Whoosh! Issue 73 - October/November 2002


Page 3

All Heck Breaks Loose

[81] After this minor distraction, they begin the battle. Alti/Gabrielle says, in effect that she will defeat Xena, "and make your power my own!" Xena and Alti/Gabrielle (remember Alti is controlling Gabrielle from a distance) are at the center, with Xena signaling the beginning of the fight with her battle cry. Everyone is taking part, with Androgeny, Synonomous, Ares, and Gaybriel, fighting against the animals. Gabrielle surfaces again calling Xena's name and Xena tells her to "Fight her, Gabrielle!" Xena gives her a good wallop to the side and Alti/Gab goes skittering off to the side of the stage.

[82] In an aside, I need to point out that the final scenes were extremely complex and highly choreographed. Each actor had his or her place and knew exactly where they needed to be at a particular place and time. The use of the overlying music may have helped the actors, because they could more easily keep time. Or not. These people are professionals, after all and this is their job. At any rate, in the final performance, Gabrielle is supposed to be speaking in sync with Alti and I believe the line is the one about making Xena's power Alti's. Something happened. I am not sure whether someone missed a cue or if it was something else, but suddenly Amy Matheny was merely making "blah, blah, blah" mouth movements. As they continued on, Elizabeth Laidlaw was supposed to catch the staff, which Ares had carried in, and use it to hold Alti/Gabrielle in a throat hold. But Elizabeth dropped the staff and had to pick it up. As she backed up toward stage rear with Gabrielle in the chokehold, she told the audience: "Ever had a bad day? I want to do that again!" And they did.

[83] Perhaps they had been taught to do this in fight rehearsal, but everyone literally backed up. I recall seeing Chicken walk backward through all her positions to get to a particular point. It rather mimicked film or tape being rewound, so my friends and I began calling it The Rewind. We were seeing a bit of the mechanics of the production. While I know that a lot of work goes into the fight choreography, it was fascinating to see the guts of the show. During curtain calls, Amy Matheny said she wished it had been a television show. It may have been a bit embarrassing for them, but it was a lot of fun for the audience.

[84] They rewind somewhere back to just before, or at, the point where Alt/Gabrielle mouths in sync about making Xena's power her own. Xena strikes Alti/Gabrielle again and Alti/Gabrielle says, "Hit in the side for a second time." Alti/Gabrielle ends up on the other side of the stage, on the floor, and Xena goes after her. The shamaness pushes Xena off of her with her feet. Ares tosses the staff to Xena and this time she catches it, with Xena finally getting back to the same place as when they started, Alti/Gabrielle in a chokehold, and with Xena using the staff. Now, the action can continue.

[85] The action resumes with Xena and Alti/Gabrielle fighting it out. Aphrodite barges in ostentatiously saying, "I'm here because of my beaver!" Xena is able to maneuver Gabrielle's body so that Gabrielle is in position to be hit with Aphrodite's muff and released from Alti's control. Xena and Gabrielle look soulfully at each other and you wonder, "Will they kiss? " Apparently not, because Xena breaks eye contact with Gabrielle and says "Later", turning back to the fight, as does Gabrielle. The action onstage gets busy. Because Gabrielle has been dusted with lovedust, Alti turns weak and falls backward into the waiting arms of Lamb and Chicken, who lower her to the floor.

[86] While the fighting is ongoing, Alti tries to get away, but Xena is onto her. Elizabeth Laidlaw executes this production's version of Xena's flip, a cartwheel. Unfortunately, Alti is not there when Xena lands to grab her. Although Alti was not there, she is quickly found by Xena and gets pulled back to stage rear, where Gabrielle is waiting to help subdue her. In the background, the barnyard animals, Chicken and Lamb, are lobbing giant foam rubber rocks at their enemies and Ares and Gaybriel lob them back, knocking all three animals off their pins.

[87] During the scene, the music starts up and the lights are lowered. I do not recall the specific order of the music, but Alti, by this time, has reached the back of the stage. Up on the raised platform is Aphrodite, sprinkling her lovedust on Alti, while singing the opening bars of the Donna Summer song, "I Feel Love." Alti is spun around by Lamb and Chicken in time with the music. Then the music segues into Huey Lewis and the News' song, "The Power of Love." Androgeny dances up, singing the opening verse. Alex Billings made it very memorable by singing it as Cher. Then the music turns to "If You Love Somebody, Set Them Free" (Sting). By this time, Ares is in a corner turning into a God-like pinwheel. All the animals, Synonomous and Androgeny are attached to Ares, and Aphrodite pops them in the face with her muff as they pass by her.

[88] In the background, Xena and Gabrielle are fighting against Alti, but she appears to have the upper hand. Both are holding on by one hand to Alti, but she has one hand on both of them and neither of them can get away. Nor can they subdue her because she is still a very powerful being. They seem to float there until the human pinwheel breaks up. Having been dusted, everyone breaks away to help Xena and Gabrielle. Alti manages to free herself from her captors, but in doing so bops Gabrielle a good one. Xena is still attached to Alti. Gabrielle falls to the stage floor and Synonomous chases after her, gathering her up and placing her head in his lap. He begins to sing the Olivia Newton-John song, "I Honestly Love You". Patrick Sarb (Synonomous) would often use a very theatrical voice at the end of the song, mocking opera baritones. It usually raised a good laugh. Since Synonomous has an unresisting Gabrielle, he tries to put her arms around himself, but she is unconscious while he is singing. As he completes the song by singing the title phrase, he bends down kiss her, and Gabrielle coughs a bit and wakes up.

[89] Meanwhile, in the background, Xena, Ares, Gaybriel, and the animals are attempting to defeat Alti. Xena is still attached to Alti, and Ares is on the other side. They are all moving in slow-motion as the animals and Gaybriel rush up to Alti, who kicks them away, also in slow-motion, all while Synonomous sings to Gabrielle. Once Gabrielle awakens, she hurries back to help Xena and the others. Xena finally gets the upper hand and begins to wipe the floor with Alti. She socks her in the jaw and Gabrielle and several others take their turns as well, especially those who were controlled by Alti.

[90] By this time, everyone is singing "Somebody To Love" (Jefferson Airplane, Grace Slick). In fact, Alti is being beaten in time to the music by the various characters. The music switches to "Love Is A Battlefield" as Xena knocks her toward stage front and the audience. Alti looks to the audience for help, poking her hand out and saying, "I'll give you ten dollars," before Xena yanks her back to stage rear. Because the love is so strong now, Alti is losing her power. Xena has her sword back and decapitates Alti, who falls off stage. As the rest of the cast sings, Xena reaches down and sets Alti's head on the stage (shades of A FRIEND IN NEED). Alti's expression seems to be, "Oops, I miscalculated!"

Together At Last

...and if you buy all three of these lovely chairs, we'll throw in a FREE cell phone!
Waiting for Godot...I mean the Warrior Princess!

[91] With Alti dispatched, it is time for a resolution of the situation between Xena and Gabrielle. Glancing at Synonomous, Xena says to Gabrielle, "I heard you've moved on, made a new life without me." Gabrielle replies, "Xena, I'm truly overjoyed that you are alive again. I have moved on." Xena takes this in and then seems to gird herself for the bad news. Xena: "But-?" Gabrielle: "I don't want to be your sidekick anymore." Although it never happened, I always had this sense that the cast took (or would have taken) a collective gasp, upon hearing Gabrielle's declaration. She continues (with Xena following her), "I want-", then turns to Xena, "I want-" She does not finish, so Xena just steps in and tells her, "I want that, too." Cupping Gabrielle's face in her hands, Xena kisses her. A nice, lingering kiss, which lingered even more in the final performance, much to delight of those sitting in the front row right where Xena and Gabrielle stood. Unfortunately, I missed sitting in that spot.

[92] For those who went with any regularity, we learned that the actors would be at certain spots at certain points in each scene. This was the stage direction, inherent in all plays, and so necessary in this one. Xena and Gabrielle would end up for the kiss at stage front and a little bit to stage left. I would try to get to the center seat, if possible. To that end, we would generally get to the theater and in line one hour before the start of each show. For the final performance, my friends and I never thought anyone would be there as early as we were, but there was a group of fans that were sharper than us and were in line before we were. So they got the choice seats. But we still were in the front row and this was not a bad thing.

[93] Xena and Gabrielle come up for air. The rest of the cast is clustered around the two. Chicken carries the action of the scene with, "Thank you Xena, for saving us from the evil Alti." Normally, Dawn "Sam" Alden (Chicken) would simply deliver the line and everyone would murmur her or his thanks. But for the final performance, she handed Elizabeth Laidlaw an egg, hard-boiled, I assume. Laidlaw was rather stunned, but she made a fine comeback. Her response: "It's still warm!"

[94] Xena and Gabrielle break into the final song of the show:

Gabrielle: I love you Xena,
From the bottom of my heart

Xena: And I love you baby,
Never death will us part

Gabrielle: I love you Xena,
Until the end of time

Xena: I love you baby,
River deep, mountain high

[95] At this point, they stop singing, but with music in the background Ares asks, "What have we learned?" Xena says that with all their voices raised in song, they have learned that love can overcome evil. She adds, speaking to the audience, "Love is a powerful thing, don't abuse it." Androgeny then prances up and thunders out what may be my favorite line of the whole show: "And we learned that Xena lives forever!"

[96] The entire cast finishes the rest of Tina Turner's "River Deep, Mountain High":

River deep,
Mountain high

Do I love you?
My, oh my

If I lost you,
Would I cry?

Oh, I love you baby,
Baby, baby, baby!

[97] While they complete the song, the cast is not idly standing in one place, but is dancing through steps that are quite elaborate. The absolute final piece is Xena and Gabrielle standing at the center of the stage, with one arm out straight and drawing the other back, much like drawing back an arrow with a bow. Both push their hands forward, the underlying drums crash in time with their movement and the Xena Live! sign lights up. The show is over.

Bad lighting aside, a good time was had by all
A photo op taken in the photo gallery adjacent to the theater

The Last Show

[98] I saw thirteen performances and an equal number of curtain calls (there was no curtain, but you know what I mean). The most memorable one was, as expected, closing night. I had decided that I wanted this final show to have a standing ovation for the cast, and that is what we did. I had spoken earlier to my friends about it, but I think all of us planned to do it. It did not take much encouraging and once we started, everyone caught on and stood to applaud. They deserved every bit of applause we gave them, which went on for a nice, long time. All other nights, the cast would have danced to the front for their curtain call, but this performance was special and everyone stayed on the stage. Elizabeth Laidlaw, after the long, standing ovation, joked, "This was an hour-and-a-half show, but has run a lot longer and it's your fault. We're actors, don't encourage us!" I can only say that they were so much fun and were so good that we could not help it.

[99] Everyone was pumped, of course, and I know someone behind me called out, "Will there be a Xena Live! 3?" I am not sure if anyone on stage heard the question at the time. Elizabeth Laidlaw pointed out their fight master, David Wooley, and referred to the little slip earlier in the show, but I doubt the audience cared. Several others were mentioned, including Stacy Ellen Rich, Costume Designer; Heather Schmucker, Producer; Di Bauden, Dramaturg/Videographer and mentioned earlier in this piece; and, of course, Claudia Allen, Playwright. There were many others credited in the program, but these few were the ones I recall being mentioned. Elizabeth Laidlaw also made reference to us, "all our loyal fans, especially those in the front row," which included my friends and me and many others who I saw come frequently to Xena Live 2.

[100] I am still not sure whether my nearly inveterate attendance was a good thing or not. During the last weekend of performances, some of the actors would wave to me at the very end of the show during curtain calls. I had purchased some thank you cards for Amy Matheny and Elizabeth Laidlaw and asked that they be given to them. That prompted Heather Schmucker (producer) to come out and introduce herself. My notoriety spread because people in the audience would ask me about it. In a sense, though, it was nice because this is a small theater troupe and they are at an early stage, I imagine, much like the early days of Xena (the television show), when the stars and other staff members were more approachable. Once the show stopped being the small, cult-like entity it was and turned into the larger and famous machine that it is now, that intimacy was lost. It is still there in Xena Live! and I hope that it never goes away.

[101] All of the cast members except Amy and Elizabeth took their final bows and left the stage. But before they exited, Elizabeth called out to the audience: "Onto Xena Live 3!" Amy Matheny and Heather Schmucker (producer) have indicated they will consider a third installment if there is enough interest. (See the end of this report for further information.)

[102] At this point, the two actors would normally discuss the challenge grant that the About Face Theatre won and would ask for donations. But this was the finale and the actors were still feeling frisky. Before they began their talk, Elizabeth Laidlaw declared that Alex Billings (Androgeny) would already be out of her costume. Perhaps to disprove Laidlaw's assertion, Billings playfully taunted Laidlaw by appearing at the back of the stage, still in her costume. This went on for a little bit until Laidlaw, showing how well she had absorbed the character of Xena, feinted in the best Xena-like generalship and fooled Billings into running out on to the front of the stage. Laidlaw was standing, waiting for her. Billings immediately ran back the way she had come out. Later Laidlaw said, "I can't believe I live in the same apartment complex with that woman!"

[103] After completing their announcement, Matheny and Laidlaw left to (wo)man the doors to accept donations. Although the show was over, there was one final piece of the show that every fan of the television show knows: the disclaimer. Di Bauden's last bit of videography was a video of the disclaimer reading: "No heterosexuals were converted during the making of this theatrical production." This generally raised a laugh. The disclaimer was followed by an image of Kevin Smith, along with the dates of his birth and death, a final fitting tribute to the man who had been such an important part of the television series. At an earlier performance I had attended, one of the women sitting in the seat next to me noticed the picture and was shocked to learn Kevin Smith had died. I told her what little we knew. She said he was her favorite performer. The man was much loved by so many.

[104] Filing out of the theater, I was on the same side of the doors as Laidlaw. I got up to the doors to put my donation in the basket and finally had the opportunity to give Elizabeth Laidlaw a personal thank you. At the time, Amy Matheny was surrounded by several people, so I had no chance to thank her. However, one of my friends wanted to try to get a picture of Matheny, and I had already told Claudia Allen (playwright) at a prior performance I wanted her autograph. (About Face was selling signed posters, which did not include Allen's signature.) So my friends and I opted to hang around the theater.

[105] Claudia Allen came out and I got my autograph. I gave her a thank-you card, as well, and another personal thank you on the spot. We had an opportunity to chat, I learned about her next plays, and when and where they were to be held. Someone asked if there would be a Xena Live 3, and Allen suggested if we wanted another play, we should contact About Face Theatre. So it appears the cast, producers, and writer are willing, but they needed to know if there is enough interest. (Based on my experience, I should think there is avid interest.)

[106] My friends and I continued to dawdle around, waiting. Eventually Lisa Velten (Aphrodite, Pig) came out, followed by Alex Billings (Androgeny) and John La Guardia (Gaybriel). I got a hug from La Guardia, who had to be urged by Billings to leave. Gregory Thomas Isaac (Ares), Patrick Sarb (Synonomous), and Dawn "Sam" Alden (Chicken), came through, ready to leave the theater. By this time we had migrated to the exterior doors, not wishing to get in the way of the house staff as they cleaned up and prepared to shut everything down.

[107] I had another opportunity to thank the actors for their participation. Gregory Isaac (Ares), once he got the "Vitalis" out of his hair, seemed to resemble Kevin Smith more so than on the stage, although he was not as tall. It was here that Alden (Chicken) told us she had planned her egg-laying joke for a month prior. We all told her it was inspired, and she replied that it was priceless, simply for the look on Laidlaw's face. Isaac looked tired and none of us had any desire to keep the cast there very long. They left for the cast party and we continued to wait.

[108] One thing that crossed my mind, especially since the actors had noticed I was a frequent attendee, was that I could appear to be a stalker. Maybe waiting around was not such a good idea!

[109] Finally, Elizabeth Laidlaw and Amy Matheny came out. They graciously stopped and spoke to us, gave us hugs, and thanked us for our support. We in turn thanked them both for all their hard work and the joy they brought us. Although the theater is a very intimate one, somehow the actors appear larger on stage than they do in street clothes. Both Matheny and Laidlaw seemed shorter and much more slender than in costume. But that could be my aging memory having a senior moment or two. When the run first began and Elizabeth Laidlaw stood at the door, taking donations, she seemed very tall in my memory. By the final performance, all that had changed. It must have been a trick of the eye, as well as memory, since neither Matheny nor Laidlaw shrank and I have not grown. But it is an interesting illusion. There must be something about the costumes and the stage that causes this sort of phenomenon. Perhaps it is that the characters are simply larger than life and they invest the actors that way in my eyes.

The Advertisements

[110] Xena Live 2, like Xena Live 1, contained numerous advertisements throughout the play. Some were rotated and some were always done in the same places. Here is a list of them with short descriptions:

House Of Blues Loews Hotel
Performed by Lamb and Androgeny. Lamb would speak in sheep language (this is another aural joke -- you have to hear it to get it) and Androgeny would do the English version.

Star Gaze
Two women and a man are standing at the bar. In a voiceover, he thinks: "These babes are hot!" He asks if they would like some salsa. One says she likes hers hot, the other responds she does too. The man has not figured out they are looking at, talking to each other and ignoring him. Suddenly they are in each other's arms and he cries in dismay, "This is a lesbian bar?" Then he realizes what he said and thinks with approval, and a little salaciously, "This is a LESBIAN bar!"

Lamb and Androgeny, again. This ad would often be interchanged with the House Of Blues Hotel ad. Androgeny would do the talking and mispronounce the product name. Lamb would speak in lamb-talk, but would always pronounce "Alize" correctly and in English.

WCKG Talk Radio
Two women and a man are in this one, which rotated with Star Gaze. The women are making "wah, wah, wah" sounds underneath the man's speech about the radio station. Names of well-known lesbians ping-pong between the women. At the end, one says, "Janet Reno." The other woman says, with excitement, "Janet Reno is a lesbian?"

Nookie's Tree
Ares (Gregory Isaac) and Gaybriel (Jason Vizza or John La Guardia), with the actors playing themselves. This ad related directly to the previous scene in which the two men "engaged in a hot mouth-to-mouth session" resulting in "beard burn". To "soothe their oral cavities" they would stop at Nookie's Restaurant, advertising it as the place to eat.

Elizabeth Laidlaw and Amy Matheny. Laidlaw would open with speaking about not being a warrior princess but only playing one on the stage. She only fights Chicago traffic by relying on her all-wheeled drive Subaru ("… the beauty of all-wheel drive"). Matheny would talk about Subaru's support of gay and lesbian organizations. They would close the ad with Laidlaw twirling her sword and saying, "But what do we know, we're just girls." Parenthetically speaking, I think they are not 'just girls.'

About Face Theatre
Scott Duff (Androgony) and Alex Billings. Duff's was about how he, as a gay character was not represented on television, and that made him feel 'pretty -- and sad -- like me.' His comic timing was excellent because he always got a lot of laughter when he would say "pretty and sad." However, Xena fans can be rather unruly. During the Bardcon weekend's late performance, a group decided to join in and recite his "pretty…and sad…like me" line. Any good actor does not have to put up with an audience that tries to steal his act, so he replied that we had hurt his feelings and took control of the commercial back. We were highly amused. Alex did an impression of Kate Hepburn. As mentioned before, she just about stole the show each time she did the ad. There was a set of lines she would use ("Spencer Tracy is an old poop!"), but she was constantly improvising. Each time she performed it, the commercial would get longer and longer. At one point, one of the house staff told us that they were considering timing Alex. Since she would sit on the platform used by Alti, she could easily engage the audience if any persons happened to be sitting in those seats. Or she might go all the way across the stage to include the audience on the opposite side. In the one of the final performances, she took off on Heather Schmucker's name, and then asked the audience to buy the T-shirt because they apparently "spent $1.85 on the props. Look at that stage!" Since this ad took place with the foam rubber rocks, Alex would point out "King Kong's gonads". It was hysterically funny.

Fond Memories

[111] There are odd bits that I will recall for a long time and do not fit in any particular spot in this piece.

[112] One is sitting next to Alex Billings as she prepared to take over the role of Androgeny. I did not know it at first, though. My friend and I were desultorily looking at the inserts in the program. One of the inserts was an advertisement for an all-female production of 1776, starring Alex Billings and Elizabeth Laidlaw. We talked about it a bit and that the Alex Billings on the sheet had played Xena the Warrior in Xena Live 1. Casually, the woman seated next to me said, "That's me." My friend and I were a bit astonished because we had not recognized who was sitting next to me. Alex's hair color had changed, but I think it was more that neither my friend nor I had been paying attention. I had a nice time teasing my friend, however, because she had given up her seat to me so that I could sit in the center seat. Alex Billings and I had a nice chat, too. I mentioned that I thought the play was helping the fans upset by the finale, A FRIEND IN NEED. Alex told me that the finale upset her! Approaching the two lead actresses of the television show is one thing that has been lost, and although I came in too late to experience that part, it is gratifying to know these stage actors do not have a wall built around them.

[113] Other favorite moments include the talk with the actors after the performance during Chicago Bardcon weekend. We learned that everyone contributed something to the musical. They brought lists of songs, such as romantic songs; fight songs; and any other song that they thought fit in. The actors also had input into the script, as I have mentioned above. Because the play is one with so many "cooks", there will never be any copies of scripts for sale. Furthermore, the ban extends to videos of the musical. This is due, however, to union restrictions.

Laidlaw And Matheny

[114] Elizabeth Laidlaw described how she was recruited by Alex Billings to play Xena in Xena Live 1. One day, Alexandra called down from her balcony, "Hey Laidlaw. Ya wanna be in Xena? You'd be great!" Laidlaw's response was, "Not me. I'm a classically trained actress!" But Laidlaw said you cannot simply deny Alexandra Billings. Eventually, Billings talked Laidlaw into it and the rest is history.

[115] I should note here that both Elizabeth Laidlaw and Amy Matheny strongly resemble Lucy Lawless and Renee O'Connor. They knew each other and have been friends before Xena Live for some time, which very likely explains the chemistry between the two of them. Elizabeth Laidlaw was not a fan of the show, so she was not familiar with it. Once she was cast, though, she spent time catching up and trying to get a feel for the character by watching videos of the show.

[116] Amy Matheny spoke about discovering the television show. She had the television on and was doing something else at the time. She overheard the teaser to ALTARED STATES and when she went to watch the episode, saw two women in the bushes. She thought, "That's a lesbian show!" As most fans know, that teaser is highly suggestive. That is where it all started. She researched who owned the theatrical rights and found it was Rob Tapert. He was contacted and gave permission. Elizabeth Laidlaw added that he did not care what they did, essentially giving them carte blanche. As for why Amy Matheny plunged ahead with doing a theatrical production of Xena, she told us that the only reason she did it was so Xena could save her.

[117] At the end of BardCon, Elizabeth Laidlaw graciously stopped by the restaurant after the Sunday evening performance and chatted with us. I was sitting too far away to take part in any conversation with her, and it was too noisy to really hear what she said, but it was thoughtful that someone from the play came to talk with the fans. I was able to tell her what one of my favorite lines was "chicken fingers", to which she said was ready to change it. I think that was my first inkling that this production was open to continual change.

[118] We also learned that Elizabeth Laidlaw seemed to have an ongoing battle with her costume. It is leather, folks. It can be hot and gets sweaty during the course of the run. Leather is not an easy material to clean. She was worried it would gross people out. Frankly, she looked so fine in it, I doubt anyone knew or cared.

[119] Before I close, I must add two final comments. Many fans have said that no one can play Xena or Gabrielle except Lucy Lawless and Renee O'Connor. That just means they have never seen either of the Xena Live! productions. If Lucy Lawless and Renee O'Connor decide they never want to play those characters again, I strongly recommend Elizabeth Laidlaw as Xena and Amy Matheny as Gabrielle.

[120] I have several people I would like to thank. First is Bert for sharing the photos seen in this article and for helping me recall the plot and scene order. I also want to thank Xena Phan for also helping read this piece. An additional 'thank you" goes to her for putting me up those many weekends and for putting up with me, during those many weekends.

[121] I hope Claudia Allen will forgive me for mangling her wonderful play. My poor words do not do it justice. I also want to thank so many people who made Xena Live! Xena Lives! - The Musical possible. This would mean, in no particular order: Claudia Allen (playwright), Amy Matheny (Gabrielle/executive producer), Elizabeth Laidlaw (Xena), Heather Schmucker (producer), Gregory Thomas Isaac (Ares), Lisa Velten (Aphrodite, Pig), Scott Duff (Androgeny), Alex Billings (Androgeny), Patrick Sarb (Synonomous), Elizabeth Rich (Alti), Jason Vizza (Gaybriel), Dawn "Sam" Alden (Chicken), Tom Taylor (Lamb), Di Bauden (Videographer), and John La Guardia (Gaybriel), to name the most obvious. Others include Scott Ferguson, Andre Pluess, Ben Sussman, and David Woolley. Everyone contributed to making this production so enjoyable and a welcome treat to come back to see more times than I care to admit. But I did do so and I would do it again. As there will be a Xena Live! 3, be assured I will be down in the front row, cheering the actors on.

Xena Live! Rocks!

Alert Alti--the clones have been found!
Amy Matheny and Elizabeth Laidlaw - Just a couple of warrior buds.

[122] Regarding information about Xena Live! 3, there will be a third installment. At the time of this writing, there is no written script, but there are some ideas under discussion. For now, Xena Live! 3 will not likely happen until the theater's 2003 - 2004 season, but those of us who have seen the previous plays now have something to look forward to. News about the next play can be found at the websites listed below.

Xena Live!
About Face Theatre


Vivian Sheffield, "Working Through A Friend In Need: A Study In Perplexity". Whoosh! #64 (01/02)


Vivian Sheffield Vivian Sheffield
I was born and raised in Michigan and attended Michigan State University. I am, I think, two degrees of separation away from Lucy Lawless, since I was on campus at least one of the years Rob Tapert was also attending, although in a different degree program. My current occupation is as an information technology analyst.

Favorite line: No single line, but "Yeah, but with a really big sword" comes close. While not canon, my newest favorite line comes from Xena Live 2: "Xena lives forever!"
First episode seen: CALLISTO
Least favorite episode: A FRIEND IN NEED II, the last five or ten minutes only



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