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17. Love Sick



At the station, Wu passes out. Renard uses the distraction to steal a phone that could incriminate him in the murders, changing the SIM card before returning the phone to Nick's desk. Nick discovers from Monroe (Silas Weir Mitchell) and Rosalee (Bree Turner) that Hank has been given a love potion spell which, depending on his state, will be difficult to counteract. They realize Wu ingested the same potion and administer (and test) the antidote on him.




17. Love Sick



Adalind arrives home after the short dinner with Hank, Nick, and Juliette. After putting up her coat, she senses an intruder is in her house and woges into her Hexenbiest form. The intruder also woges into a Hexenbiest. Adalind recognizes that it is her mom and greets her. When her mom asks her how things are going, Adalind says that her mission involves getting the key from Nick, a Grimm. Her mom tells her that she must succeed and asks her if she still loves Renard. Adalind says that she still loves him. Adalind's phone rings and it's Hank. Hank wants to have dinner with her tonight, Adalind says she can't since her mom is with her and they have not talked in a long time. She says she can have dinner tomorrow. Hank is satisfied, since he is spying on her outside her window, and agrees to have dinner tomorrow.


Later, Renard is seen with gloves on at his desk. He opens the phone and removes the SIM card and the battery. He then inserts a new SIM card. Once everyone has left the station, Renard puts the phone back on Nick's desk before he leaves for the night.


Nick, Monroe, and Rosalee go to the spice shop to research what Adalind could have given to Hank. Rosalee finds the list that Adalind gave Freddy ("Island of Dreams") and says that it's for a very dangerous recipe which can make someone go from very in love to very dead. When Monroe and Rosalee are researching on their own, they speculate that same potion may be responsible for Wu's condition.


Set on a Friday night in an alternate suburban reality, this dark but hilarious romp explores the pain and the joy that comes with being in love. Full of imperfect lovers and dreamers, LOVE/SICK is an unromantic comedy for the romantic in everyone.


  • Abusive Parents: Adalind's mother. She's revealed to be directing Adalind's activities to pay off an unspecified family debt and cheerfully orders her daughter to sleep with Hank for the plan. When Nick turns the plan around resulting in Adalind losing her powers, she slaps her and calls her an amateur before throwing her out.

  • Awesomeness by Analysis: Nick figures out what happened at the crime scene almost entirely accurately, realising a third person was there who did the murders, staged it to look like they killed each other and drove away. He tells all this to Renard, the third man, who is visibly uncomfortable as he hears it.

  • Blood Magic: Hank's life can only be saved by a Hexenbiest absorbing blood from a Grimm, killing the Hexenbiest spirit.

  • Brought Down to Normal: Nick uses his blood to take Adalind's magic away.

  • Clashing Cousins: Renard's subplot has him accosted by a cousin of his, Anton, who has orders from the Royals overseas that they want the Key and that Nick will be forfeit should Renard be unsuccessful. Renard kills Anton and his bodyguard Woolsey and makes it look like they killed each other.

  • Hostage for MacGuffin: Adalind's love spell on Hank turns out to be a means of poisoning him, forcing Nick to hand over the key Aunt Marie gave him in exchange for Hank's life. Nick Takes A Third Option.

  • Let's Get Dangerous!: Nick sets out fully intending to kill Adalind, marking the first time he plans actual, cold-blooded murder. It turns out that his blood only "kills" her Hexenbiest nature.

  • Love Is a Weakness: Implied to be a major part of Adalind's upbringing. Her mother certainly doesn't show her any love.Catherine: Are you still in love with [Renard]? Adalind: What does that have to do with it? Catherine: I taught you well.

  • Old Retainer: Thomas Woolsey, Anton's bodyguard. Renard's known him for a long time.

  • Pre-Asskicking One-Liner: Right before the climactic fight.Nick: I think it's time we settle our differences. Violently.

  • Red Eyes, Take Warning: After Hank has sex with Adalind, his sclera turn red, marking the point that only a drastic solution can save him.

  • Spanner in the Works: Officer Wu stealing a cookie back in "Island Of Dreams" turns out to be this for Adalind's plan as his continuing strange behaviour gives Rosalee and Monroe clues what she's done to Hank.

  • You Have Outlived Your Usefulness: Renard and Catherine throw Adalind out after she loses her powers.Renard: Now you're just another pretty girl.



A deeply personal collection of love letters in which a teenage Bob Dylan tells his high-school sweetheart that he envisions changing his name and selling a million records is going up for sale in Boston.


Join us for some great stand up and improv about love. This show is for the lovesick, the people sick of love, and everything in between. Watch as a stand up do their set about love and other things, then the improvisers will do their thing based off the set. We will alternate all night. This fast paced show will bring big laughs because one way or another we are all lovesick.


Competition and audition season is quickly approaching! Have you found your monologue yet? If not, we have you covered. Below are 10 monologues (5 dramatic and 5 comedic) from love-sick female characters who have a bone to pick with love.


Jimmy is in love with Jessie, and has been trying to win her hand throughout his adolescence and early adulthood. In this monologue, she is trying to convince Jimmy that he should leave her; it is selfish for her to keep him so near when she knows in her heart of hearts that they will never be anything more than friends. She is attempting to push him away to protect his own feelings, yet does not want him to leave her side for her self-centered reasons.


Buddy Iahn founded The Music Universe when he decided to juxtapose his love of web design and music. As a lifelong drummer, he decided to take a hiatus from playing music to report it. The website began as a fun project in 2013 to one of the top independent news sites. Email: info@themusicuniverse.com


Side ShowFoothill Music TheatreReview by Eddie Reynolds Also see Eddie's review of Love SickThe CastPhoto by Dave AllenWith much critical acclaim yet two failed attempts in winning a Broadway audience (1997 and 2014, with major reworking in between), Side Show may have a troubled Great White Way history, but has time and again thrived in regional productions across the continent (including its record-breaking, first regional run at TheatreWorks Silicon Valley in 1998). After all, what is there not to like in this intriguing bio-play that now Foothill Music Theatre stages once again for the Bay Area audience? Bill Russell (book and lyrics) and Henry Krieger (music) bring to full life the Hilton twins, who rose to widespread fame during the 1920s and '30s, in a musical packed with catchy lyrics, hummable tunes, and jaw-dropping anthems.Joined literally at the hip from birth to death, Daisy and Violet Hilton went from being displayed soon after their 1908 birth in carnival side shows as oddities of nature to starring in their early twenties on the prestigious Orpheum Circuit's vaudeville stages. But no matter how well they learned to sing and dance or how much they patiently and pleasantly catered to reporters' incessant questions about their love lives and daily routines (You want to be married someday? You bake cookies, too?), it appears from historical accounts, this musical's telling, and perhaps Broadway audiences' rejection of Side Show, that the conjoined twins were and will always be viewed in just the way the opening song says:"Come look at the freaks,Come gape at the geeks.Come examine these aberrations,Their malformations,Grotesque physiques ...They'll haunt you for weeks."With that opening song and its earworm tune and phrases, we are introduced to a human menagerie of a seedy carnival's side show: bearded lady, boy/dog, geek who eats live chickens, half man/half woman, three-legged man, and many more. As the proprietor (played by Ken Boswell) hawks the show in his starched collar, too-short tie, and t-shirt and sings in a raspy, inviting, but still suspiciously creepy voice, we meet each individual he has collected from the dregs of society. But we also wait in full anticipation for the silhouette pair of girls behind the sheer curtains above. Sir, as his family of "freaks" calls him, sings with feigned paternal feelings, "Won't you please forgive me if I seem emotional for the stars of our show ... the Siamese twins."Watching the entire spectacle from the sidelines are two outsiders in their spiffy ties, hats, and city wear: Terry Connor, a talent scout for the Orpheum Circuit, and Buddy Foster, a song and dance man/teacher. Captured by the girls' pleasing personalities, hints of real stage talent, and curly-headed beauty, Terry and Buddy do all they can to persuade them to leave the side show and to come under their tutelage (singing together a razzle-dazzle "Very Well Connected"). In Terry's words, the girls are in no way freaks; they are actually "exotic, special, and rare."As Terry, Sean Okuniewicz is the big-smiling, fast-talking, quick-to-flirt salesman who brings a pleasant, likeable set of tonsils to his singing. As the story progresses and the girls follow his advice, his attraction to Daisy (and hers, to him) goes from quick cheek pecks to full-on, puckered-lip action (again, mutual). So much so does the love story between the two advance amidst the growing fame of the now-stars of stages across America, that at one point Terry wrestles with his own erotic desires for the beautiful half named Daisy, against his more cautious side that realizes that the other half (Violet) will never go away. In a stunningly moving and haunting "Private Conversation," Mr. Okuniewicz dreams of waltzing romantically with Daisy, singing first in a voice exuding joy and then in one trembling with the stark realization how impossible this dream actually is.The shyer Buddy is, of course, slowly attracted to the other twin, Violet. With a twinkle in his eye and pizzazz in his steps, Tarif Pappu moves and looks like a natural stage performer, even as Buddy is the quieter, more cautious half of the Orpheum team. When called upon to sing in staged numbers for vaudeville (e.g., "Stuck with You"), he does so with exuberance and clear tenor tones that laugh in the fun he is so evidently having. But when Buddy then proclaims, "Violet, I love you" ("New Year's Eve Sequence"), his gorgeous, silky voice is one that could potentially win any heart.Watching these two outsiders win over the twins and persuade them to leave their home of misfit friends is Jake, a highly protective African American who plays a cannibal by day and keeps Sir's financial books by nights. Edward Clark leads the entire company of society's outcasts in a rousing warning to the girls that "the devil you know beats the devil you don't." In this song, "The Devil You Know," Mr. Clark bears down in his persuasive, deeply rich voice that soon takes on the pace, rhythm, and intensity of a tent-revival preacher as he cautions against the "fine-lookin', dream-spinnin', promise makin' devil you don't." Jake does accept Terry's invitation to join the girls on tour, and he too finds himself falling in love with Violet—something he reveals with wide-open eyes showing feeling that clearly has as much depth as the sonorous sounds we hear him sing. But while proclaiming this love in "You Should Be Loved," Jake discovers the harsh truth that being a conjoined twin is not as freakishly scary to Violet as potentially being the other half of a mixed-race couple (welcome to the 1930s America).The real stars of Side Show are, of course, Daisy and Violet. Henry Krieger has assured we understand that through the knock-'em-dead numbers he has created for the two to sing throughout the musical, coupled with lyrics by Bill Russell that could easily evoke unintended laughter ("I Will Never Leave You") if they were not so well placed in context and story. Both Jessica LaFever (Daisy) and Lauren Meyer (Violet) bring all the basic requirements and much more to ensure each anthem sings and soars, each vaudeville number tickles and tingles, and each confession of life-long dream emits genuinely felt empathy and emotion from the watching audience.Daisy is the more outgoing of the two, often displaying the head tosses, sexy smirks, and flippant hand movements we might attribute to a Hollywood starlet. Violet, on the other hand, is more the girl-next-door type with eyes that look in dreamy trance to some far-distant, more-desired life of normality of a home, kids, and loving husband. But when they sing together, the two combine to alternate high and low registers in numbers that can bristle in sisterly annoyance ("Leave Me Alone"), tease to no end as only sisters can ("Stuck with You"), or soar to the heavens in full-voiced, harmonized brilliance ("Who Will Love Me As I Am?" and "I Will Never Leave You"). Sprinkled all around these main players is a large cast, all of whom have moments in the spotlight to register their individual prowess as actors and their universally adept voices for singing. Particularly notable are Vanessa Alvarez as the Bearded Lady with her singing voice that cuts through the arena with zap and zing, and the Fortune Teller, Christina Fortune, whose voice rings with clarity, charisma, and charm. When the full cast combines vocally, the harmonies are beautifully intertwined, every lyric is understood, and the effect is electric (e.g., "Come Look at the Freaks," "The Devil You Know," "A Great Wedding Show").Brett and CJ Blakenship score hit after hit in their designed choreography that captures both the late Roaring '20s and the silver screen '30s in feel. Red-suited chorus boys join the twins in a snappy, stage show number ending with the conjoined pair and six boys in a grand kick line ("Ready to Play"). Buddy, Daisy, and Violet are joined by Ray (a personality-plus tenor with style, Kyle Arrouzet) in a peek-a-boo, choreographed "Stuck with You (Part Two)"—a number crowd-pleasingly cute, coy and clever in its designed steps and execution. But the hilariously and creatively designed and directed "One Plus One Equals Three" is a winning number where performers, choreographer and director (Milissa Carey) all particularly deserve an extra bow.A virtual standing ovation must go to Shannon Maxham for the incredible variety of costumes she has created for Foothill's Side Show. Not only does each "freak" don a uniquely defining creation that deserves double-takes in all its details, but the many dresses the twins wear—often full of shining beads and other frills of the '20s/'30s—are enough to fill an entire dressing room. Add to all that the chorus boys' and girls' eye-popping and dazzling attire and even the country overalls and ladies' calicoes and straw hats worn by the large cast for the climactic Texas Centennial, and there is no way Ms. Maxham does not deserve major kudos.Lynn Grant's double-leveled set with background tent tops and curtained recesses works equally well as carnival grounds or a vaudeville stage. That is particularly true as lighting designer Keenan Molner often focuses our acute attention on an isolated segment of the stage through well-placed/time spots while at other times creating the dusty, dark setting of a full-staged roadside carnival. Props galore enhance the carnival stars' attire and the dancers on stage through Kevin Stanford's artistry. Finally, an orchestra of six admirably performs Krieger's score under the direction of Dolores Duran-Cefalu.Admittedly a huge fan of Side Show as soon as it arrived on the TheatreWorks stage almost twenty years ago (seeing that show no less then three times), I was curious to see how the changes made in the 2014 version might fare. After all, when eight original songs are cut, other numbers are tweaked and moved around, a number of new songs are added, and the storyline is enhanced with more details of the actual events surrounding the twins' lives, the show is no longer the same in many respects. Overall, I have to say I do not see the improvements adding much and, in fact, sometimes being quite abrupt and intrusive. This is particularly true for a rather long and sometimes bizarre flashback where we see events and people from the twins' earlier lives parade before us. A sequence with British doctors who want to separate Daisy and Violet is overly cartoonish (with the twins taking the beautiful "I Will Never Leave You" and singing it in a little-girl twang as the doctors are deliberating their separation—enough to cause heart burn for anyone who already knows and loves the show). A courtroom scene is really not that useful or necessary to understand the overall story. The one addition in this sequence that I do see as additive is a chance meeting the twins have as little girls with Houdini, during which Nathaniel Rothrock gets to shine forth in Nelson Eddy style with a heart-touching falsetto as he teaches the girls how to find a place alone, inside themselves.But overall, the fascinating, moving story of Side Show still rings true in 2017 as it did in 1997 for what it means to be different and how we are all a bit different from everyone else is some way that sets us apart and can make us sometimes feel lonely and abandoned. Foothill Music Theatre has mounted a tremendously impressive Side Show in every respect: cast, direction, creative elements and music. And in 2017, this show about society's so-called freaks should cause all its audience members to do double takes in reading tomorrow's headlines, as too many of our current leaders seem to relish pointing out the differences inherently existing among us.Side Show continues through March 19, 2017, in production by Foothill Music Theatre I the Lohman Theatre, Foothill College, 12345 El Monte Road, Los Altos Hills. Tickets are available at foothill.edu/theatre/ or by calling 650-327-1200. 041b061a72


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