Discover Your Personal Style

Have you found yourself enjoying the comfort of your well-worn, well-aged, and well-washed college sweats more often than not after a long day at the office? We all seek comfort and it’s an unfortunate misconception that comfort and style can’t go hand in hand. Nothing could be further from the truth. Top designer know that in order to appeal to consumer, clothing must not only be stylish, well-constructed and offered at a value, it must also be simply comfortable. You can develop a great personal style that works with your lifestyle, be it the need for active, professional or evening attire. You don’t need an unlimited budget or the services of an expensive personal stylist to discover your own personal style. Follow these basic recommendations from the professional styles to discover your personal style. There’s no better time than the present to get started.

The first step is to assess your current wardrobe. Commit time to go through your closets and drawers and plan to discard, donate or consign items that have not been worn in the last year. So many lament that while they have a closet full of clothes, they have nothing to wear. More often than not, purchasing single pieces with no matches available results in the accumulation of well-intentioned purchases that get relegated to a corner. After you have thoroughly assessed your current wardrobe, focus on acquiring wardrobe anchor pieces. These anchor pieces should consist of a well-tailored jacket in a darker shade, trousers constructed of quality fabric and an A-Line skirt. When purchased in neutral, darker colors, these items can be paired with just about anything in your closet and be suitable for multiple occasions. Check out the awesome deals offered by Groupon coupons and select from the huge range of fashionable styles in classic cuts available from  Barneys New York.

A great way to ramp up your style without breaking the bank is to enjoy the wonderful selection of accessories available on the market today. A well placed scarf or a piece of fun fashion jewelry can take an outfit from drab to glam in no time.

Luna Theater on the Press

The Luna Theater Company’s production of Waiting for Godot puts a twist on the classic.

Because of the restrictions placed on Samuel Beckett’s work by the playwright’s estate, there’s usually little outward variation in the staging of his plays. But as soon as you hear the incidental music begin to play in the Luna Theater Company’s production of Beckett’s Waiting for Godot, you know you’re in for something different.

Emphasizing the play’s vaudeville influences, the music adds to Godot’s strong sense of illusion while director Neill Hartley’s bold staging accentuates the play’s theatricality. The tramps Didi (an excellent Scott L. Wolfson) and Gogo (David Hutchman) are not just stuck in a purgatorial void–they’re trapped within the cyclical structure of the play.

With nothing to do and nowhere to go, Wolfson’s articulate Didi and Hutchman’s subdued Gogo perform for each other to quiet the almost deafening silence. They invent games and scenarios that–though performed with great dexterity–are ultimately insignificant. Like actors, their words and actions are but a facsimile of life. Detached from society, they don’t seem to exist beyond the bareness of the stage.

It’s a frightening existence, and Didi and Gogo ramble on in a desperate attempt to prove they exist. Into this emptiness come Pozzo (Jerome Puma) and his slave Lucky (Gregory Scott Campbell).

Pozzo is usually interpreted as an emissary of reality representing the all-powerful materialist and the imprisoned intellectual, but Puma’s shrewd portrayal of Pozzo is less tyrannical than most. Often unsure, he seems to rely on Lucky for more than just fetching his stool and carrying his bag.

In one of theater’s most difficult roles, Campbell is marvelous, bringing clarity to Lucky’s famously disjointed speech that in lesser hands often seems little more than gibberish.

Most admirable, though, is how Hartley manages to bring us into the unique world of the play. With the music creating the appropriate atmosphere, the actors engage the audience both physically and emotionally. Interacting with the theatergoers and making use of direct addresses to the audience, Hartley makes us feel as if we too are trapped in this void where “nothing happens, nobody comes, nobody goes.”

With no story to speak of, Godot can sometimes seem pointless. But instead of an empty, futile waiting, Hartley and his cast make us share the tramps’ optimism that Godot may indeed arrive. And like Didi and Gogo, we too are willing to go on waiting, certain only that “in this immense confusion, one thing alone is clear: We are waiting for Godot to come–or night to fall.”