After giving Philadelphia a tiny teaser of three tidbits from her one-woman show, Baltimoe-based performing artist Rebecca Nagle returned with her entire solo cabaret: A Dozen Things I Want To Do On Stage. The Great Quentini (Puppet Uprising's perennial headliner at the Year-End Cabaret) offered himself up as an opening act and the audience streamed up the stairs and into the comfines of Studio 34 to see, hear, touch, and taste what the buzz was all about.

Up in Studio 34's spacious "Studio A," The Great Quentini performed a series of his best snippets with homemade percussion, ephemeral exercise equipment, and humanette (see below) versus popcorn popper. Then the giant duoble foors opened to usher the audience to sit around the stage in Studio 34's Community Lounge to experience Rebecca Nagle's mix of burlesque routines, contortionist yoga poses, rhyming verse, ritualized confession, science experiments and audience participation in an aesthetic tribute to the political European cabaret tradition of the 1920s. The Dozen Things that Rebecca Nagle did played with the familiar themes and tropes of the human condition—sex, violence, love, tragedy, fantasy, history and death—to deliver hard truths, half-truths and straight up lies about the artist and pretty much everyone else in the room.

She began by flip-flopping between the personae of a masked American army sergeant and a nightclub performer acrobatically undressing to the song "Wenn Ich Mir Was Wünschen Dürfte," ending with a tight squeeze into a small box. She then had the audience reveal each other's innermost secrets before delivering an anecdote on the racist policies enacted by certain colleges and universities in the United States. She hit on and made out with a member of the audience, read her own fantasies aloud, and acted out the fantasy of a local juggler, then induced a familial tragedy, fell down, subjected herself to interrogation from the audience under the influence of truth serum, told a tall tale, and eventually disemboweled herself to the beat of our unbridled applause. Many people lingered like flies about a corpse as Rebecca Nagle's lifeless form continued to ooze blood all over the stage.