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unproduciblesmackdown · 9 months

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more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair. More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking. Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction.

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are: "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself. They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory. As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it. Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

#summer stock #dearth of peak relevant info for our purposes otherwise lol but hey #pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's #which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow #also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy #further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it #(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not #go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the #material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here #and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more #herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also #meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still #finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines #rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this #and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol #hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours #but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life #(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///

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casiia · 4 months

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༉‧₊˚. — simon 'GHOST' riley; deep breath.

warnings .: x reader, afab! reader, suggestive (just a kiss but still), mdni 18+, piercer simon, use of y/n, unedited.

.: masterlist.

the rhythmic hum of tattoo machines and the faint sound of chatter filled the air as you stepped into the studio; ghost canvas. you had booked an appointment with simon riley, intrigued by his work. known for his painless piercings and intricate fine-line tattoos, making him very well-known in the industry.

you had originally booked an appointment for another ear piercing, a helix that would go with the other assortments of jewelry already shining your ear. excitement and nervousness mingle through your stomach as you glance around the studio.

an ambient light flickers around each furniture corner, keeping the place dim and allowing natural sunlight to filter in through the sunroof. the walls were adorned with vibrant artwork, most of which are messy and clean-looking oil paintings. various band tapestries also hung from the walls, rock bands; nirvana, metallica, and deftones being a majority of the decor.

you settled into the waiting area after checking in, and the receptionist behind the counter shot you a kind smile and let you know that your piercer, simon, would be ready soon. you had been a little late for your appointment, struggling to find parking, and he had taken another client waiting for you.

you shifted in your seat, the leather cool against your bare skin. you pulled the hem of your skirt down, before winding your hands in your lap. your eyes wandered around the room, and you couldn’t help but admire the diverse clientele that flowed in and out of the studio. each person was leaving or coming in with a unique mark, a testament to simon’s expertise.

the longer you waited, the more nervous you began to feel. you had gotten piercings before, but each time you found yourself chewing on your lip in anticipation. pain was never your friend, and your tolerance for it was always low ever since you were a kid. tears would well in your eyes with every papercut you got, even now as an adult.

“y/n? simon’s ready for you.” the receptionist calls out, guiding you into another small room. she looks at your fidgeting fingers and gives you another reassuring smile. “no reason to be nervous. just sit tight for a second, and he’ll be here to show you our selection of jewelry.” she encourages before shutting the door behind her and leaving you in the small room.

it’s decorated very similarly to the lobby, except instead of oil paintings, there’s a various amount of skull decor littering the room. paintings, sculptures, and in a glass case on a counter sat a small dinosaur skull.

you felt a chill run down your spine; there was almost no color in the secluded room. everything was dull black and white, and the walls were even painted a dark gray. the only thing that stood out was you, sitting on the large black chair in your bright little pink skirt.

you’re pressing your thighs together, your legs absentmindedly swinging as you wait for simon. you had heard about him from instagram, the wild comments that raved about his work while some raved about his looks. curiosity got the best of you and with his studio only a couple blocks from your place, what was there to lose?

“are you my two o'clock?”

you hadn’t even realized that the door opened, a tall man stepping inside and shutting it with a soft click. even with you sitting on the elevated chair, he loomed over you. his tall build complimented with muscles that bulged out of his tight-fitting black shirt.

“i am. y/n, it’s nice to meet you.” you look up at him with a friendly smile, sticking your hand out for him to shake. when he does, you find yourself biting the inside of your cheek.

romance comedies always made you laugh; you never believed in love at first sight or a spark that ran between the two lovers when they first touched. but you couldn’t help but like how your hand fitted in his, his palm warm and much larger than yours. you could feel his calloused fingers squeezing your soft skin, an intimate touch that made you want more.

“simon.” the corner of his mouth barely turns up, but he’s looking down at you with a cocky look. he squeezes your hand again, and you're reminded that you should have let go by now.

a blush paints your cheeks, causing you to look away from him and down at your lap. he clears his throat, and you can tell he wants to laugh, which only adds to your embarrassment.

“what kind of piercing are you planning on getting today?” he asks, going over to his jewelry display and bringing it to you. your eyes flicker into the clear box before looking back at him.

“just an ear piercing, a helix.”

he nods, reaching over and pushing your hair back. he looks at your ears, already littered with piercings, and he only nods again. “let me know which stud you’d like, and i’ll get it sanitized for you.”

as you continue to look through the assortments of jewelry, a frown forms on your lips. not to say that you were picky, but nothing seemed to catch your eye. the various amounts of gold and titanium all the same, dull in color, and wouldn’t match the theme of your ears.

simon glances over your features as you’re focused on the display in front of him; you are beautiful and unlike any of his other clients.

“i think i may have something that you’d like,” simon says, his voice sounding softer than before. he almost grins when you look up at him, your head tilting to the side in confusion.

he’s kicking himself for wondering why you’re making him all comfortable; he was never one to want to be close to his clients. he’s leaning into you, brushing a strand of hair behind your ear and tilting your head with his thumb. his eyes linger on your lips, and he wants to push his thumb into your mouth, just wanting to see how you’d look. although quickly, he turns his attention back to your ears, noticing the array of star and moon jewelry that piece together perfectly.

“i knew i was saving this for someone,” he mumbles, pulling away from you. he steps back over to his cabinet of jewelry, putting the clear case of boring studs back before grabbing a new one. “do you like any of these?”

your attention flickers down to the mini box he held in one hand, the case no larger than a ring box. inside sat a small star stud, its coloring a soft rose gold. instantly a smile finds your lips, and you’re nodding up at him with thankful eyes. “i love it.”

“great, give me a second, and i’ll get it cleaned up for you.”

as simon turns around to sanitize the stud, your gaze is glued to his back. the way his muscles flex under his shirt with every subtle move or the intricate tattoos that litter over his arms. it doesn’t look like he has any piercings, his face, and ears completely untouched. makes you wonder why he’s also taken in the profession of piercing; from just a glance, anyone can tell he’s much more into the art of inking.

silence fills the room as you patiently wait; only the muffled sound of rock music from the lobby eases your nerves. he turns back to you, snapping black gloves onto his hands. “how is your pain tolerance? are you prone to fainting?” he asks, his tone almost monotone as he repeats the same precautionary questions that he has to ask every day.

“i never faint, but i’m not too good with pain.” you reply, your hands now gripping the edge of your seat beside your thighs. “kinda why i booked with you, heard you make ‘em painless.”

he gives you a reassuring smile, pride starting to swell in his chest. “s’that why you booked with me?” simon couldn’t help but feel grateful that you’d made an appointment with him because of his skill and not his looks. most of his clients booked with him because of his reputation of being attractive, and even if you silently agreed with them, the fact that you didn’t voice it and belittle his career surprised him pleasantly.

you nodded, swallowing thickly when he took a step closer. he’s telling you to relax, that he’s just gonna mark you, but you only find your breath hitching when he invades your personal space. he knocks your knees apart, making you spread your legs for him as he stands between them. he has your chin held between his fingers in one hand while the other is pushing your hair back again and pressing the tip of the toothpick into your skin, leaving a dot of purple ink at the top of your ear.

you can feel his warm breath fanning against your cheek, and your thighs try to close together, squeezing his hips. you have one hand on his chest, balancing him in an attempt to distance yourself. your other hand is gripping at the hem of your skirt, pulling it down as it rides up from your spread legs.

“tell me if you like it.” simon whispers right by your ear, seeming to forget about the proximity. and just like before, he’s pulling away from you. allowing you to suck in a shaky breath.

you didn’t think that this would be so intimate, and you wondered if simon was always like this or if he just liked the way you trembled beneath him.

he hands you a small mirror and motions for you to look at the mark, “i wouldn’t recommend moving it, it would clash with your other jewelry.”

you agree with him, handing his mirror back and shifting once more in your seat. as much as you wanted him to lean into you again, to feel his breath across your face, you wanted to get out of there as quickly as possible. your attraction towards him is growing far too fast.

he hums, stepping towards you again, in the same spot between your legs. “lean back for me, sweetheart.” he mumbles, pushing you down into the seat. he’s bending over you and wiping your ear with an alcohol wipe, a cocky smirk on his lips when he feels your thighs squeezing into his hips again.

the nickname catches you off guard, and now with you stuck underneath him, your nerves begin to eat at you. not because you’re worried about the pain or the piercing but because he’s playing with you now.

“alright sweetheart, you’re only gonna feel a pinch. are you ready?” simon’s pulling back and looking at you, his eyes tracing your expression and looking for any sign of regret or hesitation.

“i’m ready,” you mumble, your palms pressing into your stomach. you’re a little nervous, but you don’t find yourself running away. he’s tilting your head again, pressing into you with a babble of reassuring statements.

“deep breath in for me.”

before you know it, the needle glides through your ear with minimal discomfort. it’s been your most painless piercing yet, and you understand why simon has the reputation that he does.

“good job, love. did so good.” he praises you, sliding the jewelry into place and leaning back to look at you. his adoration fuels an ache between your legs, and you whine just under your breath.

simon pulls off his latex gloves and presses his hands into your seat, dangerously close to your thighs. “how’d that feel?”

“amazing, you’re really good at what you do,” you say, sitting up in your seat. you tilt your head with a smirk, realizing that he still has you caged into the cushiony chair, unable to maneuver away.

he grins at your words, his tongue pushing on the inside of his cheek before he licks his lips. the ball of his tongue piercing, shining in the light only for a second. “thank you.”

you don’t even register his appreciation, your mind clouding with the thought of his hidden piercing. “did it hurt?” unable to resist the urge, you voice your curiosity.

“hm?” simon hums, a chuckle spilling from his lips. “when i fell from heaven?”

you snort, shaking your head. “no, your tongue piercing.”

simon riley’s eyes meet yours with a mischievous glint; he flashes you a confident smile. his lips parted slightly, revealing the small but distinctive piece of jewelry. you find yourself leaning closer to him, watching as he teasingly slides the ball of his tongue piercing against his teeth. the sound, a gentle click, echoed in the intimate space.

“no,” he mutters, lifting your chin as you lean into him. his free hand going to your hip, squeezing it softly.

“w-what does it feel like?”

he hesitates momentarily, seemingly torn between professionalism and the impulse to share a more personal moment. he knows that his attraction is not one-sided, the way you’ve been eyeing him was an obvious sign. you didn’t shy away from his extra touches or the nicknames he whispered in your ear.

“want to find out?” he’s leaning in impossibly closer now, his lips ghosting over yours. and when you nod, he smiles, pressing his lips to yours.

his grip on your chin tightens, his tongue pushing past your lips and into your mouth. you gasp softly, the feeling of his cold piercing rubbing against your tongue a feeling you’ve never experienced before. you moan into his mouth when his large hands travel down to your waist, tugging you into his chest; your legs wrap around his waist, and you shamelessly swallow his tongue as he shoves it down your throat.

a knock at the door pulls the two of you apart, breathy gasp and panting quietly filling the room. simon still has that cocky smirk painted on his lips, his chest heaving as he pulls away, “that’s what it feels like.”

he answers his door, leaving you a flustered mess; you quickly gather your things and grab your bag from the floor. you can hear his receptionist telling him that his next appointment is here, and you feel so stupid. reality knocking the air from your lungs, you had just kissed simon, a stranger that you’d only met a couple minutes ago. you shouldn’t expect more, he merely answered a question that you asked.

before you can push past him and out the room, he grabs your wrist, his grip tight. “wait,” simon sighs loudly, pulling you back into him before sliding his business card into the waistband of your skirt, “call me if you have any…questions.”

AN: republishing this with no changes because oh well, i also love being delusional cuz i lowkey fell in love with my piercer.

#[ ˚୨୧⋆｡˚ ⋆ — 𝐒𝐈𝐀 𝐖𝐑𝐈𝐓𝐄𝐒. ]#idk how to feel abt this #love it and hate it #i posted it alr but i was very delusional at the time #( 𝐒𝐈𝐌𝐎𝐍 𝐑𝐈𝐋𝐄𝐘 ᡣ𐭩 ྀིྀ )#simon riley #simon ghost riley #simon riley x reader #simon ghost riley x reader #ghost x reader #cod #call of duty

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