The Big Killing (Smith and Wetzon, #1)
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Hometown news (Port St. Lucie, FL). January 5, 2007. ( May 31, 2013 )
Details if other :. Thanks for telling us about the problem. Return to Book Page. Wetzon, the more trusting, naive partner, meets very edgy client Barry Stark for drinks at the Four Seasons--where she later finds him stabbed to death in a phone booth, herself stuck with his briefcase, and soon hopelessly attracted to homicide cop Silvestri, who seems smitten by man-t Xenia Smith and Leslie Wetzon are the best executive search consultants on Wall Street. Wetzon, the more trusting, naive partner, meets very edgy client Barry Stark for drinks at the Four Seasons--where she later finds him stabbed to death in a phone booth, herself stuck with his briefcase, and soon hopelessly attracted to homicide cop Silvestri, who seems smitten by man-trap Smith.
Can the headhunters hunt down a killer? Get A Copy. Mass Market Paperback , pages. Published March 1st by Crimeline first published More Details Original Title. Xenia Smith , Leslie Wetzon. Other Editions 6. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Big Killing , please sign up. Lists with This Book. Community Reviews. Showing Rating details.
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Mar 17, Irena Politzer rated it it was ok. I read this while recovering from a nasty bout of the stomach flu, so maybe that colored my opinion. But overall I found it mildly entertaining and no more. It's set in the late '80s, so they're still talking about traders using typewriters and quote machines, which is kinda amusing. But the book didn't really age too well -- feels outdated and musty.
The characters don't really grab you that much, even though I liked the glimpse inside the world of Wall Street headhunters.
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I may read some Meh. Caldwell 21st O. Muster Roll "Sandusky Co.
Rice, M. Robert H. Civil War Letters of Robert H. Caldwell 21s t O. Diary and Letters of Rutherford B. Nor does it help that she keeps overestimating her abilities, always expecting some visiting professor to the school or art expert at art college to discover her as a genius. She has a lot of stability in her life with a caring family.
Then her father dies and mother stops coping. Crappy though that boyfriend was, he was the last piece of stability in her life, and now her eccentricities push her towards self-destruction. FringeReview : H Rec.
Culminating in the turning point — at least what we must hope is the turning point — was Izzy learning to realise she needs help, in a very moving ending with the ex-housemate she never had that much to do with. The reviews for this look quite good too. After years of experimenting with creating something different, it seems bite-Size may have finally cracked it.
Well done. Produced under the banner of Dugout Theatre, Replay is very different from what you normally expect from Dugout. They are best associated with devised pieces such as Inheritance Blues and Swansong , combining live music, surrealstic settings and some down-to-earth characterisation. But the one thing that Dugout are not changing is the high standard of their productions, and Replay delivers brilliantly. She plays a Police Constable very much married to her job, on a routine call on day with her well-meaning but overbearing colleague.
An indeterminate amount of time ago, her beloved big brother James killed himself. Then she gets birthday present in the post. An old present sent again, a happy birthday tape originally sent by James, is going to keep these memories at the surface. The poster for the play is a cryptic image of a little girl and a man with a tape for his head, and this makes sense when you see the play. You see, this is a memory of the day when her child self went to visit the brother she adored, now at University in London. But, we must assume, off days must have become off weeks or off months for James to do what he did.
There is no moment of revelation in the play, no plot twists, no breakthroughs, just a woman getting on with her life, with a tragedy from years ago still leaving its mark. And that is the whole point of this thoughtful and moving play. Is is not about the zombies but the survivors knowing who to trust? But Theatre 63 has. Instead, this is a tense tale of power and mind games. On a CB radio, a voice comes on asking for Max, and Taylor answers.
On the radio is another survivor. But who is she really? And who is Taylor really? On top of the, Proudler also manages to provide a perfect musical score for this apocalyptic world. The version I saw is only shown on alternate performances; in the other performances, the two swap round so that Taylor is now a woman and the radio voice is a man. As far as I can tell, the story should word the same. Theatre63 did draw attention to this being a non gender-specific production. I am of the opinion that it is rare you can do a straight gender-swap in a play without a loss of plausibility — normally, if you want to avoid gender imbalance or gender stereotypes, you need to think about this first before your ideas stick.
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Some decisions will have to be made on the night, and the stakes her high, because, we are told, Collette could be dead by the end of it. Nights out in Dublin have a certain notoriety, and an early encounter in a nightclub involves a scumbag bouncer using a drug bust an an excuse to commit sexual assault under the guise of a search. But that is a red herring. The real danger is closer to home. At first, he comes across as a bit of a cock, but that is just a front. The real Brian is far far worse.
The Big Killing (Smith and Wetzon, #1)
Whatever choices you make, nothing can save Collette from her death at the end of the night. She cannot be saved from Brian and she cannot be saved from herself. If there is one flaw in the play, I felt the character of Brian was a bit too one-dimensional. A fake nice side, perhaps, but Collette must have fallen for something other than the monster he became on her final night. But what the play does best, it does excellently, with some difficult moral questions asked in the way that only an interactive play can. The six choices are done very cleverly. They start off trivial stay in or go out?
And they are all very finely balanced, with the discussions in groups and the audience votes usually very close each time. This came on my radar after picking up a lot of praise from Buxton. First thing to clarify is that this is a play and not a Carpenters tribute act.
Although it starts off looking like one. Albeit one which gets round copyright laws by exaggerating the characters so you can call it a parody. And singing no more than six consecutive words of a real Carpenters song. Changing the lyrics is fine though. Ever heard of the classic song Stormy Days and Thursdays?
You have now. This sets the scene for a hilarious hour. This is, in fact, a biting satire of celebrity culture. Richard Carpenter goes from one degrading store opening to another, all using the memory of Karen in increasingly inappropriate ways, such as putting a fake handprint of Karen into the concrete of a new cinema. Will this turn his fortunes around? I do have one criticism of the play — and I considered relegating it to honourable mention for this — which is the confused timeline.