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For people looking to get wet, there are three hot tubs side by side in another room, and the biggest room has four adjacent king-size beds. There's even a modified swing read: But it's the elegance and the cleanliness that make this hot spot an easy place to let yourself go -- little details like the tasseled throw pillows, the soft-colored walls, the intimate lighting.

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Open to all willing and free-spirited adults, including singles except for Saturdays and Sundays, which are reserved for couples , Trapeze is one club where you won't need a safety net for a high-flying act. After 14 years this sprawling event is still pretty much the only game in town. Its days as a scrappy little upstart are long gone, replaced by an ambitious schedule that screens more than a hundred flicks from all over the world over the course of three and a half weeks.

Sometimes it seems as if executive director Gregory von Hausch wants the festival to be all things to all people, but he also continues to have shrewd instincts. Long before Haitian art became fashionable -- a dozen years ago, to be exact -- gallery owner Katie Barr was struggling to make her mark in the competitive South Florida art market. She started out with a tiny space in a nondescript little shopping plaza in Boca Raton, where she attracted potential customers with cheese-and-wine receptions and began building up a selection of world-class art from the tiny island nation's disproportionate population of artists.

Three years ago she moved her shop to a slightly larger space a few feet away from bustling Atlantic Avenue in downtown Delray Beach. Her business boomed, but her mission remains the same: Set in Cuba and in the waters between Havana and Miami, the play stakes a claim in the dramatic territory of Samuel Beckett, with its evocative language, startling visual imagery, and existential concerns. Cruz's portrayal of the trio who escape from Cuba is both literal and metaphorical.

Indeed, less a political play than a statement about yearning, A Bicycle Country is capable of transcending the narrow politics of and and becoming a work that can shed light on any group of desperate people.

Which is exactly what great art is supposed to do. In many American political plays, a guy it's usually a guy comes on stage and talks. The set, the costumes, the lighting -- they're all window-dressing, which helps to explain the sorry state of political drama. Doug Wright's work Quills , however, dissects the issues of censorship through the trials of the Marquis de Sade. It's a play of ideas, driving home the notion that you can't get rid of art you don't like merely by destroying its author.

But it's also a play of images. In the exquisitely designed Florida Stage production, Jim Fulton's lighting design reproduced the Marquis' naughty writing as luminescent streaks across the theater walls. Cornell's inventive turntable set gave rise to multiple arresting scenes -- not the least of which was the yanking out of the Marquis' tongue. Suzette Pare's costumes smartly outfitted the small-minded denizens of 19th-century France as well as the increasingly-more-disrobed Marquis.

And Scott Burgess' sound design created an asylumwide orgy we could "see" though it happened off stage.

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