#30 day musical theatre challenge | Explore Tumblr posts and blogs

skeletoncrevvs · 3 months ago

Text

crossbeat magazine, aug 2007

translation/transcription under cut

Crossbeat - AUG 2007 - TRANSLATION

PAGE 30-31 (excluding cover and contents page):

Special feature on rock legends coming to Japan

MY CHEMICAL ROMANCE

AKIRA, Tekkonkinkreet, Lupin III - "I'm attracted to works that are innovative and take on new challenges. I love them. I can't stop thinking about them."

Welcome to MCR Theatre @Budokan!! A drama of destruction and rebirth explodes in a spectacular live performance!! Japan and Manga

Interview by Takuro Ueno, interpreter: Tomoko Katsuta

We take a look at Gerard's true personality and the band's latest vision as a huge fan of the band.

Pics: Tetsuro Sato

PAGE 32:

The explosion of "Dead!", the confetti of "Welcome to the Black Parade", the flames of "Mama", the fireworks of "Disenchanted", the explosion of "Famous Last Words"! My Chemical Romance's Budokan live show was a spectacular entertainment show with plenty of gunpowder and pyro. The first half was a live performance of the album in which they dressed up as the band The Black Parade, the alter-ego of "The Black Parade", and the second half was a performance of other songs. The set was almost the same as the US tour in the spring, and the live started with "The End", in which frontman Gerard Way appeared as a patient in a white coat.

What impressed me was not only the dramatic songs that quickly became anthems, but also the presence of songs that could be called excellent supporting actors that supported the main characters. The combination of explosive guitar and beats in "This Is How I Disappear" created a sense of intense speed. In the second half, Frank Iero (G) and Ray Toro (G) strummed their guitars with complete concentration in the raging ensemble. The heavy melody gradually changed its expression, and I was also excited by "Sleep," which had a cathartic surge along with a heavyweight groove.

Bob Bryar's (Dr) powerful drumming also really came into play in this kind of song. And what was most impressive was the glimpse of Gerard's "madness" for a short time.

There's a fine line between madness and sanity. In his sane mode, he's a geek who loves comics and games with all his heart, while in his dangerous mad mode, he explodes with emotion on stage. I think that the album "The Black Parade" is somewhere between the two, and for those wanderers whose egos tend to become unstable because of their wandering, Gerard's message is absolutely real. What I thought after seeing this live performance was that "The Black Parade" is a work that reflects the current era, and it has an immeasurable appeal to stubborn adults.

After performing the album that they had pushed themselves to the limit and creating in a lavish manner on the Budokan stage, Gerard and the other four members shed their heavy costumes and appeared in casual clothes. Behind them was a backdrop with the word "REVENGE" written in large letters, and when the life-sized My Chemical Romance performed "I'm Not Okay" and "Helena," the audience responded with a chorus of their own. Unlike the first half, there was only one flashy performance using gunpowder, and there was no confetti raining down on the audience or flames rising up. At the end, the people who stood on stage were not emo charisma, but young music-loving men who grew up in the New Jersey punk scene.

On this day, Frank joined the stage of the opening act, the melodic punk band Bouncing Souls from his hometown. Gerard asked the fans several times during his performance to give them loud cheers and applause. If you think about it objectively, you can see that Gerard's jumps and fist pumps are not cool, but I think that the attitude of "it's okay to be uncool!" is punk, and such objective opinions are not necessary for My Chemical Romance. Their performance, which was full volume and full force from start to finish, was unmistakably punk, and it is because of this blood that they are somehow hard to hate, even when viewed as a new-age rock band. My Chemical Romance, who graces the front page of this special feature on rock legends visiting Japan, have written another page in rock history with their live performance at the Budokan, but in this interview we also get a glimpse into the true face of Gerard, who loves Japan. He loves Japanese manga and anime, and when he came to Japan last time

Pic: Yuki Kuroyanagi

PAGE 33:

he even went to the cinema. When I explained the purpose of the photo on the front page, he cheerfully agreed to a two-shot with Mario, a character representing Japan.

----What kind of image did you have of Japan before?

"I was imagining the world of Ridley Scott's film, 'The Blade Runner.' I'm also a big fan of comics and Katsuhiro Otomo's work. I especially love 'AKIRA,' so I thought it would be something like the opening scene of that story, and I think that image was correct. But I ended up loving this country even more than I had imagined. I had no idea that Japanese people were people who respected others and their environment so much, and it was refreshing to be able to come into contact with such people and have such a variety of experiences before returning to America."

----You've toured to quite a few countries, but your first visit to Japan was in 2004. What were your impressions at the time?

"I feel like I've landed on Mars. And I mean that in a good way. It's completely different from any other place I've ever been to. The cityscape, the culture, everything I could see was different from any other country. I've had the chance to tour many countries, but when I went there, I was disappointed to see that there were many similarities to America, or even the same things. But Japan is original and amazing. I was fascinated by everything, from vending machines to key chains to TVs. I don't understand what they're saying when I watch TV, but there's a lot to absorb. I'm always looking for something to stimulate me, so this country is perfect for me."

----Your first live show was on the indoor stage at Summer Sonic. How did you feel about the audience's reaction? They were really excited about songs like "I'm Not Okay."

"It was amazing! I'm so glad to get such a reaction.

I never dreamed that we would get such a good response to "I'm Not Okay" in a country we visit for the first time. But it was especially special to have such a good response in Japan. The first time we played in the UK was on tour with The Used. We have a following in the UK now, but the kids who saw our show back then seemed confused about how to respond to our music. I think they liked it, but the reaction was surprisingly calm. After that, we played in a small club in Germany, and it was a big hit. Then we came to Japan and the crowd was so excited, right? It was amazing that we were able to play in front of such a large audience, but when we played "I'm Not Okay," it was even more amazing.

----After that, you did a solo tour in Japan. What is the most memorable episode from your live shows in Japan so far?

"Well... they're all great... let me think about it... there's just so much fun to be had in Japan. The last time I played at Summer Sonic (in 2006) was memorable, the day I was on the outdoor stage in front of Linkin Park. It was a big victory to be able to play at Summer Sonic again, because it was my second time playing at a stadium. At the first Summer Sonic, I was battling drugs and alcohol. So it was impressive to come back and play on that big stage and do a show in front of thousands of people. I remember being able to show a great performance."

----When you visited Japan in January this year, you apparently went to see the film "Tekkonkinkreet."

Pic: Tetsuro Sato

PAGE 34:

I love Japanese. I love the sound of it. I think it's a beautiful language. And it's especially beautiful when people are angry. Japanese is at its best when they're angry (laughs). [top quote]

"It was amazing, but unfortunately it hasn't been released in the US yet. I think it will be a hot topic because the drawing style and the content are very different from what people think of when they think of anime. It was my first time going to a Japanese movie theater. You choose your seat and sit there. And everyone was quiet. I don't know if the movie was boring or if people in Japan watch movies quietly, but everyone stayed seated until the end credits, so it seemed like they liked the movie. But the only one who was laughing was my friend who went with me. It was kind of awkward. I didn't understand the language, so maybe I was laughing at scenes I shouldn't have laughed at? No, I think I laughed at scenes I should have laughed at, but everyone was quiet, so after laughing a few times, I decided to watch quietly (laughs)."

----(laughs) What other Japanese manga and anime do you like?

"I like all the works of Matsumoto Taiyo, the writer of ‘Tekkonkinkreet,’ and I respect Otomo Katsuhiro, who I think is a genius. I also like Tezuka Osamu, the godfather of this world, who wrote ‘Astro Boy.’ I also like ‘Lupin III’ and ‘Science Ninja Team Gatchaman.’ I'm always discovering new things from Japanese creators, and they often surprise me. I'm attracted to works that are innovative and try new things. I'm not interested in anime where giant robots fight other robots. It's just a melodrama with big robots in it."

----After graduating from art school, you worked as an animator for a while.

"I was working on a cartoon called "Sheep in the Big City" (a TV series that aired on the American cable TV channel Cartoon Network). It was completely different from Japanese animation, and the creator, Mo Willems (a popular animation artist known for his picture books such as "Knuffle Bunny: A Cautionary Tale" and "Don't Let the Pigeon Drive the Bus!"), was influenced by 50s limited animation (animation that simplifies the character's movements) such as "Gerald McBoing-Boing". But I was too young to watch the works of that era in real time, so I didn't really understand them when I was working (laughs)."

----By the way, what kind of comics did you draw?

"I drew [a] really crazy black and white comic. It was about two brothers who work as piano movers. They're said to be the best piano movers in the world, but they’re really not that good. I was inspired by American directors like Terry Gilliam (the director of "Brazil" and "12 Monkeys") and [the] Fritz Lang's film "Metropolis." I drew a dark and eccentric world. It was so outlandish that I got a ton of rejection letters from publishers (laughs). People seemed to have trouble figuring out how to sell it.”

----So from your perspective, what did you think of this work, which was painted with a uniquely Japanese touch?

"First of all, I'm attracted to the art. Look at Otomo's work. Just a single character standing in ruins creates a certain kind of image. That image is burned into your brain. That's why I'm so attracted to Otomo's work. He sometimes puts a twist on it and depicts an unrealistic world. That's what I like about him."

----You've loved comics and video games since you were a child, and that hasn't changed at all.

"Yes. I like video games because they are simply fun and a great way to kill time. I think online games on the Internet are fun because you can play them with your friends. When you're on tour like this, it's hard to meet up with your friends back home. Being able to play with them is one of the attractions.

The appeal of comics is... I love classic science fiction. I'm a big fan of the original Star Trek and The Twilight Zone. Planet of the Apes is good too. The appeal of comics is that anything is possible. You can express anything."

----You also said in a 2004 interview with this magazine you also check out Japanese bands on YouTube. You mentioned Guitar Wolf, Cornelius, and Michelle Gun Elephant. What attracted you to them?

"Their intensity. And the way they take music from a certain era and make it new with their own interpretation. Guitar Wolf is especially crazy! Their interpretation of rock and roll is amazing, and that's what makes them great. Their recklessness, that off-tune sound, that craziness! It's like they're playing a cheap tape recorder.”

PAGE 35:

There is an album with a sound that makes you think they just recorded it in a live recording session. But when you get down to it, it's not the sound or the songs, but their unconventionality that gets to the essence of rock and roll. I don't understand the lyrics, but the language difference doesn't matter. The energy of the vocals conveys everything. I love Japanese. I love the sound of it, I think it's a beautiful language, and it's especially beautiful when it's angry. Yes, Japanese is at its best when it's angry (laughs). That's why I love Guitar Wolf."

----I see. That makes sense (laughs). This is your fifth visit to Japan. What does Japan mean to you?

"Japan is a place that continues to inspire me. The more I come to Japan, the more I learn.

You get to know more places, and you get to meet new friends. The record company staff are my friends. The more people I know, the more I get to know Japanese people. I get inspired by them. I think the respect Japanese people have for each other is amazing. I like how they take pride in everything they do. And it's human. Even in things that seem impersonal, like computer manufacturing, you can feel the handcrafted attention to detail and craftsmanship. Japanese people value tradition and history. People from other countries are always thinking about the future and forget that the past is just as important as the present and the future.

----You've probably been to a lot of different spots, but have you been to Akihabara in Tokyo?

"Hmm? What's it like there?"

----Home electronics have always been popular. There are lots of computers and electronic parts.

"Well, I guess I haven't been there yet. I heard there's a place in Tokyo that sells a lot of comics and manga? I'd really like to go there this time. I've mainly only been to Harajuku and Shibuya."

----That place is probably Akihabara. Personally, I also recommend Broadway in Nakano, but Akihabara is not only a comic book town, but it's also a crazy town where you can see adult women dressed as maids these days, so I definitely recommend you go there at least once!

"Oh, I've heard of it! I read it in a book. Also, a book called "Love Hotel" was recently published, so I'm thinking of reading it. It's a book about love hotels in Japan. Usually, foreigners can't enter those kinds of places.

Pic: Yuki Kuroyanagi

PAGE 36:

It's only recently that I've felt like I'm growing steadily. Before that, it felt like everything was moving so fast, and I wasn't able to cope as a person with that. Now that I'm moving forward at a steady pace, I'm adapting to the changes. [top quote]

Apparently, they were not allowed to take photos, but the author's female photographer was allowed to do so. The maid cafe also looks interesting. What place was it called again?

----Akihabara.

"There are comics there too?"

----Yes. Now, please tell us about this memorable Budokan live. Will it be with the same set and production as the US tour that was just recently?

"Yeah, we brought as much of the same set as possible. The Budokan has strict rules about pyro, but we're using the same equipment that Kiss used in Japan. So it's different from what we use in the US, but if Kiss gave us the OK, we thought we could accept it. In fact, we found that some of the things we use in the US set were unnecessary. For example, we didn't bring the ruins of a big building that we had at the back of the stage this time. It would take too long to send it to Japan. But the costumes and backdrops are all the same... and we'll use confetti, too. It's pretty much the same. But the most important thing is that the band is in top condition. We've been doing the set we're doing now for almost six months, and the composition of "The Black Parade" is perfect. That's the most important thing."

----The set list is divided into two parts, the first half is The album "The Black Parade" by The Black Parade, which can be said to be the alter ego of My Chemical Romance,and the second half is a return to My Chemical Romance and performance of other songs.

"That's right. I wanted to play all the songs on the new album. I wanted to do it in a big way. I didn't want to do it in pieces, so it just naturally came out like this. I also wanted to do something that would change from the beginning to the end of the show. So in the first half, we played a big performance with a big production, and in the second half, we stripped everything away and played our original selves. We wanted to show the core of the band. It was natural that it would be structured like this. The album is about an hour long, so it's not something that you normally hear. That's the length of a standard set. And then we do an encore in the remaining 30 minutes. But we don't like encores. We think it's arrogant to wait for the audience to applaud before going on stage, so after the first part, we go back[stage] and come out again at our own pace to show our support. [our appreciation (?)]"

----For some musicians, the stage is a place where they feel alive and can become their true selves, but what do live performances mean to you right now?

"It's a place where you feel alive. At the same time, it's a place where you can have a control that you don't have in your everyday life, and you can lose yourself. In other words, anything is possible. You can be very honest and let everything out. You can't experience that in your everyday life. From what I've seen of Japanese culture and what I've heard from Japanese kids, it's hard to express yourself with words in this country, so Japanese people express themselves through the clothes they wear. That's the case in America too, so for me, the stage is a place where I can say anything. Even if I'm opening for someone, once I'm on stage I can do anything. As long as I respect the band that's coming up after me, I can do anything."

----This summer you'll be touring with Linkin Park. How did this tour come about?

"They asked me to be their opening act. I was honored and really surprised because I'd never thought about it like that. They said, 'We're releasing a new album. We're going on tour soon, do you want to join us?' Of course I accepted."

----They're bands that have been active in a different scene than you, but there are some similarities between you and them, like the enthusiastic support of your fans and your commitment to art outside of music.

"That's right. The commonality between the two bands is that they have passionate fans who love music. Their new work is also very challenging. I think their fans are very smart because they can understand that. That means their fans could become our fans too. We like to tour with intelligent bands. That's why we toured the US with Muse recently. To really understand their music, you have to love it from the bottom of your heart. Of course, their songs are often played on the radio and are hits all over the world, but to really understand their music, you have to be sensitive. We like to tour with intelligent bands, and that's why we decided to tour with Linkin Park. I think they're very smart people.

----They have had successful arena tours in the US and the UK, and have conquered the Budokan in Japan. How do you feel about the band's current state as it continues to grow?

"I feel great. It was only recently that I felt like we were growing steadily. Up until then, it felt like everything was moving at an incredible speed, and as people, I wasn't able to cope with that situation. But now we're moving forward at a steady pace, so I'm adapting to the changes."

----What direction do you want to take the band in the future?

"Well, I'm not sure if we want to get bigger. There are already people who enjoy our music. I'm happy to be welcomed by a larger audience, but we're not struggling to survive in this world. Actually, I miss playing small venues these days. At the same time, I want to play shows at legendary places, and I want to think about where I'll play in the future. Maybe it's one way to stop playing shows like we do now, and make the days we do play very special. I don't know if the band needs to get any bigger. I'm very happy with the situation. But I think we need to explore more creatively. ■

Pic: Tetsuro Sato

------

OP NOTE: this translation is ROUGH from google - i tried my best to make sense of some more of the questionable parts. please feel free to message me if i made any mistakes!

#crossbeat 2007 #my scans #scans 2007 #translation

52 notes · View notes

ryanmarshallryan · 28 days ago

Text

Thirty Short Stories

VORETOBER DIGEST 2024

Happy Halloween! To close Voretober, here is a list with links to all 30 of the Voretober short vore stories. Thank you again to everyone who shared photos! I hope everyone has a great holiday and enjoys some sweets today, whether classic halloween chocolate and candy, or a meal to rival one of those in the following stories…

1 PAUNCH PREMONITION feat. Kodiak67

2 A VORE STORY WITH LESS LETTER CHARACTERS THAN ITS TITLE feat. @chonkybear

3 I AM YOUR SANDWICH feat. GetThicker @getportly

4 THAT ONE FOOD CHALLENGE THAT EVERYONE THINKS THEY CAN DO BUT NO ONE EVER CAN SO THE RESTAURANT KEEPS OPEN THE DEAL THINKING IT'S GOOD FOR BUSINESS BUT IT ENDS UP GETTING THEM DIGESTED feat. BurlyHunk @burlypred

5 THE WINNER OF THE FOOD CHALLENGE CHALLENGES HIS CHALLENGER SINCE THE CHALLENGER DIDN'T EXPECT ANYONE TO COMPLETE THE CHALLENGE BUT OF COURSE HE LOSES THE CHALLENGE BECAUSE THIS IS A VORE STORY AND SOMEONE OBVIOUSLY HAS TO GET EATEN feat. BurlyHunk/Pred again with another willing meal!

6 SOLAR ECLIPSE feat. TurgidDadBod

7 EAT HIM BEFORE HE EATS YOU feat. @meatballbellyboy

8 ANATOMY PROJECT feat. @vornyforfood

9 THEATRE PREDS feat. VexVex

10 TO EAT EVERYTHING feat. @binkyuk

11 WINNER WINNER CONTEST DINNER feat. fuadito

12 DREAMING AT THE POOL feat. bagheera

13 BIG SCARY OGRE? feat. @tttt0000-universe

14 HYPNOSIS feat. @bluemaya14

15 SHEET BIRTHDAY CAKE feat. @kaejer @kaejer-vore

16 THE INSIDE SCOOP (OR BAGEL) feat. @kaebrezal

17 PIZZA! feat. tobandrom

18 HEART CANDIES feat. doesthebodygood

19 GAME SHOW FOOD CHALLENGE feat. TeaCub

20 EAT YOUR HOMIES feat. tomsbigtummy

21 MAGICALLY DELICIOUS feat. AlexVenom

22 HALLOWEEN feat. @mrjvore @mrjgain

23 TOOTHACHE feat. @MichaelsMacro

24 THE JUMANJI RING feat. @coachgains

25 MUSIC SCHOOL feat. @cinnamonbearbuns

26 BACK TO THE FUTURE feat. Fastfork

27 BACK TO THE FUTURE PART II feat. Fastfork

28 OVERSTIMULATION feat. ghost260

29 YARD SALE feat. hungrybellyguy @pure-pred

30 THIRTY GUYS THIRTY DAYS FOR THIRTY YEARS AROUND THE SUN feat. anonymous

#gayvore #male vore #m/m vore #gay fat vore #voretober

29 notes · View notes

spiritundaunted · 2 months ago

Text

King George VI and Princess Margaret leaving the Theatre Royal on Drury Lane after the King took his family to see the musical South Pacific, January 30, 1952.

It's hard to believe the King only had about a week to live after this. He is looking so well here. Of course he was tired and frail, but he really did think he was getting better - he was pleased with his recovery from the lung operation he had on 23 September 1951. Under that gorgeous coat (isn't it marvelous!) he was wearing an electrically heated vest to ward off any chills that might cause a problem with his one remaining lung. (I think he liked these sort of "gizmos" - definitely a Bertie thing.)

But of course, his limited recovery was all an illusion, or a merciful reprieve at best. The King would pass away in his sleep on 6 February 1952.

Thinking about that operation today, as it is 23 September, seventy-three years to the day that Bertie went under anesthesia to have his left lung removed. It must of been quite harrowing and emotional for him. One of the attending doctors described him as being "significantly tearful" before going under. Perhaps he feared he would not wake up again. Or perhaps, the thought of what he faced after the surgery and simply the grief one feels at losing a part of oneself, just overwhelmed him in that moment.

But wake up he did! And to a certain extent, he did recover, from the surgery anyway. Obviously it didn't eliminate all his health problems.

The surgery was performed at Buckingham Palace, where a full surgical theater was set up.

Interestingly, the operating table that was used in the surgery was gifted to the Science Museum in 1984 from Westminster and Roehampton Hospital and has a small plaque commemorating the operation. Here it is on display at the museum in 2016.

Below is some insight on the preparations to operate on the King at Buckingham Palace. (The King wasn't opposed to having the surgery in a hospital; he said he had just "never heard of a King going to a hospital before." So it was decided it would take place at the Palace. The King, incidentally, had had two other surgeries that took place at Buckingham Palace: one in 1917 to remove a duodenal ulcer; and a more recent one in 1949 to relieve circulatory problems in his legs.)

In September 1951, Sarah Minter – then Senior Theatre Sister at Westminster Hospital – was about to go on holiday when Clement Price-Thomas (later Sir) a renowned Chest Surgeon came into her office. After carefully closing the door, he informed her that he had to perform a major chest operation on King George VI – and at the Palace’s insistence the operation would take place at Buckingham Palace. Sarah was tasked with coordinating the equipment and nursing team that would be needed for the operation. Cancelling her holiday, Sarah set to work. Absolute secrecy was essential. From sterilizing to lighting apparatus – Sarah selected what equipment she could from Westminster’s surgical theaters including the operating table, in order to create a replica theatre inside the Palace. Part of the challenge was to ensure enough of the right surgical equipment remained at the hospital so that operations could continue uninterrupted by what was happening at the Palace.

Many, many professional hands helped the King through this very dramatic experience. They were all given honors of one sort or another.

At least Bertie did have some very nice days with his family at the very end of his life, doing what he enjoyed most. The plucky king, whose life always seemed to be marked by personal challenges of one sort or another, seemed to finally be allowed a little peacefulness in the end.

#king george vi #princess margaret #love you bertie #23 september 1952 #brave king bertie #british royal family

14 notes · View notes

d-criss-news · 10 months ago

Text

Evan Rachel Wood, Darren Criss on Stepping Into ‘Little Shop of Horrors’: “We’re Both These Little Theater ’90s Nerds”

The 'Westworld' actress and 'American Crime Story' star open up about deciding to take the stage together, personal connections to their characters, and their love for Howard Ashman and Alan Menken.

It’s early afternoon on a Friday when Darren Criss and Evan Rachel Wood pick up the phone, just five days before the duo is set to debut as the new Seymour and Audrey in off-Broadway‘s Little Shop of Horrors. Both are on their way to the Westside Theatre stage for their first top to bottom run-through, taking over the complicated but beloved characters based on Roger Corman’s 1960 horror comedy and deftly adapted for the stage by theater legends Howard Ashman (book and lyrics) and Alan Menken (music). Now in its fifth year, several notable names have left their mark on this U.S. revival of the dark goings-on of a Skid Row flower shop: Jonathan Groff, Jeremy Jordan, Conrad Ricamora, Corbin Bleu, Constance Wu, Maude Apatow, Tammy Blanchard, Lena Hall. But none quite like this, as an intentional leap together among friends.

As the interview begins, Wood — who is already at the theater — openly wonders whether she should take the elevator down to where she’ll soon meet co-star and friend Criss, before quickly interjecting that “you might lose me for two seconds.” Meanwhile, Criss declares he opted to skip the subway after realizing he was running behind, as he briefly turns on his Zoom camera to reveal himself in the backseat of a car.

Later, his voice will drop out for a few minutes, before reappearing, sounding winded. “I have my ear pods in, and so I just got out of the car talking to you guys, and you cut out,” he tells The Hollywood Reporter. “Then I looked at the car driving away, so I just sprinted down the block to grab it.” This frantic energy is reminiscent of what you can find within this kind of scrappy, fast-paced, off-Broadway musical environment in the final days before curtains go up. As replacements, Criss and Wood will do so with less time to rehearse and no preview audiences on which to test their performances, but that doesn’t seem to phase either of them. Instead, with their easy and fun rapport, the duo celebrate the challenge of what it means to be passed this mantle for a three-month run, beginning Jan. 30. On Tuesday, Wood will make her New York theater debut, a long-awaited moment for the actress who grew up with a father (Ira David Wood III) as an actor, playwright and theater director in her hometown of Raleigh. With her early stage ambitions sidelined by a burgeoning film career — later including movie musicals like Frozen II and Across the Universe — the Emmy and Golden Globe-nominated Wood will finally return to her performance roots, a year after news of her attachment to a possible Thelma & Louise musical adaptation for Broadway.

Little Shop of Horrors will also mark Criss’ first return to New York’s musical theater world since a multi-week replacement run in 2015 as Hedwig in Hedwig and the Angry Inch. On the phone, he’s adamant that, absent traditional musical theater training, he’s fooled the world into thinking he’s more than an “actor trying to act like he knows how to sing.” But with several EPs, a Christmas album, Billboard-charting work with StarKids Productions, and roles in musical-driven screen projects like Glee and Hazbin Hotel, it’s hard not to believe that the Emmy and SAG award-winning performer, like Wood, will be right at home. Ahead of their debut, the duo spoke to The Hollywood Reporter about sharing the stage, the impact of Little Shop of Horrors across the stage and screen, their love of Ashman and Menken, and why these roles are personally resonant and remain culturally timely. Darren, you said in a previous interview that you had been begging Evan to come do theater in New York for years. How did you make that happen now and for you both together? CRISS Let me just start by saying as much as I can before she can hear me. I’m in a regular habit of just exalting Evan for her talent. I’d done this before I even had the great privilege of getting to know and become friends with her. I’m always talking about how wonderfully talented she is and how I’ve always really loved her voice and her breadth of ability. When I meet people who are these wonderful triple threats that have a really strong theatrical background — people who can sing and don’t have as many opportunities as I wish they did — I get off on the idea of people who didn’t know that they could do this thing finally getting to see that they could do this thing.

Evan has done a lot of singing in her life. She’s literally a Disney princess for Frozen II and there’s obviously Across the Universe. But knowing that she has this really strong theatrical background, I’ve always been hell-bent on getting her on a stage. As a friend, she has popped up on many gigs with me in my personal life just for fun and parties I’ve thrown. She showed up for me on the Christmas album. She’s said yes to me far more many times than I frankly deserve. So when this came around, a lot of my colleagues — a lot of my friends — have been Seymour, and who loves theater that doesn’t love Little Shop of Horrors? It would be a really fun time for me, but the thing that would make it really, really special is if I had got the chance to do it with an Audrey that not only I thought really could bring something spectacular to the role, but on a personal level, this is off-Broadway. We’re all doing this scrappy theater thing in a basement together. If we’re going to live on top of each other might as well be someone but I’m also personally very fond of and have a wonderful relationship with. So short story that’s way too long, I went to Evan and said “Hey, I have an idea. Would you be available to do this?” and thank my lucky stars, she said yes. I’m just a pig in shit, getting to do this with her. It’s an absolute joy. Evan, what’s your response to that glowing review, but also, why did you want to make this show your off-Broadway New York theater debut?

WOOD Funny enough, I have been so close to being on Broadway a handful of times and something has always come in the way of scheduling or something falls apart. It was actually my dream as a kid. I went back and read some old interviews of mine when I was around 12 or 13, and I completely had forgotten that my dream was to go live in New York, go to NYU, and do theater in New York. That was where my sights were set before my life sort of got derailed for a moment. So it’s always been in my sights. It’s gotten increasingly harder over the years to make it work, especially if you have kids, to be away from home for such long periods of time. Usually, the theater commitments are an amount of time that I was just never able to do and so the timing was perfect because I was thinking to myself, “God, I wish I could go to New York and do a play, but maybe not a six-month run. Maybe something around three months. A classic musical that’s going to be really fun.” Darren called me maybe a week later and said, “I’d love for you to come and do it with me,” and it was like an instant yes. To piggyback on what Darren said, I feel very similarly about Darren and that whenever he’s asked me to do something, I just know it’s going to be great. I know it’s going to be fun and I fully believe in everything that he does and his talent. We’re both these little theater ’90s nerds that just hit it off in so many ways, and we collaborate well together. I just felt like we would like this project. It’s made so much sense for both of us that it was a no-brainer.

Little Shop of Horrors is one of those musicals that even people who aren’t big fans of musical theater and attend regularly are aware of, both in terms of story and music. Among the many adaptations of this, whether it was a professional or high school staging or even any of the movie versions, was there one that made you want to do this show? CRISS I’ll say this. As hip of an aura as I’ve tried to give off, make no mistake, I think the biggest gateway to this property for everybody is hands down the movie. I was not seeing off off Broadway theater in the 1980s. I wasn’t there, and that’s why I love movie musicals so much. As much as I love going to the theater, being able to go to a Broadway show is a very specific and privileged situation tied to being in New York City. But whether it’s a liked or celebrated movie, it is still going to be the most accessible thing in perpetuity for everybody. So definitely the movie and those songs. Before you can really understand the complexities of the thematic, Faustian elements and high dramaturgical elements of the story — and before you even get the comedy — you get the music. Especially when you’re really young and your parents are playing you things that you go, “OK, well, kids can get behind music.” It doesn’t take much to understand that the music from that show is beloved. I mean, this music and this show are like proto-Disney Renaissance. It’s like what got [Jeffrey] Katzenberg to ask Alan Menken and Howard Ashman to help them out. It was like, “We want to do some Disney musical fairy tales.” Now, because of the show, we have The Little Mermaid, Aladdin, Beauty and the Beast.

I grew up in the ’90s, as me and Evan tend to relate upon a lot. With The Little Mermaid, Aladdin, Beauty and the Beast, and these films that I loved so much, as I got older, I really wanted to know more about the people behind them. I became obsessed with, and I talk a lot about, Howard Ashman and how much of an influence he’s had on the musical theater genre ever since the popularity of those films. So I wanted to go back to the start of that, and that’s when I started to dive into Little Shop and discover how this was the sort of nexus — the genesis — of everything. WOOD Yeah, same. I grew up watching the film and being so terrified by it, but I couldn’t take my eyes off of it. I grew up doing theater. My father runs a theater in Raleigh, North Carolina, and so that was my childhood. I was always listening to show tunes, and as Darren said, the classic Disney albums, acting out plays in my living room and Little Mermaid was certainly one of them. Ellen Greene’s performance always stuck with me, and I am also a major Howard Ashman-Alan Menkin nerd for similar reasons as Darren. Those were all things that drew me to it. I was really terrified about and still am terrified about being eaten by the plant because it was like a deep seated childhood fear of mine that I had to conquer to do this show. It’s stuck with me since childhood. It’s not as bad as you would think. But it’s still pretty scary. Also just a fun fact, I was cast as Audrey in the seventh-grade school play, but I couldn’t do it because I was doing movies. (Laughs.) So I got pulled out of school, but I was almost Audrey in seventh grade.

CRISS You aged into it well. This is a much more appropriate time in your life being Audrey than in seventh grade, so worked out just great. (Laughs.) I just have to say, this production, we both have our careers going on and different dragons that we’re chasing in our professional and personal lives that committing to a big Broadway production is a huge investment. What’s so wonderful about this is, the way the show is set up, we can kind of come in for just a little bit. It’s really high output but like low stakes — and I don’t want to say that to be reductive of the production. I mean that the show is beloved. There are people that know this show but have never seen it, and have heard of it and know the songs without ever even having tried to listen and know the songs. So it’s so culturally ubiquitous, that it’s a very, welcome accessible thing for all kinds of folks and that might cross-pollinate between me and Evan’s demographic of people who might be interested in us. Also, it’s been running for long enough that I feel protected. I’ve seen this production several times. Evan and I went just last night. It’s something that you don’t have to figure out. One of the hardest parts about getting a show up on its feet is like, does it work? Do we want this song in? We got to do with an audience and you really have to workshop stuff for a long time. Shows take years before they’ve reached mainstream Broadway, so the fact that all that legwork is taken out is a no-brainer for us. It’s just this really like warm snuggle from something that we really love.

You’re right in that this is not a traditional production experience for you, as you’re coming in after others, and you have less rehearsal time, no previews. What have the challenges or exciting elements of that been for you so far? WOOD I don’t know about you, Darren, but I feel like one of the reasons why I said yes to doing this with you is because this is kind of where you and I thrive — in the fast-paced chaos. I need a challenge sometimes. I need that adrenaline and I need that fast pace, especially if I’m coming in to do theater. That’s where I grew up, and that’s what I’m used to. That’s where home is for me. So coming back into the theater into the organized chaos of it all feels right. My brain loves it and thrives off of it. When somebody says “Oh, this is a really hard number to learn,” I think, “This is going to be my favorite number.” (Laughs.) I love figuring something out, and picking it apart piece by piece and putting it back together, then conquering it. There’s just such satisfaction that comes from doing that there, Darren, and I think it’s similar for you. CRISS It is kind of a party trick some people are quick studies of, for better or for worse. I think this kind of pace suits us. I think it’s something that we wear pretty well, and I think we do that a lot in our own lives. But to do it together is pretty fun. I’ve thrown Evan into all kinds of things where she’ll just show up knowing a whole song last minute. That’s not too dissimilar, and it’s not like we’re learning new music. We know these songs.

In the theater world, you learn a track. It’s literally a track — there are little railroad tracks set around the stage because there’s no follow spots. The lights are where they are. You don’t have to do hours of tech rehearsal, figuring out where the lighting cues are. They’re there. It is our job to jump into a machine that is already very well-oiled and running. So in that regard, you’re kind of free from having to worry about that stuff. But you can just focus on your characterization and nuance within these very, specific directives. I’ve done a few put-ins. I think this is probably your first, Evan, for a show that’s already going. Correct me if I’m wrong. WOOD I did learn, for the record, Baz Luhrmann in one night and performed it the next night. CRISS Case and point. So yeah, doing a put-in — I’ve done it a few times for Broadway — it’s nice because then you can just focus on the little things that you really want to play with and not worry about these big macro things. What’s funny is that people always say, “Oh, I love Broadway music. I love Seymour from Little Shop of Horrors.” The word Broadway is often conflated with the music from narrative storytelling, whether it be from films or TV. This show was always an off-Broadway darling. It was only really on Broadway for a little bit in 2003. Beyond that, it’s the movie and this off-off-Broadway show, which started in the ’80s and ran for a pretty long time. Then in just so many regional and school productions. But it’s actually only been on Broadway for a minority of the time.

WOOD And that was intentional, right? It was really important to them to keep it off Broadway because that was the spirit of the show. It was on Skid Row. It wasn’t supposed to be a big huge glitzy production. CRISS When you contextualize it, it’s a famous show now, but if you’re in the ’80s, and you’ve got some big Broadway musicals happening uptown, and you’re trying to tell your friends, “Yeah, I saw this thing downtown. You got to come. It’s kind of this doo-wop that’s based of this Roger Corman B-movie. There’s a plant that’s a puppet but it’s hard to explain. You just got to come down and see it.” (Laughs.) Trying to contextualize that, it makes you realize this really is a weird thing, man. It’s a weird, off-the-beaten-path, outlying renegade show. You’ve both done musicals in different mediums, which is, obviously, a different process. Was there anything you brought in with you about doing it on-screen to your performances now? WOOD It’s kind of the opposite for me. I’ve carried theater into my film work because I started in theater, so I learned how to do things fluidly and without stopping. There’s a lot of stop and start in TV and film and sometimes that’s nice. But sometimes it’s frustrating, especially when you come from a theater background. There’s something so satisfying about telling the story from beginning to end and playing the entire arc of the character in one go. There’s just a certain energy and an aliveness that comes with that that you can’t have when you have the camera in the room and it’s constantly moving and starting and stopping and changing.

CRISS I would say the same thing. I don’t know if this math checks out, but I think I’ve spent in my collective hours working in any kind of performing art more time in a theater than I have on a set. That might not be true, but in my mind, it feels that way. I constantly feel like I’m bringing what I know in the theater to film and television. I’d always prefer to be doing theater, but these days, listen, I’ll work anywhere, anyhow. As long as, hopefully, it’s positive, and additive to the world in some way. The theater, without getting on a total spiritual kick, it is a holy place. It’s an ancient art form. It is catharsis. It is sharing something with people in real-time before your very eyes. It’s why, despite the fact that we have TV and film and every possible AR, VR medium to displace our reality, theater is still around. It’s why we go to church, why we go to temple, why we go to the mosque — so we can experience something that we collectively want to believe in. We’re strangers and we want to elevate ourselves to something that’s bigger than the sum of our parts. I realize I said I didn’t want to get into a whole spiritual thing with it, but there you go. That can only happen after the fact, months if not years after you do it in a film set.

Evan and I are about to do our first put-in rehearsal, which is to say, we’re going to do the whole thing top to bottom, but there will be a key character missing, and that is the audience. The audience is one of the main characters of any show. And as much as you’d not want to break the fourth wall — that they’re not supposed to be there — of course, they’re there. Of course, that’s why we’re there — to have that kind of sacred communion with an audience giving you the privilege of their presence. You have a responsibility and a duty to make sure that you are sharing some kind of worthwhile experience with them. So getting to renew that experience every night, to me, is the most noble vocation that you can have as an artist.

WOOD I learned how to sing before I learned how to act because I wanted to do musical theater. So this is my favorite thing to do. Of all the mediums is being able to marry the singing and the acting together. Always my first love. CRISS I’m still learning how to do those two things, which is why Evan Rachel Wood is in this production — to teach me how to do those things. (Laughs.) Part of why shows like Little Shop go on for so long — why they can get this many revivals or adaptations — is that there’s something timeless about the story and its characters. For you, what is most timeless about Seymour and Audrey? Amid all the other actors who have taken on these roles, what are you most connecting to? WOOD From what I understand, everybody that’s come in to do the show brings their own energy and spin on it. Especially with Audrey — Ellene Greene, her performance is so iconic. The look, the voice, the songs. So stepping into that is figuring out how I pay homage to the parts of this character that people love and expect to see, but also bring my vibe and energy to it. That’s exciting to figure out what my Audrey looks like. For me, it’s also hard not to relate to her and her struggles because, unfortunately, those are very timeless — poverty, abuse, patriarchy. She’s sort of a victim of all of those things. Not to get too real for a second, but I am a domestic violence survivor playing this character who is going through similar struggles, who has these similar feelings and dreams of getting out and going to a better place and getting far, far away from her past. They’re all very real things, but they’re in this setting of campiness and horror. What’s amazing about the show for me is that it is fun. It is campy. There are man-eating plants. But there’s such sincerity to it as well. Especially with Audrey, Seymour, and their relationship. There are so many beautiful real moments between the two of them. Themes of poverty and capitalism are still just so prevalent that that’s why it’s so timeless because these things just are not going away.

CRISS I’m glad Evan mentioned her own experience and what that brings to the show. I think, for my money, pathos is a dish best served sweet. Comedy and fun are a wonderful support system for really heavy themes. WOOD Exactly. CRISS I think I’m that I’m more likely to take something more seriously if it’s not shoved down my throat. This is a comedy and to me, there’s not a lick of fat on this thing from Howard Ashman who was just such an extraordinary dramaturg. He took this really silly B-movie, and managed to hone in on the very ancient themes. You’re asking what makes Seymour so timeless. It’s a Faustian tale. This is the one of the oldest fables asking what is the price of greatness. What is a man willing to do, willing to give up, willing to trade to get what he wants? WOOD He literally sells his soul. CRISS Yeah, he sells his soul. The plant is Mephistopheles in this parable of Little Shop. But, of course, if you’re going go downtown and say, “I’m going to do a show. It’s like a Faust thing, and Mephistopheles shows up,” you can see people’s eyes glaze over. Well, how about it’s this guy, there’s music that is evocative of what was popular in the late ’50s, but the plant sings. It’s sci-fi, but it’s horror, but it’s fun, and it’s comedy. Now you have my attention, now I’m subscribing to the fun and the music. But by the end of it, I’m experiencing a classic, traditional, academic tale in a really fun way. When you said there’s been millions of iterations of this show, my mind went to, there’s been millions of iterations of this story. This is probably just one of the funniest ones I can think of.

There is ancientness to this tale. I’ve realized recently I’ve made a lot of my roles, especially in the Broadway world, about people who would do anything to accomplish greatness. To varying degrees of evil or good or compromise, people are always trying to figure out what it is they have to do, and what they have to give up. What line they would cross to get it. A lot of times people are kind of conflicted [watching Little Shop of Horrors] because you are rooting for this guy doing this thing, but he’s doing something terrible. Does that make you complicit? Are you a bad person for wanting this? All those things are the bread and butter of good old-fashioned drama.

#darren criss #evan rachel wood #the hollywood reporter #little shop of horrors #little shop of horros bway #press #jan 2024

38 notes · View notes

numberonecameraman · 8 months ago

Note

📢 Champions

When the Pokémon World Tournament happened a while ago, I was assigned to follow the contestants to get footage of them for the media. Never in my life have I met so many stuck-up, inconsiderate, and selfish people. I could talk about most of them for hours, so I’ll try to be brief.

Red was fine. He was extremely quiet, to the point he only said five words to me in almost a week of shadowing him. “Cool hat. I like it.” He also didn’t do much. He spent most of his days in the green room staring absentmindedly at a wall or playing with his Pokémon. Fine on paper, but the higher ups hated my footage since it wouldn’t make “good TV”. Not necessarily his fault but I associate the memory with him.

Blue… Imagine the most annoying teenager you’ve ever met times 10. I’m sure Blue could be a fine person in a vacuum, but since he was an “esteemed guest” at the PWT, he could essentially do whatever he wanted. I’ve never seen anyone eat as much as he did. He also loved being on camera. Every other second he would be pulling a stupid pose or asking me to record him during a practice battle. Just a pain to be around, overall.

Lance. The first words he said to me were, “Are you a fan of the Dragon Type?” That’s all he talked about to everyone and anyone he met for five days. Every second I spent with him was agony. The best part was when he challenged me to a battle right before he left and Laguna sweeped his team with Ice Beam, including his ““invincible”” Dragonite. Needless to say, he didn’t do as much bragging after that.

Steven is Lance with an off button. He loves rocks, he’s practically obsessed with them. The day we met he showed me his entire collection, which I have to admit was pretty cool. But after that, he rarely brought it up! He mostly kept to himself after that and even tried to have normal conversations with me. He also lives like a minimalist. He brought two bags to the event, one of which was entirely filled of duplicates of his standard suit. How he can afford those, I have no idea.

Wallace acted as though everywhere he went was the Nimbasa Music Theatre. Everything had to be a performance. Whether it was ordering food, talking to people, or signing autographs, every action was done with a dramatic flair. He also never stayed still for more than a few minutes. His catchphrase was, “You there [Me]! Let’s go someplace fun!”, even if it was 40 feet down the road. In his defense, a couple of them were pretty fun like the Marine Tube.

Cynthia and I seemed to share a “Let’s get this over with” attitude so we hit it off pretty well. However, despite getting along with her, I essentially became her answering machine. She would never make a decision without my input and it got old really fast. Her “body guard” Garchomp also took some getting used to. She’s a massive softie, but I think I still have rashes from her impromptu “hugs”.

I have mixed feelings on Alder. On one hand, he shot my dream of being Pokémon League Champion into the void. On the other hand, he seemed like a good person. He cared about my feelings and offered to talk with me about the Champion thing. Though that was more of a curse than a blessing. He loves to talk. A simple conversation about the weather can last up to 30 minutes. His jokes are terrible too. I want to like him, but never will.

Iris seemed like a repeat of the Blue situation at first. She was loud, bratty, and really irritating. But, as time went on, she calmed down and was genuinely fun to be around. She was incredibly mature but wasn’t afraid to be herself. Her team was awesome to see in battle too. If it weren’t for the horrendous first impression, she’d be my favorite Champion. Maybe I have a soft spot for kids.

That’s all the Champions I’ve met. I know there are others, but I can’t speak on them. From what I’ve seen, Diantha seems like a snob, the Alola League Champion is a boxer so I don’t know what to expect, Leon’s probably really stuck up, and I assume Geeta acts like my boss, which means I hate her by proxy.

#shouting into the void #rant post #long post #pokeblogging #pokemon irl #rotumblr #pkmn rp #pokemon rp #poketumblr #pokeblog roleplay #pkmn irl

10 notes · View notes

droughtofapathy · 1 year ago

Text

The Gilded Age's Broadway Divas: Agnes van Rhijn (Christine Baranski)

Christine Baranski plays the curmudgeonly head of the van Rhijn household who always has a sharp word for everything. A bastion of Old New York, Agnes detests change and challenges to tradition.

In contrast, Christine Baranski has had a long and illustrious career in the theatre, even before earning mainstream recognition in movie musicals such as Chicago (2002 - a delight), Mamma Mia (2008 - an icon), and Into the Woods (2014 - the highlight in a dismal movie). In the theatre, she has taken on seven of Sondheim's finest works to much better success, including the original pre-Broadway workshop of Sunday in the Park with George (Clarisse, later named Yvonne), regional productions of Sweeney Todd (Mrs. Lovett), and the exquisite Encores! production of Follies (Carlotta) alongside Donna Murphy, our Mrs. Astor at large.

Christine is a two-time Tony winner for Best Featured Actress in a Play for The Real Thing and Rumors. We all know her iconic Tanya Chesham-Leigh of the Mamma Mia cinematic universe, so you'll forgive me if I neglect those performances in this list.

#1: "A Little Priest," Sweeney Todd (1999)

youtube

With Sweeney Todd raking in over $1.7 million weekly, let's start with one of many Sweeney Todd productions that's just so much better than what they've got going on at the Lunt-Fontanne Theatre these days.

The act one closer is considered by many as Sondheim at his lyrical best. A comedic killer of a number, nailing the intricate lyrics would give even the strongest theatre veteran anxiety (I have seen many a delightful disaster and brutal butchery of this number), but Christine does so with aplomb.

This performance alongside Kelsey Grammar as Sweeney is from the 1999 Reprise! L.A. 20th anniversary concert production at the Ahmanson Theatre. Three years later, Christine would go on to reprise her role as Mrs. Lovett at The Kennedy Center opposite Broadway's leading man Brian Stokes Mitchell. Also featured in this production is another Gilded Age actress, but more on that later.

#2: "Everybody Wants to Do a Musical," Nick & Nora (1991)

youtube

Based on the book/film/tv Nick and Nora Charles, this musical is infamous for being one of the most notorious flops in Broadway history. It had a then-record breaking preview period of 71 shows, and closed after just nine performances, proving not even an all-star cast (including Joanna Gleason, Chris Sarandon, Debra Monk, and Faith Prince) and creative team can make a hit.

Here, Christine plays Tracy Gardner, a fading starlet whose comeback is threatened by an untimely murder. There's really not much that can be said about the plot, but if anyone wants me to recite an oral history of everything I know about this flop, DM me.

It's a miracle we even have a cast album to commemorate this...special show. A full bootleg can be found HERE on youtube, if you want to see this masterpiece for yourself. I can't imagine why you'd want to though.

#3: "A Fact Can Be a Beautiful Thing," Promises, Promises (1997)

youtube

Once again proving her comedic chops, here Christine plays a one-scene wonder barfly named Marge MacDougall in the 1997 Encores! production of Promises, Promises opposite Martin Short. The height difference really elevates the comedy. Her character shows up for one scene (and a half) and in every production, has stolen the show. You can see why. The number really has no plot value, but it's perfect in every way.

A note: Encores! for those unfamiliar, is a series of limited run concert-style productions put on by New York City Center. It was originally conceived 30 years ago to highlight hidden gems and forgotten pieces, but has included more mainstream shows in recent years (y'know, to keep the lights on).

Incidentally, Christine is not the only Gilded Age actress to take on this role to great success. The other actress has a...wildly different approach to the role. But more on that later...

#4: "I'm Still Here," Follies (2007)

youtube

I love Follies. I would commit atrocities you cannot fathom to have seen the 2007 Encores! production of Follies, starring fellow Gilded Ager Donna Murphy as Phyllis, Victoria Clark as Sally, and featuring Christine Baranski as Carlotta. Here, singing one of Sondheim's greatest hits, Christine plays an aged former Follies girl whose big number was cut, but is happy to serenade her audience with it now. My kingdom for a high quality bootleg of this show, please someone must have it.

Full disclosure: this is not my favorite rendition. That honor goes to Elaine Stritch in the Sondheim 80th Birthday Concert. But this one is damn good, now that I'm reviewing it. It showcases Christine's fantastic vocal and acting abilities, and that's Sondheim for you.

In 2015, Christine would go on to play Phyllis in the Royal Albert Hall production of Follies. And I love you, Christine, but you are a Carlotta through and through.

#5: "Welcome to the Theatre," Applause - Kennedy Center Honors (1997)

youtube

This past week, Christine Baranski honored opera diva Renee Fleming at the Kennedy Center Honors, but that was not only time. In 1997, she was one of three mega talents honoring the gorgeous, the glamorous, the golden girl from the Golden Age of Hollywood, Lauren Bacall.

She opened the tribute with a song from Bacall's Tony-winning Applause, a musical based on All About Eve. Side note: people have divisive opinions on Lauren Bacall's singing voice. I love it.

While Christine's isolated performance can be found, I elected to link to the full tribute so you can all enjoy this delight. Following Christine is my beloved Bebe Neuwirth, and the late Ann Reinking (singing songs unrelated to Lauren Bacall, but fuck it). The final trio of all three women is the stuff of my dreams. I need you to witness it too.

Bonus: "Hot for Howie"

Nothing I can say will add to this. I'll just let the song speak for itself.

youtube

LINK TO MASTERPOST

#the gilded age #agnes van rhijn #christine baranski #sweeney todd #nick & nora #follies #promises promises #applause #broadway #musical theatre

12 notes · View notes

jgroffdaily · 1 year ago

Text

Another reason that, perhaps, Merrily has finally resonated with audiences and critics this time around is in the age of the actors playing these characters. Lonny Price, Jim Walton, and Ann Morrison were in their 20s and Broadway newcomers when they played the trio in the original Merrily. By contrast, Mendez, Groff, and Radcliffe are in their 30s and 40s, the same age as the characters in the first scene of the musical—and they are all entertainment veterans, with the scars and insights to show for it. They're able to bring a sense of ennui and introspection to the musical that feels lived-in and authentic.

"We make each other die laughing every day," enthuses Mendez of her co-stars. "We all know how unique it is to have the experience of doing a show that we're really proud to be in, doing work that we're really proud of, and getting to be on stage with people of that caliber. The three of us don't always do theatre at this point anymore. So we just know that this is a fleeting moment. And we're going to enjoy every second of it. We can't wait to get started again."

#jonathan groff #lindsay mendez #daniel radcliffe #merrily we roll along #merrily promo

10 notes · View notes

lee-bella · 1 year ago

Text

HP Fest Schedule: June 13 - July 2

Another fortnight; another fortnight (and some) worth of HP fest dates, this time from June 13 to July 2.

The calendar for the second half of 2023 is starting to fill up. Check out 2023 HP Fest Schedule for more fest dates.

The next HP Fest News Round-up will be up on Potterfests (DW and LJ) on June 20 (tomorrow!). Ta-ta!

June 13

Black Brothers Fest (DW): Tagset nominations open.

June 14

Harry James Potter Week 2023: Prompt lists posted.

June 15

R/S Big Bang 2023: Author sign-up closes.

Wolfstar First Date Challenge: AO3 collection closes.

Drarry Disability Fest: Claiming ends.

Drarry Let's Play 2023 (gaming): Prompting closes. Claiming opens.

Lights Camera Drarry 2023 (film, theatre, tv show inspired): Creators revealed.

Liquid Luck Roll the Dice Challenge: First day to request prompts.

June 16

H/D Career Fair 2023 (Tumblr): Prompting opens.

June 17

Drarry Disability Fest: Works due.

HP Bodice Ripper Fest (Drarry, HP femslash; romance tropes): Last day to claim.

HP Halloween Fest: Prompting opens.

June 18

It's a Slytherin Soiree (Slytherin centric): Sign-up ends. Entries due.

Harry/Draco Mpreg Fest: Reveals.

Dramione Month: Daily prompt suggestion form closes.

June 20

HP Fruit Fest: Last day to sign up and post.

Dramione Month: Daily prompt voting begins.

June 21

It's a Slytherin Soiree (Slytherin centric): Stories reveal begins.

Game of Drarry Basilisks and Staircases: Last day to sign-up?

The Department of Missed Stories (rare tags/tropes): Last day to sign up.

June 22

HP Law of Attraction Fest (lightning era students; exchange): Check-in.

Game of Drarry Basilisks and Staircases: Last day to receive new prompt.

June 23

HP Cest Fest 2023: Claiming ends.

Bellatrix Fest 2023: Prompting closes.

June 24

Kill Your Darlings 2023 (major character death): Prompting ends.

Snarry AUctoberfest (alternate universe): Prompting ends.

Bellatrix Fest 2023: Claiming opens.

June 25

HP Cest Fest 2023: Works due.

Slither In Fest 2023 (bottom Tom|Voldemort): Last day to sign-up, claim and post.

Black Brothers Fest (DW): Prompting opens.

June 26

HP Pride Extravaganza: Challenge begins.

June 29

Nott in the Cards (Theodore Nott; tarot cards): Writer claiming ends.

Game of Drarry Basilisks and Staircases: Last day to submit for points.

Forbidden Fruit Fest (pseudo-incest): Sign-up ends.

June 30

Nott in the Cards (Theodore Nott; tarot cards): Works due.

Forbidden Fruit Fest (pseudo-incest): Works due.

Tales as Old as Time Fest (Disney songs): Claiming ends.

HP Poetry Fest: Last day for open submission.

Daddymort Festival (Tom|Voldemort, Harry; one of them is the father, bio, adopted, sugar etc.): Works due.

HP Halloween Fest: Prompting closes.

HP Summertime Prompt Challenge: Challenge ends.

Dreomione Fest 2023 (Draco/Theodore/Hermione): Claiming ends?

H/D Career Fair 2023 (Tumblr): Last day to prompt.

July 1

Nott in the Cards (Theodore Nott; tarot cards): Posting begins.

Drarry Disability Fest: Posting begins.

HP Pride Fest 2023: Author reveals.

The Department of Missed Stories (rare tags/tropes): Works due.

Kill Your Darlings 2023 (major character death): Claiming begins.

Prongsfoot Fest 2023 (James/Sirius): Prompting opens.

H/D Wireless (music-inspired): Posting begins.

Daddymort Festival (Tom|Voldemort, Harry; one of them is the father, bio, adopted, sugar etc.): Stories revealed

Snarry AUctoberfest (alternate universe): Claiming opens.

Sirius Black Fest 2023: Prompting opens.

HP Halloween Fest: Claiming opens.

Sugarfest: A Sugar Daddy Harry Fest: Prompting opens.

Liquid Luck Roll the Dice Challenge: AO3 collection opens.

Dreomione Fest 2023 (Draco/Theodore/Hermione): Submissions due.

H/D Career Fair 2023 (Tumblr): Claiming begins.

Black Brothers Fest (DW): Claiming opens.

July 2

Buck Moon 2023 (Remus/Sirius): AO3 collection revealed.

HP Cest Fest 2023: Anon posting begins.

HP Pride Extravaganza: Last day of challenge.

#hp fests #harry potter fests #hp events #hpevents #potterfests #hp fest schedule

15 notes · View notes

weareyour4 · 1 year ago

Text

God, Operation Mincemeat is Brilliant! - Jen S

There’s a new show taking London’s West End by storm and what a show it is! Operation Mincemeat is a new musical by award-winning musical theatre makers, Natasha Hodgson, Zoë Roberts, David Cumming and Felix Hagan, collectively known as SpitLip. It follows the real story of a group working for British Intelligence who come up with an utterly wild strategy to trick Hitler and help win us World War ll. It’s fast-paced, silly and very, very funny – a perfect tone for such a farcical true story.

Having previously been performed at London’s New Diorama Theatre (2019) and Southwark Playhouse (2020, 2021, 2022), followed by an extended run at Riverside Studios (2022), this exciting new musical has made its way to the Fortune Theatre in the West End and is growing stronger every day. Opening on 29th March this year, the show has extended multiple times due to popular demand and is currently booking until 4th November.

Fans of the show are passionate, with some saying that they have seen the show 30+ times. This has led to Operation Mincemeat now offering a Loyalty scheme to show their appreciation for the support. If you have seen the show multiple times, you can head over to the Operation Mincemeat website and fill in a form to apply for £10 off per ticket for a group of 6 or more patrons (subject to availability.)

This is one of the things which makes me so happy for the creators of Operation Mincemeat – they care about their audience. When creating the show, as far back as 2018, they uploaded videos of what they were working on, to their SpitLip YouTube channel, asking for feedback on their working progress songs and sharing with their audience, challenges they were facing with the making of Operation Mincemeat. This is all content which isn’t usually shared, as creatives often like to keep things on the down-low until they are fully happy with their work. SpitLip, on the other hand, are collaborators and when watching Operation Mincemeat, I was struck by how much I felt that in the theatre.

I’ve tried to express what I mean to friends and family, but Operation Mincemeat just feels different. When watching it, I felt like I was as much a part of the show as I was watching the show. The atmosphere in the theatre was nothing but positive, with audience members around me spilling compliment after compliment about how original and creative the show is. With a cast of only five actors, something else which is special for this show is the fans’ support and enthusiasm for the understudies. Unfortunately, in theatre, there can be negativity towards understudies generally, when an audience member attends the show expecting to see a particular actor, but they see an understudy instead. Not at Operation Mincemeat. Fans are so supportive of every cast member that a bingo sheet has been created, so that fans who see the show multiple times can tick off the different combinations of cast members they have seen perform together.

I have seen the main original cast in the show (Natasha Hodgson, Zoë Roberts, David Cumming, Claire-Marie Hall and Jak Malone) twice (so far) and both times, something went awry. Of course, in live performance, things can go wrong at any time, but the important thing is how the actors react and I felt truly honoured to witness how they dealt with it.

At my first viewing, it was just a simple misthrow of a hat. Not a big deal – they just threw it again and moved on. My second viewing, however, saw something which I loved with all my heart – probably the greatest moment I’ve ever seen in a theatre. Three actors were on-stage (Natasha Hodgson, David Cumming and Claire-Marie Hall), their characters having a discussion, when suddenly, Hester (Jak Malone) swung the door wide open, loudly and confidently making their entrance. The three looked at Jak. Jak looked at the three. Natasha broke the silence, “you’ve come in a bit early, Hester, I think.” The audience were suddenly beside themselves, realising that Jak had mistakenly entered the scene too early and we all watched as he slowly backed away, closing the door behind him. The three continued where they left off, only to be greeted by Jak re-entering a few lines later from the wrong entrance. Natasha, “there isn’t even a door there.” It was utterly hilarious and I was nothing but impressed by how the actors dealt with the situation. This is a funny musical and that was a naturally funny moment, so why not use it? The audience’s laugh was nothing but supportive and only brought us closer to the piece. It was a rare genuine moment in theatre, where the actors were just playing and what a breath of fresh air it was.

Another breath of fresh air, was my experience meeting the cast. Typically, I don’t go to stage doors after shows any more, partly because I don’t want to take up their time when they’re tired and busy. On this day, however, I was meeting a friend after the show, who was running late and as I was standing close to the stage door, the cast started coming out. I figured that this would be a natural opportunity to tell the cast how much I loved their show and I cannot tell you how impressed I was by the experience. Despite having less than two hours between their matinee and evening shows, the cast took as much time as was needed to speak to everyone personally, signing programmes and chatting about the show. It was the most chilled, personal stage door experience I’ve ever had, with actors who were nothing but grateful that people wanted to share how much the show meant to them. They were a great group of people and I even had the extra joy of meeting Jak’s Italian Greyhound, Dracula.

Every time something good comes their way – an extended run or yet another 5-star review - it brings me such joy, knowing that a group of friends who made their own musical have seen it go from strength to strength. It’s so rare that happens and I am truly thrilled for them. I can only hope that it’s around for many years to come – I’ll be cheering them on all the way.

Treat yourself to Operation Mincemeat tickets and have a great day!

#operation mincemeat #theatre #west end

10 notes · View notes

fanovember · 1 month ago

Text

IT'S FINALLY HERE, PEOPLE, OUR PROMPT LIST FOR THIS YEAR'S FANOVEMBER!!! (Written list below the line)

We decided to go through literary genres this time, although you can fit the prompt however you please (by using the literal word in your piece, a small reference, or writing in the style of that prompt!)

→We'll be posting some ideas every day to spark creativity if any prompt in particular doesn't work well for you. Although you don't have to complete the challenge 100% (I won't, more on that later)

→There's no limit on extension at all, whatever you need will be fine. (At least 200 words was the initial idea, but I, for instance, sometimes need less)

→You can write in any language you want, we'll repost anyway. It's also valid if you mix languages! (I'll use Spanish since the media I've chosen is originally in that language)

→Arists are welcome too, of course!

→Remember to mention this blog @fanovember or use any (or all) of these tags:

#fanovember

#fanovember 2024

#fanovember 24

Personally, I don't think I'm completing the full list, as I'm absolutely surpassed by daily responsibilities. But since Softober went well, I'll choose 12 or 13 of the prompts that appeal to me the most and write those throughout the month. You can do whatever works best for you too, we don't want you to feel pressured by any means.

Choose your fandom (or fandoms) and start creating! Let's have some fun!!

Fanovember 2024

01. Romance

02. Short story

03. Terror

04. Adventure

05. Art

06. Retelling

07. Historical

08. Journal

09. Theatre

10. Witchcraft

11. Religion

12. Fantasy

13. Astrology

14. Mithology

15. Poetics

16. Reality show

17. Press

18. Urban fantasy

19. Film/Movie

20. Family

21. Music

22. Epistolary

23. Sci-fi

24. Autobiography

25. Cuisine

26. Dance

27. Board games

28. Classic

29. Triller

30. Flash-fiction

93 notes · View notes

eggs-machiavellian · 2 years ago

Text

A somewhat new Simblr!

Long-time listener, first-time caller. (Kinda.)

I've been bumbling around on Tumblr for a bit trying but I figured it was time I make a proper introduction post.

I'm 30ish, started playing Sims around the time the first one came out. I love these stupid pixel dolls so much. I am entirely too into custom content.

On this blog you can expect CAS challenges, possibly lookbooks and a bit of gameplay if I can ever stick to a legacy!

I am super friendly, super nerdy and super clutzy. Please feel free to message, comment, send an ask etc whenever. I adore meeting new people and would be so stoked to find some mutuals. I've never really been embedded enough in an online community to have many (or even any).

Because I'm kinda old for Tumblr (shock horror 30s!), my blog is 18+. I always try to make sure anyone I follow is over that age as well.

Thanks for reading, and I hope to chat with you guys soon! My inbox is always open.

(This post got way too long, so I've put some non-essential info under the cut!)

More about me:

🐱 I am a cat person (I have four).

🎲 I love playing and watching D&D (especially Critical Role).

🎮 I'm huge into gaming in general (PC, PS4, Switch – some faves are The Last of Us, Horizon, God of War, Sunless Sea, Divinity Original Sin 2, Kentucky Route Zero). I pretty much just post about TS4 though.

📚 I'm a classic literature nerd, although I love contemporary books too. The last few years I've gotten really into audiobooks.

🎶 I think the theatre is a magical place. I love musical theatre, especially.

🧠 I'm hugely passionate about psychology. I hope to make a career change to clinical psych one day. I just think brains are neat and weird and there's so much to learn, and I've been through a lot of bad mental health myself so getting to help others the way I've been helped by therapy before would be amazing.

So basically that's me. Thanks for reading the extra stuff if you did!

– M

#new simblr #introduction #ts4 #the sims 4 #sims 4 #about me #eep so nervous to post this

36 notes · View notes

yuzukahibiscus · 2 years ago

Photo

“MAYERLING” Roundtable Discussion

(A “Roundtable Discussion” is a KAGEKI section magazine, documenting the talk between the director and the actresses about their performances. This time, I’ve translated the Roundtable Discussion of the ongoing current production of “MAYERLING”. I hope this discussion will allow you to know more about their insights!)

Adaptation/Direction = Koyanagi Naoko

Production = Fujieda Taichi

Actresses = Mikaze Maira, Wataru Hibiki, Minami Maito, Yuzuka Rei, Towaki Sea, Hozumi Mahiro, Hoshikaze Madoka, Seino Asuka, Ichinose Kouki, Hoshizora Misaki

(Discussion below the cut, spoilers may follow)

Fujieda: Starting from January 1 to January 30, 2023, Flower Troupe will be performing the play Musical Romance “MAYERLING” in the Takarazuka Grand Theatre. Script by Shibata Yukihiro-sensei, Adaptation and Direction by Koyanagi Naoko-sensei. Originated from the Claude Anet novel of “MAYERLING”, this performance portrays the tragic love story between the real 19th century Austria Crown Prince Rudolf and the baron’s daughter Marie. The performance was performed many times since its premiere in 1983 and as one of the representative works of Takarazuka, this was a revival after 30 years performing in the Takarazuka Grand Theatre. While trying to bring out the script describing this ephemeral, beautiful and ultimate love unique to Takarazuka Revue and hoping the audience would look forward to this new direction delivered in this 2023 version of “MAYERLING”, everyone from Flower Troupe centred on Yuzuka Rei are altogether, doing their best in rehearsals every day and pursuing the acting they aspire, so please look forward.

Koyanagi: As the producer just mentioned, the premiere of “MAYERLING” was performed by Snow Troupe Asami Rei-san and Haruka Kurara-san in the Takarazuka Grand Theatre. It sparked great discussion at the time, then 10 years later (1993) it was performed by Star Troupe, then after that it was performed again for many times, so for Takarazuka fans, it was one of the representative works they think of when they talk about Takarazuka. It’s been a long while since prologues in grand theatres started on the grand staircase, striking a memorable impression, and the fact that this could be performed in the Grand Theatre after a long while, and the vibe created by the combi of Yuzuka-san and Hoshikaze-san were very suited to this, that is how what brought this rendition in the Grand Theatre. It’s been 40 years since the premiere, and I’ve been able to receive the many scripts used over these years. The foundational thing is hoping to preserve that amazing vibe in the premiere and progressing on with changes that are not drastic. We’re not trying to imitate the past performances, but thinking that it’s essential to create something solidly from this performance, everyone would act their roles as what they are given straightforwardly, taking into account what acting means. I think this is the significance of coming together as one and thinking precisely what we want to create.

Yuzuka: If we talk about Takarazuka, “MAYERLING” is a famous musical like a treasure and I’m nervous but also very happy when I could challenge to perform that in the Grand Theatre. Koyanagi-sensei was really careful to craft the acting and she gave us some lectures about it, teaching her direction one by one, now that I think of it, this process was very fun. When we are to reperform “MAYERLING” again, while holding utmost respect for the performance, I hope to connect myself with the role I’ve received and spend this fun time of pursuing the role.

Conversing with the roles　 Challenging this performance with a new approach

Koyanagi: Then let’s talk about the various roles. First we have Yuzuka-san playing as the Austrian Empire Crown Prince Rudolf.

Yuzuka: I first received the role of Rudolf in “Elisabeth – A Rondo of Love and Death” during the role swap cast (LOL). At that time, I already had a profound interest knowing how the Crown Prince Rudolf lived and knowing about his life. Now that I’m able to have a different viewpoint in a different performance to play the same person, it makes me excited. Now, since Koyanagi-sensei was very precisely teaching us about creating our roles, embodying our roles, studying our roles, by doing these one by one, I actually felt that this role of Rudolf seemed more realistic on the surface. I was very happy to be able to do that, and I’m in the phase where I wanted to know more thoroughly about this person Rudolf.

Koyanagi: This time, I wanted everyone to have a little different approach than before to creating their characters, which is not acting from the prior impression they have for their role. Firstly, when they read the script carefully, I want them to focus on how to make this performance persuasive and close to the theme – such as what this person is thinking and what they would say – helping them pursue deeper into the role, but at the current phase, I don’t think they’re in the state yet to confidently say “The role is like this.” Rudolf is a role that everyone already had an impression in mind of being “this kind of person”, but he’s also a someone multifaceted and one that makes you wonder what his true side looks like and a lot of those mysterious parts remains to be solved. That’s why I decided not to stick with just one archetype of the Crown Prince in a tragedy or a dreamer, but I hope to create him as someone that made the final decision because of various kinds of connections contributing to it...He could be as seen as one of the “turmoils” leading to the end of Habsburg history, but I don’t want to delve into why this “turmoil” happened, rather just deliver as how he is. Now Yuzuka-san is having trial-and-error for studying this role. I hope that towards the end, when she stands on the grand staircase for the prologue, she could really bring that role of Rudolf to life as it is. Then how did Madoka-chan (Hoshikaze) think of the role you’re playing as the baron’s daughter Marie Vetsera?

Hoshikaze: There were many performances portraying about the Habsburgs in this country at this time, and they were showcased in different perspectives. Since there were so many sources I could learn from, I tried not to confine myself to a particular image and studied the script word by word deeply. My objective is trying to interpret and living as the role of Marie Vetsera living in this story. This time when I read the script, even in parts where I would not be on stage, I’ve read all the scenes delicately and precisely trying to understand how all the roles would be played out, and with that, I could have a greater understanding for this production and be able to create my role.

Koyanagi: Even though Marie is someone who existed, there’s also the “Marie” as written by Shibata-sensei, so there’s many ways of shaping the role. In present, we think about what kind of existence Marie serves in this performance of “MAYERLING”. Not confining to the presupposed or fixated perception, I hope that you could see a Marie Vetsera in a novel perspective and see a new kind of Hoshikaze Madoka. How did Yuzuka-san and Hoshikaze-san think about Rudolf and Marie at this phase?

Yuzuka: As Ssensei just said, we’re not trying to bound ourselves to the image of the role, we’re trying to bring forth more of the warmth of the roles and create the essence of the roles. Rudolf is really a complicated kind of person and Marie is also quite like that.

Hoshikaze: (LOL)

Yuzuka: Since she’s a fan of the Crown Prince, she didn’t want to leave Vienna where he is from, right? She’s very insistent and strong-willed about that...Even quite stubborn, right?

Hoshikaze: Yes, yes (LOL).

Koyanagi: When I thought the role with Madoka-chan together, we thought that Marie didn’t leave not because she would feel lonely (without Rudolf) but because she was worried for the Crown Prince. “If I’m not here, I wouldn’t know how would he be feeling, that’s why I don’t want to leave” was the reason why.

Yuzuka: That’s also a way of showing that you like a person, right. It was interesting how Sensei described Marie visiting Rudolf as “going to the room of your idol”. Then when they first met, Marie said, “You always seem so lonely to me”...

Koyanagi: At that time, Rudolf was often at the Prater Park and he was popular amongst the Viennese women so many would probably feel that way if they could enter his room. This performance is where you can feel two kinds of charms from Marie – she has that pure feeling of admiration that’s close to liking him, and also that gentleness and inclusivity of wanting him to support him like a Saint Maria kind of figure.

Yuzuka: (facing to Hoshikaze) But the role suits you. You’ve “become friends” with Marie, haven’t you?

Hoshikaze: (LOL) How should I say it, it’s possible to say that it doesn’t feel like too distant imagining about Marie’s situation...

Yuzuka: Yes, yes, in terms of her mentality.

Hoshikaze: Yes, in terms of mentality. Because of that, I want to know more about her feelings, I want to ask some questions to her to understand her more.

Yuzuka: In that sense, we’re not just creating the picture of the misfortunate Crown Prince and that pure, adorable Marie, but I hope to present this human drama as why they chose this path.

Koyanagi: That’s how it is. Then, we have Rudolf’s cousin Johann Salvator played by Minami-san.

Minami: My honest feeling while reading the script was this is a very difficult role. Be it creating it from the inside, and output-wise he’s a role that is a storyteller to the audience from the start introducing Rudolf and Marie, so at first I’d have to convey the words exactly as they are and it feels like returning back to the roots of being as a stage performer. Practising solidly with myself, working on how to project my voice. About the role, I've spoken to Sensei about the biography booklet I wrote for Johann.

Koyanagi: This time, everyone was given the assignment to write a biography booklet of their roles. That’s how everyone can have some discoveries and there’s no right answer so at first you could write about some ways how you could come closer to acting this role. I also benefited from reading these biography booklet.

Minami: When I was talking with Sensei yesterday, I had a new realisation that Johann was quite a complex person in the House of Habsburgs. Since I discovered and felt a lot from the rehearsal classrooms, it feels like conversing with him every day that I can see how he felt and the face he shows to everyone else. I’m trying to create that different part every day.

Koyanagi: As Minami-san said, Johann Salvator is a role of a storyteller so if you don’t concretely express it with words, you’d lose the characteristics of that role and become a machine merely explaining the story without character and emotion. This is a role where it’s difficult to maintain that balance. I think this is a role that you can’t convince even yourself if you don’t create it solidly from the inside. By (enhancing the persuasion in storytelling) is how you can go for trial-and error and go one level deeper. Then how about Mikaze-san who plays as Marie’s wet nurse Jessica?

Mikaze: While writing for the biography booklet, I didn’t write the full name of Jessica. The teacher pointed that out and I realised I wasn’t familiar with this person yet that I’m playing as Jessica...But now I don’t want to be just the role of Jessica but become her. Sensei did say that the movie “MAYERLING” had a strong impression and I tried watching it. Even though there’s no subtitles and I don’t understand the language, it really felt that the conversations amongst the characters were telling me their message. I realised how important it was to consider what the people were thinking at that time. What does Jessica’s presence mean in the House of Vetseras, how do I want the role to turn out are some of the things I think when creating this character.

Koyangi: That actress was really good at it and very convincing. I thought that as if she was really a Hungarian wet nurse (LOL). There are common patterns like “the maiden’s wet nurse” and the “prince’s servant” but I don’t want to have the conception this time. I’m aiming for this “MAYERLING” to be filled with the totality of the production tone and its chicness. On the Takarazuka stage, we want to go for the approach to be as close as making you imagine what kind of people are living in the houses of Vienna in 1888. From that aspect onwards, I feel that’s how we could have that kind of new wet nurse Jessica created. Then, how does Towaki-san feel about playing Rudolf and Johann’s other cousin, Archdue Ferdinand?

Towaki: In this new version of 2023 “MAYERLING”, I was thinking that one thing changed for Ferdinand. You can see Ferdinand is a good guy at a glance but I felt more how he was having these struggles and resisting them. For Rudolf-san, for Johann-san and also for Ferdinand, even though they have many choices and ways of live to decide on, in order to make Rudolf and Marie’s choice of death stand out more, I created my role thinking about the balance and nature of this role.

Koyanagi: In history, Franz Ferdinand was a famous person known for one of the reasons leading to the outbreak of the First World War. At first, I think it’s interesting that this kind of person is included and portrayed in “MAYERLING”. In history, it’s established that he was a resilient person, but this performance portrays a more tender side of his. "MAYERLING” shows both a “Before” and “After” side of Ferdinand, the latter connected a little bit more on his historical side. It was like feeling how Ferdinand was involved in this. With that kind of story, “MAYERLING” becomes a production overlapping with history. Also by portraying the three cousins Rudolf and Johann and Ferdinand together, you can see how they encountered their respective kinds of fate and lives they led.

Yuzuka: This time, there are scenes where the three dance together and when they talk to each other.

Koyanagi: Yes. That’s what I wanted to create more for the three’s relationship, what do you think?

Minami: ... It can’t be explained in a word.

Everyone: (LOL)

Yuzuka: That’s because from the moment they’re born, there’s a complex relationship coming out of it already.

Koyanagi: It’s a boys’ kind of friendship. But also it can't be explained with just that because the three do have some complicated struggles and other problems they’re dealing with.

Yuzuka: But they do get along. From the roots of it they do get along, but with some other external factors, they’ve become a relationship that can’t be explained with just a word.

Koyanagi: But they’re like normal guys that even though you’re childhood friends, you don’t want to lose to each other and sometimes they have things that they’re always so envious of. This time I think the relationship of the three is like: when politics is involved and they are being used, they are there to comfort each other. But the three standing together is very amazing, that alone is a delightful sight for the audience. Then onto Rudolf’s friends. How does Hozumi-san think about your role as Count Hoyos?

Hozumi: I love this period of history of Vienna. For me that’s living in the modern world, I may think that a change in one person’s behaviour must mean great transformations in history. But if people faced obstacles when they’re in chaos, they’d choose to take action, so I want to convince you Hoyos is also that kind of person. Since he really existed, while interpreting the nature of that period of time, I want to solidify the image of the frame we’re trying to form out of this performance. While continuing the rehearsals, it’s not just about where I should look or how I present my actions, but from the inside, firmly creating the role.

Koyanagi: Even though it’s common that there are friends to the protagonist, if you play those roles, the quality of the performance would be better. It’s great to have characters playing along with the prince, good friends that love wine. But it’s also good to discover that that’s not just it, and look into what kind of people they are and what are these people’s motivations. I look forward to what you are to express to the audience. Then, similarly also playing as Rudolf’s friend Prince Philipp, Ichinose Kouki-san.

Ichinose: I was surprised when I knew I would be playing a prince role (LOL). Playing as Yuzuka-san’s friend also makes me happy and excited to create this character. There were actually a lot of sources that remained for reference, and while speaking to Sensei about the biography booklet I wrote, I started understanding Philipp’s background and his resistance to the political system. There's Rudolf when he’s with his friends, and Rudolf when he’s with his cousins/princes. I hope that I could help make such natural contrast possible.

Koyanagi: Since Rudolf is a multi-faceted person, you can see another side in him when there are these two friends. If you think well about it, you may wonder why this complicated Rudolf who’s often anxious with these two bright people together?

Everyone: (LOL).

Koyanagi: Then towards the end, these two are also the people who actually saw Rudolf’s death, perhaps there’s some similarities that Rudolf shares with these two. Even Rudolf’s adjutant (Note = Captain Maurice played by Misora Maru) spoke with the two asking them “Please help His Highness”, from there you can see Rudolf isn’t really alone.

Yuzuka: Since Rudolf is really different when he’s with his cousins and when he’s with his friends, it’s interesting to bring out both kinds of acting, and his character becomes more dimensional. I’m still at the phase where I’m just “looking up to” Rudolf (LOL) and wasn’t able to think about his relationship with other friends yet, so I hope to become even closer to them.

Koyanagi: Then the two serve Rudolf, first we have the servant Loschek played by Loschek, Wataru-san.

Wataru: Loschek-san exists and gives an impression for me of someone with white hair and a comical character. I thought that would be the correct answer but I reflected again later on. Also Loschek-san was only described as “an old servant” and “reticent”, so he doesn’t speak much and there’s no other places I could present him. I’d have to rely on my actions to play him, but now instead of that, I thought about living and embodying the character from the script, therefore the first important thing is to create such a foundation for it.

Koyanagi: Things deemed acceptable change over time and that goes for actors too. Especially for a role like Loschek, I felt that the way of playing the role changes a lot. In that sense, you’d have to go back to ground zero and create it, and it's a difficult but important thing to bring such a memorable character to life. I hope that this character could be created from scratch to appear in the same place, to create a stage that looks different but the story is the same. Then, how does Seino-san feel about playing Rudolf’s carriage driver Bratfisch?

Seino: Bratfisch is Rudolf-san’s personal driver, and why did Rudolf chose Bratfisch to be close to him? It's probably his personality makes him a comfortable presence that Rudolf could allow him close...Even though that’s still my imagination. I want to bring out this charm of Bratfisch so I wanted to “talk more to him” about it. Also, I’ve discovered so much ideas from his lines. How do I make his role convincing from the lines I speak? As Minami-san has just said, I want to cherish my lines and set objectives for myself as I start honing the foundational parts.

Koyanagi: The same as I said for Loschek, playing Bratfisch is also difficult because it is a role that also changes with time (depending on how the actress plays him). Since he’s also someone that existed, he’s someone entertaining the aristocrats by singing and dancing. In other words, he is a Viennese taiko drummer, and I think Shibata-sensei tried to express that character in that way. The existence of taiko drummer itself may become unfamiliar in modern times, but I feel that it is necessary to devise ways to convey it to the present while preserving Bratfisch from how he looked in the premiere (in 1983). Above all, he’s an existence that was at the start and the end of Rudolf and Marie’s relationship, so I hope (Seino-san) could bring that out too. Then lastly, how does Hoshizora-san think of playing as Johann’s lover Milli Stubel?

Hoshizora: At first Koyanagi-sensei said, “If you’re confused you can talk to the character” and that was a very helpful deep reminder in my heart. So every night, I’d think of being in a cafe with Milli in my imagination (LOL). I hope to discover more about this woman. The script mentioned that she’s a civilian dancer that existed in real life. And from there, I tried to relate it to Rudolf’s suicide note wrote, “Thanks to the love and freedom Milli and you showed me.” To think what is this love? Why did Milli like Johann-san? And I’m in the phase where I just want to ask her many questions.

Koyanagi: I’d think that Milli’s presence could be seen together with Johann and Johann’s presence could be seen together contrasted with Rudolf. In Vienna, she existed in history as a ballet dancer, so when her relationship with Johann worked out, that affected Rudolf. As a way of presenting her, I’d say don’t express too forcibly but just accumulate the acting experience as it goes on and it would help enhance persuasion. It looks like you’ve seen the tip of an iceberg but there’s actually the foundation underneath that this role could make this performance more reasonable and persuasive to watch. From Milli’s biography booklet, we could know that Johann and Milli lived together.

Johann: Oh, I didn’t expect we’re going to talk about that here (LOL).

Yuzuka: Didn’t you write about that (in your biography booklet)?

Koyanagi: Yes, she did. (She wrote) “They were allowed to live together.” (LOL)

Minami: (LOL). Since I believe you can discover a lot from Johann and Milli’s impressions from their conversations, I want to only focus on how to make the conversations matter and as Sensei said, don’t try to overdo it. Because Rudolf must be able to see some kind of image in them, from now on we hope to deepen that so that he could see it acutely.

Koyanagi: Acting is all about preparation. Since it only takes one moment to put everything together in place, how should we create those unseen parts on stage leading to the ending? This is also what we try to do precisely this time, so we hope that the audience could look forward to how we’d present to you.

Roles and the nature of what we want to deliver in this performance

Koyanagi: Then finally from Minami-san, Hoshikaze-san and Yuzuka-san let’s hear about your aspirations (for this performance).

Minami: I have respect for the performance and the role and now I’m rehearsing by simply communicating with my role Johann and hoping to play well as him. Even in the rehearsal stage, the prologue is already very glamorous, and I’m also excited. Then when the curtains open on the grand staircase, it's wonderful seeing everyone on the staircase. The fact that we’re inheriting what’s passed down from generations is unfailing, and I hope that now all of us could do that and show you this greatest performance. We will prepare as much as we could as if we’re making the most of our ingredients, rather than adding more flavour into it.

Hoshikaze: As Minami-san said, it’s really an honour to perform yet another era of “MAYERLING” in the Grand Theatre and even now, I’d also imagine how amazing and glamorous it would be to start 2023 like this. I hope to deliver more than my expectations to the audience, so I’ll continue to converse with Marie in this performance. Because there is so much to learn more about her relationship with Rudolf-san and because there are many emotions coming out of this, I’d like to enjoy the rest of the rehearsals from that.

Yuzuka: Even in rehearsals, I still think “MAYERLING” is such a wonderful performance. The story is interesting on its own. The moment you hear the opening theme song, it reverberates in your heart like “It’s starting!” as you feel the power of the harmony, and the echoing of the live orchestra in the Grand Theatre, which is why now I’d look forward to it. With Koyanagi-sensei as the director this time, you can feel from every bit of the stage setting how gloomy the depressing vibes of the House of Habsburgs was, but also conveying that kind of royalty and solemnity. As we just mentioned about delivering a “chic MAYERLING”, the costumes are of high quality and fashionable, giving a touch to the era of the time, so I’m very excited to walk on stage in that ambience. Also personally for me, I’m not the best person at expressing what kind of person a certain character is...I think acting is about a way of presentation showing how a person is, and even though there are parts different from history, I hope Rudolf-san in heaven would think “I didn’t expect you to think so deeply”, so I want to cherish and value this time to learn more about him. While holding respect for him, I hope to create this performance as we all follow Koyanagi-sensei’s instructions and enjoy the fun of acting.

Koyanagi: There may be parts that confuse them since the approach was different than normal, but I could feel that everyone was working positively and having fun so the rehearsal room felt alive. I wasn’t always working as Shibata-sensei’s assisant, but to help everyone converse with their roles, I also asked my sensei how I should do it. Now I'm still unable to answer "why I’m the director this time” (LOL). Shibata-sensei was someone passionate about the completion of a work, and had the love for the siennes, and the enthusiasm to teach them. I thought if I learn from such a mindset, (”MAYERLING”) would turn out to be a good performance. The significance of performing “MAYERLING” this year is aiming not to forget the nature of the performance, and most importantly never stop loving the Takarazuka siennes. So I will remember these two points deeply in my heart so that when the curtain opens Shibata-sensei could say, “You are working hard!”. Everyone, let’s do well altogether.

Everyone: Yes!

#yuzuka rei #hoshikaze madoka #minami maito #flower troupe #takarazuka #takarazuka revue #hibiscustranslation

26 notes · View notes