Group sex is getting it on with more than one person. If you've ever swiped on Tinder, you're likely aware that many couples are searching for a third, although group sex can mean more than just a threesome. An orgy is when a group of people of all genders have sex, while a "gang bang" typically refers to one person having sex with more than two members of another gender (while the term can have violent connotations, it's also used in the kink community to refer to consensual scenarios).
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Sadism refers to a person, a sadist, who gets off on inflicting pain. Their necessary counterpart is masochists, those who get off on receiving erotic pain. As always, S&M relationships require consent from all parties involved. Once all parties feel enthusiastic about what's about to go down, S&M can look like impact play, erotic humiliation, or dripping hot wax on one another.
Being really clear with your partner about which aspects of a role-play scenario turn you on can help both of you to glean more pleasure from it. "An open discussion of the fantasy may help the partner understand what aspect means the most in role-playing to the other person," Hattab adds. "A partner who is less interested in role-play may be open to it with some more understanding of why their partner has this fantasy."
Never mind they don't have the buffed bodies and blatant sex appeal of the Chippendalelike professional dancers. Urged on by Jerry, the guys - desperate for money and self-esteem - push aside their fears and consent. Patrick Wilson is excellent as Jerry, a perpetual screwup who has brought many of his past troubles upon himself. He's determined to raise enough money to pay his back child support and thus retain contact with his son. And he's the one to decide the group's selling point is the vow to go "the full Monty" - completely nude. John Ellison Conlee is the perfect choice for Dave, the fat young man so self-conscious about his body and so undermined by his unemployment that he's stopped making love to his wife (pug-faced Annie Golden, who's just the right mix of spirited and tender). As Horse - who may or may not live up to the boastful nickname - Andre deShields stops the show as he dances and struts through "Big Black Man." In a role not in the movie but written into the musical, Kathleen Freeman plays an old show business performer who volunteers as a piano player for the inept guys ( "Jeanette's Showbiz Number/Things Could Be Better''). While the song is a treat, Freeman is uncertain in her spoken dialogue. Eugene O'Neill Theatre, 230 W. 49th St. Telecharge, 212-2396200/800-432-7250.
"Aida" is one of the most gorgeously mounted shows on Broadway. The action takes place (for the most part) in early Egypt, and the designers have taken thorough advantage of the opportunity to bring fantasy to the stage. The sumptuous sets feature plenty of marble and gilt. The exquisite lighting includes scenes illuminated in red, gold and hot violet, blue/white moonlight, and starfilled skies. The best of the costumes are the slim, black fullskirted tunics worn by the villainous Zoser and his ministers, especially effective in their menacing, whirling dance. Inspired by the myth-based Verdi opera, with music by Elton John and Tim Rice, this latest Disney offering is the story of Aida, an enslaved Nubian princess who falls in love with her Egyptian captor.Heather Headley, stately, tall, and slim almost to gangliness, is perfection as Aida, the role that won her this year's Tony Award. Headley's sumptuous voice is enhanced by her immense stage presence and air of intense intelligence. She makes it easy to believe that in her own land, Aida was a princess. Filling in for Adam Pascal, Matt Bogart excellently balanced Headley as Radames, who first comes to respect and then to love Aida. As Princess Amneris, the Pharaoh's spoiled, self-indulgent daughter who believes clothes make the woman, Sherie Rene Scott is empathetic in an unsympathetic role. In the course of the story, Amneris believably transforms from a clueless bubblehead wondering why her fianceé of nine years avoids her advances to a woman ready to rule her land. Sporting the cropped white-blond hair and evil essence of the Nazis in old World War II movies, John Hickok is scarily wicked as Zoser, Pharaoh's minister, who is secretly and slowly poisoning the Pharaoh with arsenic. Zoser intends for his son, Radames, to marry Amneris and assume the throne. While Verdi's "Aida" is an unrelieved tragedy, the Broadway version offers a hopeful twist that also serves as a clever way to get in and out of the story. Palace Theatre, Broadway and 47th Street. Disney Hotline, 212-307-4747; outside New York, 800-755-4000; online, ticketmaster.com. Kiss Me, Kate This sly spoof of the theater world - and its, hammy, vain, over-the-top inhabitants - is a delight. The musical bursts with timeless Cole Porter tunes, including the haunting "So in Love," the high-spirited waltz "Wunderbar," and that witty ode to show business "Another Op'nin', Another Show." The appealing revival of this 1948 musical stars Brian Stokes Mitchell, who won this year's Tony Award for the role, and Marin Mazzie, also Tony-nominated for her work in the show. "Kiss Me, Kate" is an energetic romp, with Mitchell and Mazzie winning laughs as a volatile divorced theater couple brought back together to appear in a new production of Shakespeare's "Taming of the Shrew." Handsome, curly haired Mitchell, with his magnificent baritone voice and charismatic presence, charms and preens as Fred, while Mazzie is by turns explosive and comic as the demanding blond diva Lilli. Despite other involvements, the battling couple still love each other but are loath to admit it. Fred and Lilli quarrel as much offstage, with Fred decrying her temper, and Lilli deploring his ego, as they do in their brawling "onstage" roles as confident Petruchio and snarling, man-hating Kate. There's fine supporting work by Amy Spanger as the faithless ingenue Lois ( "Always True to You [in My Fashion]''), and limber-legged understudy Kevin Neil McCready is great as Lois' gambling boyfriend, Bill, who's into the mob for $10,000. Martin Beck Theatre, 302 W. 45th St., 212-239-6200 and 800-432-7250, online at www.kissmekateonbroadway.com The Music Man Count on Susan Stroman to lift this fond revival above the pleasant but ordinary. For the finale of this show about a charming charlatan who wins the minds and dollars of the residents of a small Iowa town by promising them a boys' band, director/chore ographer Stroman has all of the cast members take the stage lustily playing the much-vaunted "Seventy-Six Trombones." It's a sight to see, and quite an achievement, considering that most, if not all, of the actors playing the diverse townspeople, children, elected officials and salesmen aren't trained musicians. With a smile like the sun coming out and an ever-present twinkle in his eye, Tony Award-nominated Craig Bierko is flawless as the fast-talking Professor Harold Hill. Hill, who warns the parents of problems ( "Trouble'') if they don't get their sons into the positive activity of a boys band, takes in everybody except the suspicious town librarian, played by crystal-voiced Rebecca Luker ( "Good Night, My Someone''). Without a band uniform or instrument in sight, Hill gets the kids to "think" their music, charms their mothers, and organizes the squabbling school board members into a smooth barbershop quartet ( "Lida Rose," "Sincere''). And although he says he prefers a girl who's been around, Hill pursues the prickly, aloof Marian, ( "Marian, the Librarian''). When the two inevitably realize their love, it's Hill who tumbles sweetly into "Good Night, My Someone," while Marian soars exuberantly into "Seventy Six-Trombones."
"I thought this might be sort of dumb and preachy," says Julia Michaelson, a student here at Harvard Westlake High School. "But the show was incredible.... They do a great job of talking to the parents and students and asking questions."
After the performance, the audience breaks up into three groups - boys, girls, and parents - for further discussion. The hope is that people will be more willing to speak up than than they were in the mixed setting.
Simon helps lead the discussion. How many think this scene portrayed rape? How many think the girl was equally at fault? After the brief round-table discussions, the full group is reconstituted and group leaders sum up the observations.
Some observers worry that the once-a-year skit will allow schools to avoid developing more in-depth programs. But local school officials say that the supplemental input from a national touring group just provides a fresh perspective. 2ff7e9595c
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