe, I gradually discovered, deliberately so.
Of his relationship to his audience, his unspoken creed seems to be: if you can’t join them, beat them. In fact, this appears to be the purpose of his eccentricities—to expressly make him more unique than his audience. As he says of people’s response to him: “It’s a love/hate thing. Either I’m totally embraced and taken in, or it’s, ‘Where did this come from?’ And I’ll take that. I’ll take that any day of the week.”

Perhaps London’s defiant tone is due to the fact that, according to the Bronx-born and Queens-raised performer, “I’m a sensitive nerd, and I use my looks to veil that.” Though he was brought up in “a healthy dysfunctional family,” he describes himself during childhood as akin to Salvador Dali, or even to “Howard Hughes, with no money.” Even so, London sees his comedy as being specifically motivated: “The acknowledgement of getting the laugh is therapeutic.” He recognizes that he may have “an emaciated ego” that results in him needing to “go that extra mile and be onstage.”

Despite this impulse, London’s sense of humor is ultimately that of a contrarian’s: he enjoys having a deflating ability “to dissect and gut the subject matter.” Through his jokes, he gets at the meaning behind the manner in which people use words. London professes to have a great attachment to the English language, referring to himself as a “wordsmith.” In one joke, for example, he parodies how others express their charity: after relating how people say they want to give back to the community, he subversively gives the thought his own spin: “I wanna contribute to the delinquency of a minor.”

The way London understands it, the basis of people’s reaction to him is that, since new comics really don’t do shtick anymore, audiences either don’t get him, or they’re too young to understand what he’s up to, and don’t want to be bothered with thinking about it. However, as London sees it, he is working in the style of such greats as Henny Youngman, Buster Keaton, Jackie Vernon, and Leonard Barr (take out your reference book of choice for those last two!), trying to leave his own marking on the field of comedy. This points to another paradox: even though he works without a net, using words to establish in people’s minds essentially visual scenarios, this conceptual and experimental comedian considers himself a descendant of a particular comedic heritage—and, since his idols were mostly as groundbreaking as London is now, perhaps he is. 

“Groundbreaking” does not necessarily translate into being accessible to the masses, though—a detail which has evidently fueled London’s act. His anger at being rejected by Rodney Dangerfield and Jackie Mason (who asked him, “They let Puerto Ricans be comics?”) nearly 19 years ago only served to motivate him even more to be “just as big, in my world, as RodneyDangerfield.”  According to London, “I don’t let insults go,” so he’s been doing stand-up ever since. (He describes this as reminiscent of a line from a Jimmy Cagney movie: “Look at me, ma!”—meaning that he wants people who didn’t believe in him to see where he’s at now). Not in it for money, he quit his job as a cabdriver to pursue his dream to make people laugh; indeed, “to knock them silly” with a “haymaker” (what London explained, when I asked, to be a devastating punch).

London’s use of these fight phrases has its origins in his former incarnation as a boxer, a southpaw who helped train such figures as England’s Alan Minter (look him up!). There is also a bit of that experience, London says, in how he measures his rhythmic patter, suchas when he decides to attack and to hang back, in terms of finding openings in audience laughter. Additionally, his use of asides like “it doesn’t matter,” “it’s almost over,” and “you’ll never see me again”—while seemingly off-the-cuff remarks commenting on the audience’s lack of enthusiasm or attention—are Similarly calculated.

Asked about his tendency to insert these remarks, London replies that they are his way of apologetically asking the audience to like him—of being a “toesey tyke.” In this sense, I think, the asides are crucial to understanding London: while the comments struck me as being somewhat abrasive and raging, he sees them as terms of endearment. London’s comic modus operandi thus becomes clearer: he overcompensates. Wanting to be accepted, he nevertheless provides audiences with his own eccentric brand of comedy, describing his method as that of an artist, with him having to “hit the canvas.” For him, “creativity is sometimes a malady, a sickness,” but also cathartic.

A further outlet is Cherokee spirituality. That’s right: yet another of his trademark incongruities is that a self-described “Jew, with traces” (specifically, of Hispanic and of Siberian/European descent) has discovered guidance in the Native American tradition. As London poignantly says, “I’m in the dark sometimes, and I need light.”

Regarding his ultimate goals, London says he is primed to change the act a bit, concentrating more on “what makes me tick as a human being.” He has used his visually comic flair to make short films, such as one in which the IRS institutes a psychiatric department. When they ask his character what he does for a living, he tells them he’s a bouncer for the EPA, and there’s a scene of him in a forest asking a tree, “Do you wanna take it outside?” He would like to go for a meaty dramatic part: “I wanna fool a whole bunch of people.” Though there was a time when his hair was an intricate part of who he was, he would cut it “in a minute” for, say, a role on The Sopranos. In this way, the man who formerly had problems with authoritative types says he is now “apt to change.” He repeats this, as if voicing the thought for the first time: “I am apt to change.”

The “I’m Still Standing Tour” starring Gary Gulman, Jay London and Alonzo Bodden from “Last Comic Standing” Seasons 2 and 3, comes to Miami, Thursday, November 18 - Sunday, November 21. Showtimes are Thursday at 8:30pm, Friday at 8:30 and 10:45pm, Saturday at 7:45, 10:00 and 11:59pm, and Sunday at 8:30pm. The Improv is located at 3390 Mary St, Ste 356, Miami. Tickets are $21.40. For tickets, call 305-441-8200.
 1. Comedian Jay London will perform at the Miami Improv, along with fellow “Last Comic Standing” comedians Gary Gulman and Season 3 winner Alonzo Bodden, from November 18 – 21  

The Best of the Best:
2004 Carbonell Awards

 by Phyllis Green
Theater Columnist


It was an evening of star-studded glamour, entertainment, accolades, tributes, acknowledgments, congeniality; and plenty of hootin’ and howlin’! The beautiful Amaturo Theatre of Broward Center for the Performing Arts was host to the 29th Annual Carbonell Awards on November 8, and provided a magnificent setting for the elegant assembly.

Welcome to the Theatre, where everything resembled a night at the Tony’s! The magnificent lobby was astir with luminaries and previous honorees representing the many notable phases of the arts in the South Florida area: Charles Cinnamon, Jan McArt, Joe Adler, Christine Dolen, Arnold Mittleman, Iris Acker, Larry Toppal, Jack Zink and the Producer, Director, Choreographer of the show, Jean Ann Ryan.

Named for internationally known sculptor and Grand Benefactor, Manuel Carbonell, the annual ceremony is designed to raise scholarships for students in the tri-county area, to study at accredited colleges and universities for careers in visual and performing arts and in journalism. This most impressive presentation was graced by the delightful Florence Henderson, returning to South Florida following a starring role in the 2003-4 production of Florida Follies at the Parker Playhouse.  Beautifully clad in a pale yellow tuxedo, she treated her fans to some friendly patter and a parody of “Some People,” after which the festivities began.

The first of several Special Honors, The Ruth Foreman Award, named for the beloved pioneer theatre producer/director, was presented to Barbara Stein and Lawrence E. Stein, for their cultural contributions as founders of The Actors’ Playhouse, since restoring The Miracle Theatre, a historical landmark in Coral Gables, after Hurricane Andrew. Immediately following this award, and introduced by his actress mother, Angie Radosh, actor John Tartaglia, who made his Broadway debut as the star of Avenue Q, leaped on stage with a rousing musical interlude. 

In the categories of “Best Supporting Actors and Actresses in Musicals or Plays,” it was pointed out that “supporting” just means, the person who steals the show! Proud recipients enjoyed the screams of their fans and peers as they approached the podium for their acceptance speeches. Winners excitedly rushed their “thank you’s,” lest they get played off by the on-stage orchestra, led by the nationally renowned musician, conductor, musical director and holder of 6 platinum records; the outstanding Peter Graves. Margot Moreland, Annie, The Actors’ Playhouse, Lorena Diaz, Betty’s Summer Vacations, Mad Cat Theatre Company, Terrell Hardcastle, Annie, The Actors’ Playhouse, and Paul Tei, Running With Scissors, Florida Stage, all were honored for their stellar performances in supporting roles.

The Bill Hindman Award, for long-term achievement by performers and designers, named after the late actor and regional arts pioneer, was presented to Meridith Lasher, actress, designer, teacher and founder of the Trap Door Theater and Women’s Theatre Project. The Howard Kleinberg Award, named for the former Editor of the Miami News, recipient was Mark Nerenhausen, President of the Broward Center, for his support of the arts through community involvement.

The prestigious George Abbott Award for Outstanding Achievement in the Arts was given to Sherron Long, Executive Director of the Florida Professional Theatres Association, CEO, Florida Cultural Alliance, and Manager, Florida Association of Local Arts Agencies, who offered her heartfelt thanks to everyone “for making theatre so vibrant.”

Best Actor and Actress Awards for traveling Road Shows are named in the accompanying listings, with most all of them going to The Producers, but the enthusiastic “hometown” crowd really whooped it up as their local favorites floated to the stage to pick up their valued bronze statuettes. No “Eve Harrington’s” or “Antonio Saliere’s” in sight; this supportive, vociferous crowd spent the entire evening cheering the winners and praising the runners-up. In a Musical: Best Actor E. L. Losada, Bat Boy, Shores Performing Arts Theatre; Best Actress Jeanne Lynn Gray, The Life, Atlantis Playhouse; and in a Play: David Kwiat, QED, Gables Stage; and Laura Turnbull, The Goat, or Who Is Sylvia?, Gables Stage. The aforementioned play was worthy of numerous awards including: Best Production, Lighting and Scenic Design, with Joe Adler for Best Director.

Special appearances by the amazing Sandy Duncan and the genial Martin Vidnovic, stars of the touring production The King and I, lent an air of magic to the night, and Wanda Richert, who played Peggy in the original 42nd Street, provided the frosting on the cake displaying some distinctive tapping, and with the curtain re-opening on the fabulous Jean Ann Ryan Company, the room rocked!

Saving the “Best” of the Best for Last; it was a personal privilege and pleasure to witness the deepest, most amazing piece of work EVER take the highest honor at this award ceremony. For its remarkable presentation of Jacques Brel is Alive and Well and Living in Paris, Palm Beach Dramaworks received the Carbonell Award for Best Production of a Musical, and J. Barry Lewis was named Best Director. Be still all hearts, this was so richly deserved!

If it is so, as Shakespeare said, “All the world’s a stage, and all the men and women merely players”, it’s apparent that we have them all here in South Florida, and the Carbonells have clearly put us on the map.  This was an evening filled with love, admiration, devotion, commitment, and unexplainable passion.  Not just for the winners and nominees, not just for the families, friends, and fellow artists, but for that vast four-walled wonderment called: theatre. 
1. Superb cast of Jacques Brel is Alive and Well and Living in Paris, Tangi Colombel, Laura Turnbull, Avi Hoffman, Lisa Manuli, Winner of Best Production of a Musical, Palm Beach Dramaworks (not pictured: Best Director, J. Barry Lewis)
2. Nominee for Best Actress, Margery Lowe, No Exit, with winning producers, Dramaworks Executive Directors Sue-Ellen Beryl and Bill Hayes
3. Recipients of Special Award for the restoration of Coral Gables’ Miracle Theater as Actors’ Playhouse, Barbara Stein and Lawrence E. Stein
4. EN&V Theatre Columnists Ron Levitt and Phyllis Green

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