MALE NUDE HALL OF FAME SECOND INDUCTEE

Pilieci Hall of Famer

 

MATTHEW PILIECI

STATS: 1 legendary nude scene

DISTINCTIONS: Hard-on and display of asshole

KNOWN FOR: What else? Getting fully hard on stage! And always showing a fantastically developed body with great nips

 

Matthew Pilieci, who was chosen by our moderator as giving the best nude scene for 2012, scores behind Haskell King as the second greatest skinner of the New York stage and beyond, on the strength of one thing alone: his bone. In PIED PIPERS OF THE LOWER EAST SIDE, ol’ Matt came out came out with a raging hard-on that stopped the frenzied show. It wasn’t just a one-bone-off, either; the revival gave everyone the pleasure of enjoying his suck-ulent cock again. And what a cock: big, cut and ready for action. Not to mention that in the revival, he bent over and showed everyone his hole. An erection and the display of his drillable man cunt makes studly Matthew Pilieci a true Hall of Famer. In other shows as well, he’s been generous in his exhibitionism, showing his body off in a towel, etc. But what he will be forever known for is stroking his manhood to full staff and walking it out on stage to display it to everyone.

6864711661_687f985614_oPilieci 1Pilieci 2Pilieci grabPilieci spread

9 Comments

  1. My favorite Pilieci moment was in Adam Rapp’s motel portion of Hotel/Motel, where a cramped, sleazy motel room was recreated down to the smallest detail and some of the seating consisted of actual chairs IN the room. There was a lodge-style one. all by itself, next to the bathroom, with a hook on the wall above the chair holding a towel. Pileci walks over to the chair wearing nothing but tighty whities — you’re at crotch-level — takes off the shorts, reaches OVER the chair (he’s in your face), grabs the towel and wraps it around himself. And while you’re looking, you’re exposed — every other member of audience is facing you, can see how you’re responding. It’s the most intimate example of male nudity in the theater I have ever experienced, and I’ve seen 17 different productions of Take Me Out!

  2. The most intimate moment I can vouch for was Haskell King in AFTERCLAP, having just removed a condom from his still humming hummer,and walking his dick through an audience of ten people on either side in a tiny room. His unflaccid cock was mere inches from the faces of all ten of us as he walked by us. Needless to say I’ve never had an actor’s penis so close to my face during a performance. He peed in a toilet in a stall in the corner, then walked his jiggling member past us again. Stunning.

  3. On the other hand, intimacy isn’t everything. My favorite Haskell King performance was in the Boca Raton production of Take Me Out, where, as the sweetly closeted hick, Jason (“Up from Ashville!”) he did the OPPOSITE of what 18 other actors I saw do with the part. Instead of slowing down his speech & movement to signal Jason’s intellectual & emotional slowness, he sped up everything, pouncing like a spider, jumping like a Mexican jumping bean, chattering like a meth head. He presented a Jason eager to break out of how people perceived him, It was an anti-stereotype performance & wittily original. In Afterclap, though, which I did not understand at all, I got fleeting moments of degradation & despair, some involving dick, some not. I don’t remember much, except that I was eager to leave & grateful it wasn’t long.

  4. Afterclap was a dark, challenging piece. But I sure enjoyed the cock. And the five minutes of pre-show ass. Agree about Haskell in TAKE ME OUT. Did you enjoy his nudity?

  5. Gary: One of the essential things about Jason, artistically & erotically, is that he’d be the last character in the play to shave or even trim his pubes; he’s pre-sexual & doesn’t view his body as an object of desire. Happily, King left a veritable forest intact. The best example I saw of that was Dan Whelton’s Jason in the forceful Hartford, CT production. My strongest memory of Afterclap was that bar you waited in before heading to the space — nothing but exotic beer & ancient wood & low, dusty ceilings, like the kind of place Robin Hood might be seen nuzzling Maid Marian. It was in the spirit of the play. Wild. Primordial.

    1. I happily concur. I saw Haskell in that Boca production and loved the unaltered state of his pubic forest. In Afterclap (and Turnabout–did you see his nude turn in that?) his body had become even more defined. You could contemplate his beauty and physical perfection the way you could a work of art.

  6. How did no one manage to sneak a pic or two of Matthew’s amazing full frontal during the run of pied pipers? I often search the internet for it, in hope that someone took one, but to no avail… it still lives in in my memory, but I’d LOVE to see a pic of it again!

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