30 July, 2015

Things I would like to try someday - a List

Ride in a hot air balloon

Spend extended time in a convent or monastery

Travel for a month completely alone

Walk and drive from the top of South American to the bottom

Live for an extended period in Venice

Drink a wine I picked, smashed, fermented and bottled myself

Spend an entire day at the cinema

Hear Lilly play the Brahms oboe concerto live

Being part of a sacred ceremony of a culture I know nothing about

Scuba diving

Snuggle with a panda

driving a vintage car in the Woodward Dream Cruise

Archery (I have a feeling I'd be really good)

Driving a motorcycle…everywhere.

Speak Italian fluently

Jump out of a plane!

Being Mayor of somewhere I love

Visit Antarctica

© hula seventy

17 July, 2015

Me Too

See yourself in others, then who can you hurt? What harm can you do?”  
— The Buddha

As human beings we often aim for recognition and validation.

As performers we naturally think that comes in the form of applause, of 'bravos' and super-human awe.

The trouble comes when the performer is tempted to show off in some way— there are times and places for virtuosity, but truly virtuosic art is always be rooted in truth within the context of a piece. Virtuosity for its own sake breeds a disconnected form of awe—meaning, the audience disconnects from the story, the narrative, the overall world, and, crucially, the believability of the character’s journey—they are merely impressed by you.

When you “belt an F” for the sake of it—an audience might gasp in awe, but if the belt is not connected to the character’s human need, it is the same as watching an athlete compete—impressive, but not truly why we engage with art. It is entertaining! And fun! And amazing! But it shouldn't be the ultimate goal.

Thus, I challenge every artist to want, work for, and aim for something deeper…

First, we must know ourselves. (And no, I'm not talking about self-obsession, solipsism, myopic me-monster-ing, or anything resembling New Age-y displays of self-knowledge). I'm talking about self awareness. About the recognition of personal mythology, patterns, proclivities, inclinations, fears, wounds, strengths, and weaknesses; and, more crucially, how they are interrelated to the universality of human nature. There is so much that can be gleaned from the exploration of the human self. Any human self. For in the search, we discover and unlock not only the mysteries of our own natures, but connections to human nature as a whole, throughout all of time.


Once we further understand our own selves, we can begin to engage with the glory of inter-personal relations through Empathy. Empathy is a human being’s greatest gift—the deep appreciation for anothers' situation, feelings, and point of view. It begins with awareness, understanding, feeling, caring, perceiving a similarity of experience, and compassion.

It is one of an actor’s greatest capacities for it is “other awareness,” a symmetrical companion to the self-awareness. True empathy requires us to identify with, fully comprehend, understand, and care about another. It is the basis for the golden rule, and our intrinsic sense of justice.

But my favorite definition of empathy is by the incredible vulnerability researcher Brené Brown, who defines empathy simply as the expression of “me too.

Now, it is absolutely possible for these moments to be achieved during soaring high notes, big 11 o'clock numbers, and within the lake of tears that accompanies the big emotional scenes. But if those "high notes" are present for their own sake? If they are not connected to your actual vulnerability? Then this is what I mean when I say an audience cannot ever be anything other than impressed by your skills—the same way one might be impressed by the prowess of an athlete.

For you see, truly exceptional artists do not show off. They possess all the abilities to do so, but they risk the possibility of appearing (and I use this word with a huge caveat) “unimpressive” for the sake of the absolute truth. They begin by valiantly mining their own souls for every scrap of humanity—be it glorious, petty, sensational, ugly, magnificent, or shameful, and revealing it within the life of their character. They are willing to do a normally terrifying thing: to reveal. To truly connect. For great artistry is not about putting on proverbial masks to cover truth, it is about a kind of ultra-truth, something raw, deeper.

It is not always glamorous. It is not flashy. It is (more often than not) quiet. Revealing utter emotional nakedness is like the noiseless unzipping of the cloak we all use every day to face the assaults of daily life, and in doing so, we opening up our beating chest cavity and simply stand there, exposed.
“You too?” this posture silently communicates.
When an audience witnesses that kind of art, there is possibility for her soul to lurch in true human recognition:
—“Yes,” the audience responds, “That is me; that is my life too…
Achieve that quiet miracle and an artist has fulfilled their ultimate calling.

So be brave.

Don't aim for 'bravo,' aim for 'me too.'


*

PS) Does this message resonate with you? Want it on a bumper sticker? Now you can at the AlSilbs Swag Store!

08 July, 2015

Ask Al: Trust Your Struggle

Dear Al,

I am about four years out of college / drama school. I moved to New York three months after graduation and have had some moderate successes since arriving, plus a couple of really close-calls! But mostly, it has just a series of disappointments—the competition is far more intense than I ever anticipated, and the atmosphere far more hostile. I’m pretty broke, basically a professional temp, and can’t even really afford to take the lessons or classes I feel might keep me in shape and inspired.

I wonder all the time if it’s as simple as changing my look/agent/ headshots/ audition material.
Or, if it is about completely re-training, moving back home and starting again.  Everyone in my life is desperate for me to “wake up” and change my path. But the thing is, I just feel in my bones like this is what I am supposed to do…

I’m banging my head against the wall and feel like a failure.
What can I do to change my circumstances?
Or is it about changing everything altogether?

I’ve read and been heartened by your blog for a long time, and would just love your perspective.

Thank you so much,

Daniel


*

Dear Daniel,

My sweet, courageously honest friend, you are NOT alone.

This was a brave letter to write because part of truly addressing a struggle is admitting feelings of defeat and frustration—those feelings are the birthplace of change!

These questions are faced universally—not just by struggling artists like yourself. The need for external validation, the constant feeling of being a pawn in the Chess game of Life, the “am I good-enoughs,” and aaaaallllll questions related to of life-purpose are experienced by all people, of all ages and walks of life, in every culture, since the dawn of time. [*Thunder!*] The details change, the feeling do not.

At the end of all the pesky details, that universal feeling boils down to this:

WHAT AM I DOING?

...Bummer.
The thing is, I can’t tell you whether your story is about your original dream, or about creating a new one.
Neither can your parents, girlfriend, or any random stranger on the subway.
Only you can do that.

Allow me to validate that there is NO SHAME in changing your path. There is a huge difference between "giving-up" and strategic disengagement. Changing your path does not make you a failure, it makes you a Motivated Badass, a Survivor, and a Winner. If you know you have gifts to give the world, sometimes it’s about dreaming new dreams and making THOSE happen! Again, that does not make you a failure, that makes you practical and awesome. (Because it is far cooler to be the best Physical Therapist/Social Worker/Small Business owner/English teacher the world has ever seen, than yet another miserable not-actor cleaning their naval in deepest Brooklyn. So. Just in case you were one of the zillion people concerned that changing the path = Loserville-Failure-Sauce, I am here to tell you: Nope.

Look. Even with all my ‘success” (which is a whole other blog post about what the definition of THAT truly is…) I’ve still had huge periods of self-doubt. On my more positive days I’ve:
  • Talked that talk.
  • Thought those attraction thoughts.
  • Written letters to The Universe.
  • Journaled
  • Planned big plans
  • Sat with a Jenga-esque pile of self help books threatening to smother my cat.
But I have also:
  • Sat around so depressed on my sofa when I could have been doing something (anything)
  • Made awkward first-impressions
  • Done preposterous things for money
  • Avoided meeting people altogether
  • Seriously burdened my manager and mother
  • Perfected my (suuuuper-special) knowledge of 90s crime shows on Netflix
  • Padded feebly from the bedroom to the fridge in The Bathrobe of Shame
  • Been overlooked for things I thought I was completely capable of doing
  • Stared at the black-hole that was my bank account
  • Totally (and I mean totally) blown auditions like the fourth of July
  • And silently cried when I couldn’t get an audition/ job/ date (and I really do mean that).

Essentially? I’ve been in Loserville myself. Even awesome lil' ol' me who you are asking for “insight.”

If you’ve done all this too but are still confused, single, overweight, feeling like you’re being a total weenie, here are 8 tips I have for the spiritually downtrodden. 


1. Eyes on the horizon.
I, like every other human has had upsets and taken steps backwards.
It happens. It is a part of life.

I do a little exercise with my students. In their warm-up, I have them identify and name their deepest “want” for that day/class/lifetime—whatever is most appropriate for them in that moment. They say it out-loud, they re-define it if it is not JUST right, they say it again.
Then we visualize a horizon—a landscape meaningful to them which could be anything from a mountain range, a sunset over a body of water, an open highway, or even a treacherous road or a spooky forest path.
We fill in all the details—sights, sounds, smells, temperature, down to the qualities of light. Then, right on the horizon line, I have them put their “want” in the center and walk toward it.
Every step they take, they are closer.
There it is—something concrete and tangible like the next job or relationship; to something entirely abstract like belonging, freedom, love, wisdom, or hope.
After a while, they can see that they “Want” is in the shape of a living creature, one with eyes and a soul, and that want is greeting them with happiness and expectation.
Soon, they are face-to-face with their Want, making eye contact and communicating with it silently.

Then I ask them to keep their eyes locked with the Want—and take two steps backwards.
Can you still see your want? I ask them.
They nod. Of course they can.

The lesson? Two fold:
First, your next "thing" is ahead of you—it could be in the next 5 minutes, tomorrow or in a year, but it IS ahead, and every step you take, and every day that passes you are getting closer to it.
Second, even when you feel that you have taken two steps backwards, if your eyes are still on the horizon, it is all progress. You are endowed with the ability to choose whether you take another step back, remain still, or walk forward, but as long as you remain focused, you can’t lose.


2. You have to scare yourself.

And no, not in the mirror after you’ve pulled a double shift. I mean really scare the crap out of yourself almost every day in your deep place.

Get quiet and ask: what are you ACTUALLY afraid of?
  • Rejection?
  • Failure?
  • Being scorned by your family?
  • Being misunderstood?
  • Laughed at?
  • Some jerk’s “I-told-you-so?”
Or…
  • Are you actually deeply afraid of success?
  • Of being the huge superstar you know you can be?
Make a list of your fears. Address them. Then face them. You’re not gonna make magic happen from the lace-lined-bassinet of your comfort zone.


3. Don’t try to change the unchangeable
Attempting to trying to change the unchangeable is a Sisyphean feat of wasted time and energy. Don't do that. There are things you can, and things you cannot change. Let’s go over those in detail, shall we?

You can change:
  • What you do
  • What you communicate to others
  • What you know
  • How you choose to think 
  • What you hope, dream, and aspire to. 

You cannot change:
  • The past
  • The facts (skin color, sexual preference, white blood cell count, and, unless you are a criminal, your social security number)
  • The laws of physics
  • The weather
  • The life and career path of any other person
  • Human nature (yours or others)
  • Personality traits (yours or others)
  • Another person's deeply-held beliefs or thoughts (unless they choose to change)
  • Who you are related to
  • Human needs (you should eat and sleep in a shelter with roof and door.)
  • Your level of innate talent (you can only improve what you innately possess)
  • Things, which, for whatever reason, you simply do not acknowledge.
Recognize and accept what you can and cannot change, and move forward with your life.



4. Success really is preparation meeting opportunity.
So, you have to put yourself in the sight of opportunity (meaning, you can’t staying your house binging on carbs and Breaking Bad… at least not every night...). That means networking, going out to career-related events, being informed about your industry, and knowing what you want so you can ask for it.

But crucially: You must be ready. All the time.

That means planning, skill-drilling, practice, fitness, readiness. For an artist, that looks like this:
  • Devouring plays, films books, media and anything related to your passions and skills
  • Practicing your art every day
  • Staying on top of emerging artists
  • Sight-reading (it is the first skill of an actor’s to get rusty—I read out loud every day)
  • Constantly working on new songs and monologues (you might not need that speech or song today, but you *could* need it to be #onfleek tomorrow). I recommend having at least 5-6 contrasting speeches, and 6-8 songs ready to go at performance standard at all times... Seriously.
  • Creating your own work and opportunities.
  •  Expand and improve your skills
  • Being informed about, ya know, the actual world...



5. The more you give the more you receive. 
Thank you Ghandi, Buddha, Jesus, Moses, Martin Luther King Jr., and, oh, PHYSICS.
It's science, really: Give more. Get more.

Pour every last scrap of your heart and soul into a large collection of living, breathing human beings/animals/plants (such as a gaggle of beautiful, life-enhancing students) and your heart and soul will be flooded right back—most likely with interest. That makes you better at everything, but especially the creative arts. 



6. Turn crumbs into a feast.
Man, we can be such jerks to ourselves! Have you ever had that mean-voiced ticker-tape loop in your head chanting on repeat that you have "never been in a relationship/made money/had success in your career?"
Snore.

Instead of making insulting decisions about yourself and your life, try asking yourself questions like these:

Dude. Is this absolutely true? Have I never booked a gig/ been in a relationship/ made money? EEEEEVER?

We’re so quick to decide that if we haven’t totally nailed it standing-ovation-style, that we suck.
Dig deep, look for where you have had success, no matter how teeny-weeny, and build upon it.
You decide what’s true for you, so if you aren’t staring at a reality that lights you up, change your perception, and change your life.
Sometimes, we have to turn what we perceive of as “crumbs” into a feast.
That's okay—it teaches us to be both innovative and optimistic.


7. The path to success is curved.
You will probably never be able to predict the exact path of your life. Why? Because life is unpredictable.

Also curved? Your BFA might not be a part of a linear success story from 5th-grade talent show winner to Tevye in High School, to Julliard, to glittering stardom.

It might be that your BFA is on the scenic route to your true destiny as an empathetic and world-rocking politician (like my beloved childhood boyfriend Justin Flagg who is kicking ass and taking names), or as a invaluable tigress for one of the world’s biggest consultancies (like my friend Jessica who is the moving to India to kick ass with her dashing diplomat husband). Or Vera Wang who changed her path from figure skater to world-class designer at 49. 

Who knows what your true calling is? It might not even be an idea you've had yet. So be patient and give yourself a chance to have it. 


8. Trust your struggle.
Your BFA in Whatever might not mean you are destined for Sutton-Foster-level validation.

Look at the unconventional artistic success stories like that of the glorious Billy Porter, Octavia Spencer, Samuel L Jackson and my one and only idol Angela Lansbury. These are great actors and people no one knew of until later in their lives.

After Carnegie Mellon, Billy spent years (years) making art, writing, teaching, and being generally misunderstood by the industry, rejected over and over again, and then one day? Boom. Kinky Boots. Tony, Grammy, stardom. Octavia Spencer was told she was weird-looking and “not for Hollywood.” Suck it haters: she now has an Oscar. Samuel L. Jackson recovered from a crippling addiction to cocaine and heroin before landing Pulp Fiction at 46. And even though Angela Lansbury was nominated for an Oscar at 18, a Goldwyn girl, a movie and gigantic Broadway star, she wasn’t a complete and utter household name until she starred on Murder, She Wrote which she began at the age of 60.

Not to mention Ariana Huffington starting The Huffington Post at age 54.
Or Charles Darwin, who was 50 years old before he published On the Origin of the Species in 1859.
Or Julia Child who published her first cookbook at 39; and made her television debut at age 51.

Repeat after me: Trust your struggle.

It is all part of the story, and it refines, defines, and ultimately: makes you better.



03 July, 2015

Thirty-Two

Thirty-two is...
  • the atomic number of germanium
  • the number of teams in the National Football League.
  • the number of completed, numbered piano sonatas by Ludwig van Beethoven
  • the freezing point of water at sea level in degrees Fahrenheit
  • the code for international direct dial phone calls to Belgium
    the number of teeth of a full set of teeth in an adult human, including wisdom teeth
And...
  • the total number of black squares, white squares, and the total number of pieces (black and white) at the beginning of the game of Chess.
  • the number of pages in the average comic book (not including the cover)
  • the Saros number of the lunar eclipse series (which began on June 11, 1691 BC and ended on August 9, 375 BC). The duration contained 74 lunar eclipses.
  • the ball used in association football is typically made with 32 panels of leather or synthetic material.
Also...
  • The Hindu scripture Mudgala Purana also describes Ganesha as taking 32 forms.
  • In the Kabbalah, there are 32 Kabbalistic Paths of Wisdom.
  • 32 = 11 + 22 + 33 
  • One billion seconds is about 32 years...

*

So.
Being "one billion seconds" old,
having acquired one billion seconds of wisdom, learning,
and had one billions seconds of human experience, here I am.

I won't lie to you, reader. Thirty-one was a heckuva year. One filled to the brim with gratitude. One utterly overflowing with some of the most incredible professional, personal and artistic highs.
Highlights:

Kiss Me, Kate at Royal Albert Hall
Being nominated for, and singing at, The Grammy Awards with my beloved Cheyenne.
'I Am Harvey Milk' at Disney Hall with "sister" Andrew Lippa

falling madly, passionately in love with my highest calling: teaching. 
making my professional debut as a produced playwright.
playing my dream role, Eliza Doolittle
But, thirty-one also presented some of the most concerning lows in my adult life thus far. And while nothing can compare to the roaring tangle of grief, or the crack of life-altering heartbreak, this year I faced a new stratum of personal extremity: my own health was tested. Oof.

Me. And a pile of sexy sexy medicine.
When your own existence is challenged, you are presented with real some very real questions:
  • What am I truly doing with this life I have been given?
  • Am I living it, or merely existing?
and, to be frank, the ultimate question:
  • ...Do I truly want to be here...?
This is not melodrama, I present these questions with the stark austerity with which they came to me. And while I know that appearances may have presented a glittering year of such exhilarating honors  to the outside world, within, things were in a quiet, invisible crisis.

Luckily, I discovered a hidden well—shadowed, tucked away so deeply in the folds on consciousness I had not yet heard its echo. That well contained a life-force—a serum so potent, it transformed every fibril within me.

I did want to be here.
Very much.

My favorite Psalm (spooookily, Psalm 32) says:
When I kept silent,
    my bones wasted away
       through my groaning all day long...
What I take from this is that "silence" of all kind, is spiritually expensive. I can no longer silence the full spectrum of who I am, or I will, in every day, cease to truly exist. So that meant re-framing my idea of (all-encompassing) health beginning at the cellular level, and that, dear readers, I have endeavored to do with the help of great (super strict!) doctors, teachers, healers, the care of loving friends, and especially the super-human 'Mama Silbs.' I am better than ever.

And, dear reader, though I cannot tell you yet, I have recently received a birthday gift beyond my wildest dreams. I will be able to celebrate good ol' thirty-two in a manner beyond imagining.

So. Here is what I learned long the way:

Trust your struggle.

It is all merely a part of the Great story.






24 June, 2015

Eros and Psyche

I am unspeakably proud to present a film version of the 'Eros and Psyche' theatre-piece our 12:15 Acting created as part of Pace School of Performing Arts first-year final Greek presentations at Pace University.

Starring Kevin Csolak and Bethany Tesarck, this classic tale is probably one of the most beautiful Greek myths.

Psyche was a woman gifted with extreme beauty and grace, one of the mortal women whose love and sacrifice for her beloved immortal husband Eros earned her immortality (as Greek word “psyche” implies, the deity of soul). Psyche symbolizes a self-search and personal growth through adversity, passion, loss, and pursuit of true love.

Enjoy the extraordinary efforts of my dedicated and passionate first-year students. They fill my heart and soul with every possible joy.

22 June, 2015

Playbill's 'Loverly' Time at The Muny

The Muny production of Alan Jay Lerner and Frederick Loewe’s Tony-winning musical My Fair Lady, which launched the summer 97th season at the St. Louis venue, was presented June 15-21. Leading lady Alexandra Silber (Master Class, Hello Again, Arlington) offers an exclusive look behind the scenes!

Check out the Playbill feature here.

The cast was led by Anthony Andrews as Henry Higgins, a role he played in a 2001 London production; Alexandra Silber, who appeared on Broadway in Master Class, as Eliza Doolittle; Paxton Whitehead as Colonel Pickering, a role he played in the 1993 Broadway revival; Michael McCormick, a Broadway regular in Curtains and other shows, as Alfred P. Doolittle; and Matthew Scott (Freddy Eynsford-Hill).

Directed by Marc Bruni, the limited engagement was choreographed by Chris Bailey and music-directed by Ben Whiteley. 

18 May, 2015

Trojan Women 2015

“Troy’s Gone…. Nothing to block the wind of Asia now…”

This play is not about Then, or about Now.
It is about Always.

‘The Trojan Women’ (Ancient Greek: Τρῳάδες, Trōiades), also known as ‘Troades,’ is a tragedy by the Ancient Greek playwright Euripides. It was originally produced in 415 BC. 415 BC was a savage year in  he lives of the Ancient peoples—the Peloponnesian War was in full horrific swing, the capture, slaughter and subjugation of the Aegean island of Melos by the Athenians, the scandalous desecration of the hermai were only a handful of gruesome events which may have influenced Euripedes.

The story of Hecuba, Queen of Troy and her devastated family has been imagined and reimagined with global and personal relevance, over and over again, for over two thousand years. These women are symbols, but they are such because we see ourselves within them.
Our anger. Our humanity. Our grief.
My intention was to turn these symbols on their heads, slice them open and revel in the drain of their universal humanity.

“Widowhood is grief but also chance, and falls of cities both finishes and starts. ”

For ultimately, Trojan Women is a play about loss.  But what is loss? Loss of a city is no different than the loss of one’s sanity, family, love, principles.  In the aftermath of any ‘war’— be it literal or metaphoric; we are asked to cleanse ourselves and begin anew.  War is our story because all men, throughout all of time, have the capacity to hate. Troy is no different from Rwanda, Dachau, Sarajevo, Syria, or our very own World Trade Center and Ferguson, Missouri.

“‘Helen of Troy’ was a triumph—a legend—
a Woman who made her mark upon Your World
—never mind if that mark was a scar. ”

We hear from Hecuba and her family—the mad priestess Cassandra cursed with a gift of prophecy that no man shall ever believe; Andromache, the widowed wife of Trojan hero Hektor (who symbolizes a collective loss not at all unlike America’s Jacqueline Kennedy); and Helen of Troy, the “most beautiful woman in the world” who bears the bitter responsibility of whatever it is society deems to currently be “beautiful.”

“Should we not reach down beyond the known for once?”

New to this adaptation are some additional characters.  The additions of the three goddesses responsible for the Trojan War—Athena, goddess of wisdom, Hera, goddess of women, and Aphrodite, goddess of love. Their presence offered the play an opportunity to self-reflect, as well as directly challenge the audience in the de-familiarizing styles of Brecht and Artaud. Also new is Creusa—royal princess of Troy and wife of Aeneas (noted hero of Virgil’s Aeneid). Her absence in the original always seemed intentional, and bringing her back into the scenery showed itself to be a necessary and arresting presence. Creusa’s singular personal agency as the one “Trojan Woman” to escape Troy of her own accord presents us with a crucial alternative voice. Finally, the presence of the two Greek soldiers Diomedes and Teucros—both characters from Homer’s The Illiad—gave us what is probably the most important new piece of humanity. What is a war story without its soldiers? Are they not victims too? They experience losses even as victors, and I felt it essential that we hear from them.

“It is not true that everyone wants to be Entertained…
Seeing agony, we are made greater.”

Finally, this play is brief.
But it is hard.
Art that means to shift our deepest conflicts is always hard work, and that hard work can be an honor.

Thank you for joining me, and my commissioner Dutch Kills Theatre.



16 May, 2015

50 Things I miss about London

1. Skies white as a clean sheet of paper.
2. The sight, sounds and smells of the Borough Market.
3. The diversity (37% of the population were born outside of the UK, and over 300 languages are spoken in London).
4. The accent melting-pot.
5. Nights with pals at Shoreditch House.
6. Incredibly long summer days.
7. Christmas in Covent Garden
8. Book exchanges = free books. ‘Buff said.
9. The walk along the South Bank from Canary Wharf to Waterloo
10. The freaking Rosetta Stone.
11. The Tate Modern (my favorite modern building in the city).
12. You can just hop on a train to Paris whenever you please.
13. The October 4:30 light in St. James Park.
14. The view from the stage at Royal Albert Hall.
15. The Piccadilly Line (go “Team Blue”)
16. Utterly, and I mean utterly bizarre television advertisements.
17. In depth conversations with taxi drivers.
18. Leon (particularly their coleslaw, brown rice and dark chocolate brownie).
19. Really effing brilliant theatre
20. My secret back-alley walk from Angel to Islington.
21. Bea’s of Bloomsbury.
22. Profoundly, bizarre happenings.
23. Stores dedicated to single items such as umbrellas, whiskey and bicycles.
24. Oyster cards are one smooth operating system.
25. Poirot’s house.
26. The friendly blue plaques.
27. London has more green space than any other major city on earth.
28. Notting Hill Carnivale
29. And Portobello Road.
30. Someone asking for directions and actually knowing the answer.
31. Pretending to be in a video game on the DLR (don’t tell me you haven’t done it… Liar.)
32. Seven Dials (home).
33. The oh-so-familiar aisles of Foyle's Books.
34. Southbank skaters (and the kick ass graffiti on the walls).
35. Spitalfields Market.
36. You can watch a play at the Globe or a concert at the Proms for £5.
37. My beautiful London chums...
38. ...Particularly the “Anatevka contingent” Bev, Tomm, and Julie.
39. “Adventure-days” with Edward Petherbridge.
40. The world’s best bagels and curry all along Brick Lane.
41. Your commute will take you past some of the most famous landmarks in the world.
42. Trains. Everywhere trains. And I love trains.
43. Sitting in the front seat on top of the beautiful double-decker red buses.
44. Ancient, older-than-anything-I-can-comprehend buildings nuzzled up against über-modern visions.
45. The hidden gem that is Blade Rubber Stamp's in Holborn.
46. Everything that is Alexandra Palace (aka “Ali Pali”).
47. An after-show drink at the champagne bar at Kettner’s.
48. The hedonistic delights of Soho.
49. The museums are free. Most of them... FREE.
50. Walking walking walking…

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