#bands that REMEMBER the role of theatre in performance and art | Explore Tumblr posts and blogs

denimbex1986 · 6 months ago

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'Andrew Scott’s success did not arrive overnight. His has been a slow and steady ascent from supporting player to leading man. But his status is now assured: at 47, the Irishman is among the most talented and prominent actors of his generation, on stage and screen.

Dublin-born and raised, Scott first took drama classes at the suggestion of his mother, an art teacher, to try to overcome a childhood lisp. At 17 he won his first part in a film, Korea (1995), about an Irish boy who finds himself fighting in the Korean War. By 21, he was winning awards for his performance in Eugene O’Neill’s Long Day’s Journey into Night, for director Karel Reisz, no less, at The Gate. He arrived in London, where he continues to live, at the end of the 1990s, and worked regularly, with smaller parts in bigger TV shows (Band of Brothers, Longitude) and bigger parts in smaller plays (A Girl in a Car With a Man, Dying City). By the mid-2000s he was well established, especially in the theatre. In 2006, on Broadway, he was Julianne Moore’s lover, and Bill Nighy’s son, in David Hare’s Iraq War drama, The Vertical Hour, directed by Sam Mendes. In 2009, he was Ben Whishaw’s betrayed boyfriend in Mike Bartlett’s Cock, at the Royal Court. He won excellent notices for these and other performances, but he was not yet a star. If you knew, you knew. If you didn’t know, you didn’t know. Most of us didn’t know; not yet.

That changed in 2010 when, at the age of 33, he played Jim Moriarty, arch nemesis of Benedict Cumberbatch’s egocentric detective, in the BBC’s smash hit Sherlock. The appearance many remember best is his incendiary debut, in an episode called “The Great Game”. When first we meet him, Moriarty is disguised as a creepy IT geek, a human flinch with an ingratiating smile. It’s an act so convincing that even Sherlock doesn’t catch on. Next time we see him, he’s a dapper psychotic in a Westwood suit, with an uncannily pitched singsong delivery and an air of casual menace that flips, suddenly, into rage so consuming he’s close to tears. Such was the relish with which Scott played the villain — he won a Bafta for it — that he risked the black hat becoming stuck to his head. In Spectre (2015), the fourth of Daniel Craig’s Bond movies, and the second directed by Sam Mendes, Scott played Max Denbigh, or C, a smug Whitehall mandarin who wants to merge MI5 and MI6, sacrilegiously replacing the 00 agents with drones. (If only.)

There were other decent roles in movies and TV series, as well as substantial achievements on stage, and he might have carried on in this way for who knows how long, even for his whole career, as a fêted stage performer who never quite breaks through as a leading man on screen.

But Scott had more to offer than flashy baddies and scene-stealing cameos. His Hamlet, at The Almeida in London, in 2017, was rapturously received. I’ve seen it only on YouTube, but even watching on that degraded format, you can appreciate the fuss. Scott is magnetic: funny, compelling, and so adept with the language that, while you never forget he’s speaking some of the most profound and beautiful verse ever written, it feels as conversational as pub chat.

Another banner year was 2019: a memorable cameo in 1917 (Mendes again) as a laconic English lieutenant; an Emmy nomination for his performance in an episode of Black Mirror; and the matinée idol in Noel Coward’s Present Laughter at London’s Old Vic, for which he won the Olivier for Best Actor, the most prestigious award in British theatre.

The second series of Phoebe Waller-Bridge’s phenomenal Fleabag, also in 2019, proved to a wider public what theatregoers already knew: Scott could play the mainstream romantic lead, and then some. His character was unnamed. The credits read, simply, “The Priest”. But social media and the newspapers interpolated an adjective and Scott became The Hot Priest, Fleabag’s unlucky-in-love interest, a heavy-drinking heartbreaker in a winningly spiffy cassock, and an internet sensation.

Fleabag began as a spiky dramedy about a traumatised young woman. Scott’s storyline saw it develop into a bittersweet rom-com, brimming with compassion for its two clever, funny, horny, lonely, awkward, baggage-carrying heroes, lovers who can’t get together because, for all the snogging in the confessional, one of them is already taken, in this case by God.

It was the best and brightest British comedy of the 2010s, and Scott’s fizzing chemistry with Waller-Bridge had much to do with that. The ending, when she confesses her feelings at a bus stop, is already a classic. “I love you,” she tells him. “It’ll pass,” he says.

Over the past 12 months, in particular, Scott has piled triumph on top of victory, and his star has risen still further. At the National, last year, he executed a coup de théâtre in Vanya, for which he was again nominated for an Olivier. (He lost out to an old Sherlock sparring partner, Mark Gatiss, for his superb turn in The Motive and the Cue, about the making of an earlier Hamlet.) For Simon Stephens’s reworking of Chekhov’s play, Scott was the only actor on stage. On a sparsely furnished set, in modern dress — actually his own clothes: a turquoise short sleeve shirt, pleated chinos, Reebok Classics and a thin gold chain — and with only very slight modulations of his voice and movements, he successfully embodied eight separate people including an ageing professor and his glamorous young wife; an alcoholic doctor and the woman who loves him; and Vanya himself, the hangdog estate manager. He argued with himself, flirted with himself and even, in one indelible moment, had it off with himself.

It’s the kind of thing that could have been indulgent showboating, a drama-school exercise taken too far, more fun for the performer than the audience. But Scott carried it off with brio. In the simplest terms, he can play two people wrestling over a bottle of vodka in the middle of the night — and make you forget that there’s only one of him, and he’s an Irish actor, not a provincial Russian(s). An astonishing feat.

For his next trick: All of Us Strangers, among the very best films released in 2023. Writer-director Andrew Haigh’s ghost story is about Adam (Scott), a lonely writer, isolated in a Ballardian west-London high-rise, who returns to his suburban childhood home to find that his parents — killed in a car crash when he was 11 — are still living there, apparently unaltered since 1987. Meanwhile, Adam begins a tentative romance with a neighbour, Henry (Paul Mescal), a younger man, also lonely, also vulnerable, also cut off from family and friends.

Tender, lyrical, sentimental, sad, strange, and ultimately quite devastating, All of Us Strangers was another potential artistic banana skin. At one point, Scott’s character climbs into bed with his parents and lies between them, as a child might, seeking comfort. In less accomplished hands, this sort of thing could have been exasperating and embarrassing. But Scott’s performance grounds the film. He is exceptionally moving in it. He was nominated for a Golden Globe for Best Actor, losing to his fellow Irishman, Cillian Murphy, for Oppenheimer. Earlier this year, he made history as the first person to receive Critics Circle awards in the same year for Best Actor in a film (All of Us Strangers) and a play (Vanya).

Finally, last month, the title role in Ripley, a new spin on the lurid Patricia Highsmith novels. That show, which unspools over eight episodes on Netflix, was a long time coming. Announced in 2019, it was filmed during the pandemic, at locations across Italy and in New York. Scott is in almost every scene and delivers an immensely subtle and nuanced portrayal of Highsmith’s identity thief, a character previously played by actors including Alain Delon, Dennis Hopper, and Matt Damon in the famous Anthony Minghella film The Talented Mr Ripley, from 1999.

The fragile almost-charm that makes Tom Ripley such an enduring antihero is there in Scott’s portrayal, but so is the creepiness, the isolation, the fear and desperation. His Ripley can turn on a smile, but it quickly curdles. Filmed in high-contrast black and white, Ripley is a sombre, chilly work by design, but doggedly compelling, and not without a mordant wit. Again, critics swooned.

So the actor is on a hot streak. Later this year he’ll appear in Back in Action, a Hollywood spy caper, alongside Cameron Diaz and Jamie Foxx, above-the-title stars with dazzling, wide-screen smiles. But could they play Chekhov single-handed? They’ll need to be on their toes.

Before our shoot and subsequent interview, in April, I had met Scott briefly on two previous occasions, both times at fancy dinners for fashion brands. Compact, stylish, dynamic, he is impishly witty and charismatic: good in a room. Also, obliging: the second time I met him, he took my phone and spoke into it in his most diabolical Moriarty voice for a wickedly funny voice message to my son, a Sherlock fan.

At the Esquire shoot, on an overcast day in south London, Scott again demonstrated his good sportiness: dancing in the drizzle in a Gucci suit; generously sharing his moment in the spotlight with an unexpected co-star, a local cat who sauntered on to the set and decided to stick around for the close-ups; and entertaining the crew — and hangers-on, including me — with rude jokes. At one point, while for some reason discussing the contents of our respective fridges, I asked him where he kept his tomatoes. “Easy, Tiger,” he said.

At lunch the following day, upstairs at Quo Vadis, the restaurant and members’ club in Soho (my suggestion), the actor arrived promptly, settled himself on a banquette, and we got straight to business. It’s standard practice now for interviews published in the Q&A format to include a disclaimer, in the American style: “This conversation has been edited for length and clarity.” (Well, duh.) In this case, we talked for close to three hours. Inevitably, paper costs being what they are, and Esquire readers having busy lives, some of that verbiage has ended up on the cutting-room floor. But not much! I’ve tried to let it flow as much as possible, and to keep the spirit of the thing, in which we toggled, like all good performances, between light and dark, comedy and tragedy.

In early March, a month before this interview took place, Scott and his family suffered a terrible and unexpected loss: his mother, Nora, suddenly died. He went home to Dublin to be with his dad, Jim, his sisters, Sarah and Hannah, and their family and friends.

As an interviewee and, I suspect, as a person, Scott is thoughtful, convivial and solicitous: he doesn’t just answer questions, he also asks them. He is not above the occasional forearm squeeze when he wants to emphasise a point. He seems to possess a sharp emotional intelligence. Perhaps one should expect empathy in a great actor, but in him it seems particularly marked.

Before we began talking, there was some studying of the menu. Scott wondered, since I eat often at Quo Vadis, if I had any recommendations. I told him I had my eye on the pie: chicken, ham and leek. “Why would you not have the pie?” wondered Scott. A good question.

So, how was your morning? Where have you come from?

This morning I’ve been at the gym, Alex.

Are you working out for a specific reason or are you just a healthy man?

Just trying to keep it going. Exercise is so helpful to me. I don’t know if you know, but my mum died four weeks ago.

I did know, and I’m so sorry.

Thank you. So, yeah. Just trying to keep it going. They say your body feels it as much as your mind.

The grief?

Yeah, the grief. My friend said a brilliant thing last night. She’s been through grief. She said, if you think of it like weights, the weight of it doesn’t decrease, but your ability to lift the weights does. So, if you go to the gym and you’re completely unpractised you won’t be able to lift the weight. But the more you get used to it, the more you can lift. There’s a slight analogy to grief. I’m just learning about it.

Have you been through grief before?

Not really. A little bit, but not to this extent. And it’s a strange thing because, obviously, I’m in the middle of having to talk a lot [promoting Ripley] and making that decision of whether to talk about it or whether not to talk about it. I’m finding myself talking about it, because it’s what’s going on, and without giving away too much of it she was such an important figure. It feels right. It’s such a natural thing.

Is it helpful to talk about it?

I think it has to be. I feel very lucky with my job, in the sense that, all those more complex, difficult feelings, that’s what you have to do in a rehearsal room; you have to explore these things. So strange: a lot of the recent work that I’ve done has been exploring grief. With Vanya, and All of Us Strangers. So it’s odd to be experiencing it this time for real.

I wasn’t planning on making that the focal point of this piece, so it’s up to you how much you feel comfortable talking about it.

I appreciate that.

Was it unexpected? Did it happen out of the blue?

Yes. She was very alive four weeks ago. She just deteriorated very quickly. She got pneumonia and she just… it was all over within 24 hours.

What sort of person was she?

She was the most enormously fun person that you could possibly imagine. Insanely fun and very, very creative. She’s the person who sort of introduced me to acting and art. She taught me to draw and paint when I was really young —that’s another big passion of mine, drawing and painting. She was amazing with all of us. My sister Sarah is very talented in sport, she’s now a sports coach. And my sister Hannah was very artistic and she’s an actor now. So, she was really good at supporting us throughout all our different interests. What I say is that we’ve been left a huge fortune by her. Not financially, but an emotional fortune, if you know what I mean? I feel that really strongly. And once this horrible shock is over, I just have to figure out how I’m going to spend it. Because I think when someone else is alive and they’ve got amazing attributes, they look after those attributes. And then when they die, particularly if they are your parent, you feel like you want to inhabit them, these incredible enthusiasts for life. She just made connections with people very easily. I feel enormously grateful to have had her. Have you had much grief in your life?

My mother died, during Covid. She had been ill for a long time, so it was a very different experience to yours. But I think they are all different experiences, for each of us. I don’t know if that loss would be in any way analogous to yours. But like you, I love art and books and music, and that’s all from her. Last night, I watched a rom-com with my daughter, who is 14. And I don’t know if I would like rom-coms so much, if it wasn’t for my mum.

Love a rom-com! What did you watch?

Annie Hall.

Did she like it, your daughter?

She absolutely loved it. She was properly laughing.

Oh, that’s great!

And she’s a tough one to impress. But she loved it, and my mum loved Woody Allen. My mum can’t recommend Woody Allen to my daughter now, but I can, and that’s come down from her. So it goes on.

That’s what I mean. Your spirit doesn’t die. And I’m sure you went to bed going, “Yes!”

I did! It was a lovely evening, it really was. Tonight we’ll watch something else.

Are you going to watch another Woody Allen? Which one are you going to watch?

I thought maybe we’d watch Manhattan? More Diane Keaton.

Or Hannah and Her Sisters? That’s a good one. Insanely good. Yeah, it’s amazing that legacy, what you’re left with. My mum was so good at connecting with people. She was not very good at small talk. She was quite socially bold. She would say things to people. If she thought you looked well, she’d tell you. She’d always come home with some story about some pot thrower she met at some sort of craft fair. Being socially bold, there’s a sort of kindness in it. When someone says something surprising, it’s completely delightful. My mother sent me something when I was going through a bad time in my twenties. It was just a little card. It said, “The greatest failure is not to delight.” What a beautiful quote. And she was just delighted by so many things, and she was also delightful. And like her, I really love people. I really get a kick out of people.

I can tell.

But there’s a kind of thing, if you become recognisable, people become the enemy? And it’s something I have to try and weigh up a little bit. Because people are my favourite thing about the world. I think it’s part of my nature. My dad is pretty sociable too. And so it’s weighing that up, how you keep that going. Because certain parts of that are out of your control: people treat you slightly differently. But this phase, the past four weeks, it still feels so new. Just thinking about legacy and kindness and love and the finite-ness of life. All that stuff.

Big stuff.

Yeah, it’s big stuff. And it’s very interesting, talking about grief. Because it’s not all just low-energy sadness. There’s something galvanising about it as well. I don’t know if you found that, too?

One of the things about someone else dying is it makes you feel alive.

Yes, exactly. Even though we have no choice, it does that. It’s that amazing thing, the year of magical thinking.

[Waiter approaches. Are we ready to order?]

We are.

I think so. Are we two pie guys?

We’re two pie guys!

We’re pretty fly for pie guys.

Are we salad guys? Tomato, fennel and cucumber salad?

Yeah.

And chips, maybe?

Listen, you only live once.

So, the year of magical thinking…

You know, when you’re walking along, are you allowed to have a surge of joy? Or are you allowed to just stay home and… It’s extraordinary when it gets you.

Like a wave of emotion?

I had one on the rowing machine today. I’m glad of it, though.

That was sadness.

Just loss, yeah. Just loss.

So, there’s two ways to do this. You can choose. We can do the usual interview where we start at the beginning with your childhood and go all the way through to now. That’s totally fine. Or, I can throw more random questions at you, and see where that takes us?

Random!

Shall we random it?

Let’s random it.

OK. That means I might sometimes read questions off this piece of paper.

Reading takes just slightly away from the randomness of it, Alex…

That is a very good point. You are quite right. But I don’t read them out in order! They’re just prompts.

[Sardonically] Oh, I see!

Talk me through what you’re wearing.

Oh, this is so old. What does it say?

[I peer at the label on the inside of his shirt collar. It says Hartford.]

What colour would you call that?

I’d call it a bit of a duck egg, Alex, would you?

I’d go with that. And it’s like a…

Like a Henley?

And these [pointing to trousers]?

Mr P trousers. And a pair of old Nikes.

And sports socks.

When I am off duty, I think I dress slightly like an 11-year-old. You know, when you’re just plodding the streets, I wear, like, a hoodie and trainers.

And you have a chain round your neck.

This is a chain that I bought in New York. No, maybe I bought it in Italy. It was a replacement chain. I’ve worn a chain for years. Sometimes I like to have it as a reminder that I’m not working. When you’re in character, you take it off. Because when you’re in a show or a play, they sort of own you. They own your hair.

They own your hair!

Or sometimes you have to walk around with, like, a stupid moustache. Or, worse, chops. Actors fucking hate that. Like, nobody suits that, I don’t think. Right? I’m trying to think of someone who suits that.

Daniel Day Lewis, maybe? He can carry it off.

He’s got the chops for chops!

What’s something about you that you think is typically Irish?

It goes back to that people thing. When I go home to Ireland, I’m aware that people talk to each other a lot more. And I think there’s a sense of humour that Irish people have that I love. And I suppose a softness, too, that I love. Those are the positive things. And then the guilt and the shame is the negative stuff.

Catholic guilt?

Catholic guilt. I feel very strongly, though, that I’ve worked to emancipate myself from it. There’s a certain unthinking-ness to guilt. Your first thought, always: “What have I done wrong? It’s gotta be me.” That doesn’t benefit anyone. And with shame, I don’t feel shame anymore. I think I probably did before. But in a way, it’s an irrelevant thing for me to talk about now. The thing I prefer to talk about is how great it is not to have that anymore. Rather than how horrible it was. The thing I feel enthusiastic about is how there are so many beautiful and different ways to live a life that aren’t centred on the very strict, Catholic, cultural idea of what a good life might be. Namely, 2.4 children and certain ideas and a very specific life.

Are there positives to be taken away from a Catholic education?

The rituals around grief, I think, are really beautiful, having gone through what I’ve just been going through. And the community that you get in Catholicism. Because that’s what Catholicism is about, in some ways: devotion to your community. The amount of love and support you get is to be admired. It’s the organisation that has been the problem, not the values. Random question number 16!

When’s the last time you were horrifically drunk?

Good question! I was in New York doing press recently for Ripley. And I met Paul Mescal. He had a negroni waiting for me. Love a negroni. And then we went dancing.

Are you a good dancer?

I’m pretty good, freestyle. Slow on choreography but once I get it, I’m OK. I love dancing.

I love dancing.

Do you really? Do you do, like, choreographed dancing as well?

No! But I’m a good dancer.

Do you have moves?

Oh, I have moves.

Ha! I love that!

It’s so freeing, so liberating.

It totally is.

And it’s sexy and fun.

Exactly! It’ll get you a kiss at the end of the night.

It’s sort of showing off, too, isn’t it?

But it’s also completely communal. It connects you with people. Also, you can learn so much about someone by watching how they connect with people on a dance floor. How much of communication do they say is non-verbal? An enormous amount.

If you didn’t live in London, where would you most like to live?

I suppose Dublin. I do live a wee bit in Dublin. But one of the things I feel really grateful for is that I have sort of been able to live all over the place. I lived in Italy for a year, during the pandemic.

You were making Ripley?

Yeah, we were all over. Rome, Venice, Capri, Naples… A bit of New York. I’d love to spend more time in New York. I was very lucky recently to have my picture taken by Annie Leibovitz. We were outside the Chelsea Hotel, and this woman came up. [Thick Noo Yawk accent, shouting]: “Hey, Annie! Why don’t you take a picture of this dumpster? It’s been outside my block for two months! Take a picture of that!” There’s something about that New York-iness that I love. It still has such romance for me.

How old do you feel?

Really young. I don’t have an exact age for you. Thirties?

Some people feel in touch with their childhood selves, or almost unchanged from adolescence. Others seem to have been born an adult.

That’s really true. I think of playgrounds for children: you’re actively encouraged to play, as a kid. “Go out and play!” And I hate that at some point, maybe in your mid-twenties, someone goes, “Now, don’t play! Now, know everything. Now, turn on the television, acquire a mortgage and tell people what you know.” I have to play for a living. It’s so important, not just in your job, but in life. It’s a great pleasure of life, if you can hold on to that. Talking about my mum again, she had an amazing sense of fun.

She was a funny person? She made people laugh?

Absolutely.

That’s important, isn’t it?

It’s really important. I think having a sense of humour is one of the most important things in life. It’s such a tool. And you can develop it. My family were all funny. Laughter was a currency in our family. Humour is a magic weapon. It separates us from the other species. Like, I love my dog. I think dogs are amazing. And he can have fun, but he’s not able to go, “This is fucking ridiculous.” He’s not able to do that! So it’s a real signifier of your humanity, in some ways.

Also, being a funny person, or someone who can connect with people through humour, that’s how we make friends.

I think actors make really good friends. Because you’re in the empathy game. And because you’re making the decision to go into an industry that is really tough, you need to have your priorities straight: “I know this is tough, I know the chances of me succeeding in it are slim, but I’m going to go in anyway.” It shows a sort of self-possession that I think is a wonderful thing to have in a friend. Also, actors are just funny. And a lot of them are sexy!

Funny and sexy: good combination.

I know! Not that you want all your friends to be sexy, that’s not how you should choose your friends.

Oh, I don’t know. It’s not the worst idea.

It’s not. But I think it’s something to do with empathy. And it’s a troupe mentality as well. You’re good in groups.

It’s a gang.

I love a gang. Do you like a gang?

I do. Magazines are like that. A good magazine is a team, a great magazine is a gang. And the thing we produce is only part of it: you put it out there and people make of it what they will. The process of making it is the thing, for me.

Oh, my God. That’s something I feel more and more. Process is as important as product. I really believe that. You can have an extraordinary product, but if it was an absolute nightmare to make then, ultimately, that’s what you’re going to remember about it. You make good things that are successful that everybody loves? That’s lovely. But also, you make stuff that people don’t respond to. So, if you have a good time in the process, and the attempt is a valiant one, and there’s a good atmosphere, if it’s kind and fun, that’s the stuff you hold on to. One of the reasons I love the theatre is you don’t have to see the product. You just do it, and then it’s done. It’s an art form that is ephemeral. There’s a big liberation, too, in discovering you don’t have to watch any of your films if you don’t want to.

Have you watched Ripley?

I watched Ripley once.

And?

It’s a lot of me in it! Jesus!

Is that a problem?

I find it hard to watch myself. I do. There’s something quite stressful about looking at yourself. Have you ever heard yourself on someone’s answering machine? Horrific! You’re like, “Oh, my God, that can’t be me. How do they let me out in the day?” It’s like that, and then it’s your big, stupid face as well. Mostly, I have a feeling of overwhelming embarrassment.

On a cinema screen, I can’t even imagine. Your face the size of a house!

The size of a house, and there’s 400 people watching you.

Nature did not intend humans to ever experience this.

That is so true. It’s not natural.

I mean, even mirrors are to be avoided.

Maybe looking in the sea is the only natural way?

Well, Narcissus!

Yeah, true. That didn’t turn out well. I’d love for that to be a tagline for a movie, though: “Nature did not intend humans to ever experience this…”

But equally, nature didn’t intend the rest of us to gaze upon you in quite that way. We sit in the dark, staring up worshipfully at this giant image of you projected on a screen for hours. Is that healthy?

Without talking about the purity of theatre again, when you’re in the theatre, you, as the audience, see someone walking on the stage, and technically you could go up there, too. There’s not that remove. It’s live. There’s a real intimacy. That’s why I feel it’s the real actor’s medium. Your job is to create an atmosphere. I always find it insanely moving, even still, that adults go into the dark and say, “I know this is fake, but I don’t care: tell me a story.” And they gasp, and they cry, or they’re rolling around the aisles laughing. It’s so extraordinary, so wonderful that it exists. I really do believe in the arts as a human need. I believe in it so deeply. During the pandemic, our first question to each other was, “What are you watching? What book are you reading?” Just to get through it, to survive. It’s not just some sort of frivolous thing. It’s a necessity. As human beings, we tell stories. Expert storytellers are really vital. No, it’s not brain surgery. But, “Hearts starve as well as bodies. Give us bread, but give us roses.” I love that quote.

Tell me about playing Hamlet. Was it what you expected it would be?

It’s extraordinary. Loads of different reasons why. From an acting point of view, there’s no part of you that isn’t being used. So you have to, first of all, have enormous physical stamina, because it’s nearly four hours long. Our version was three hours, 50 minutes. And you have to be a comedian, you have to be a soldier, you have to be a prince, you have to be the romantic hero, you have to be the sorrowful son, you have to understand the rhythm of the language, you have to be able to hit the back of the auditorium — there are just so many things about it that require all those muscles to be exercised. You know, it’s so funny that we’re talking about this today. Because at the beginning of Hamlet, it’s two months since his dad died. His mother has already remarried, to his uncle! What are they doing? I mean the idea that next month my dad might marry someone else is so extraordinary! So, Hamlet’s not mad. Of course he would wear black clothes and be a bit moody. The more interesting question [than whether or not Hamlet is mad] is, who was he before? I think he’s incredibly funny. It’s a really funny play, Hamlet. And it’s a funny play that deals in life and death: the undiscovered country from which no traveller returns. It’s about what it is to be human. And what it’s like to be human is funny, and sad. The language is so incredibly beautiful and it’s also incredibly actable. And it’s also a thriller.

And a ghost story. It’s supernatural.

It’s a supernatural ghost story. And because the character is so well-rounded, I always think of it like a vessel into which you can pour any actor or actress. So, your version, the bits you would respond to if you were playing Hamlet, would be completely different to mine or anyone else’s. It can embrace so many kinds of actors. So Richard Burton can play it or Ben Whishaw can play it or Ruth Negga can play it or I can play it, and it’s going to bring out completely different sides. Did you do much Shakespeare at school?

I did. I studied Hamlet.

I remember Mark Rylance said…

[The waiter arrives with our pies and we both take a moment to admire them before breaking the crusts… The following passages are occasionally hard to make out due to enthusiastic chewing.]

You were about to say something about Mark Rylance. I saw his Hamlet in… must have been 1989, when I was doing my A-levels. He did it in his pyjamas.

I’ve heard. He came to see [my] Hamlet. He said, you feel like you’re on a level with it, and then in week four, you plummet through the layers of the floor and you’re on a deeper level. He was exactly right. Something happens. It’s just got depth.

Does it change you? Do you learn something new about yourself, as an actor?

I think because it’s such a tall order for an actor, it’s sort of like you feel you can do anything after that. Like, at least this is not as hard as Hamlet. You know you have those muscles now. We transferred it from The Almeida on to the West End. So, we did it loads of times. That’s a big achievement.

How many times did you play him?

One hundred and fifty. Twice on a Wednesday, twice on a Saturday. Eight hours [on those days]. Even just for your voice, it’s a lot.

We keep coming back to theatre. Is that because you prefer it?

It goes directly into your veins. It’s pure. You start at the beginning of the story and you go through to the end. When you’re making a movie, it’s a different process. Your imagination is constantly interrupted. You do something for two minutes and then someone comes in and goes, “OK, now we’re going to do Alex’s close-up, so you go back to your trailer and we’re going to set up all the lights and make sure that window across the street is properly lit.” And that’s another 20 minutes, and then you try to get back into the conversation we’ve just been having… And so the impetus is a different one.

The Hot Priest…

What’s that?

Ha! I watched Fleabag again, last week. It’s so good. But The Hot Priest, he’s a coward. He gets a chance at happiness with the love of his life and he doesn’t take it.

Well, not to judge my character, but I suppose there’s an argument that he does choose love. He chooses God. That’s the great love of his life. Whatever his spirituality has given him, he has to choose that. Is there a way that they could have made that [relationship] work? Of course there is. We’re seeing it from Fleabag’s point of view, literally, so of course it feels awful [that Fleabag and the Priest can’t be together]. But I think we understand it, the thing that is not often represented on screen but which an awful lot of people have, which is the experience of having a massive connection with somebody, a real love, that doesn’t last forever. I think somebody watching that can think, “I have my version of that. And I know that I loved that person, but I also know why we couldn’t be together.” And that doesn’t mean those relationships are any less significant. It just means that they are impossible to make work on a practical level. Not all love stories end the same way.

Annie Hall.

There you go! La La Land. Love that movie.

The Hot Priest is damaged. There’s a darkness there. Journalists interviewing actors look at the body of work and try to find through lines that we can use to create a narrative. It’s often a false narrative, I know that. However, that’s what we’re here for! Let’s take Hamlet, and the Priest, and Adam from All of Us Strangers, and, I guess, Vanya himself, even Moriarty. These are not happy-go-lucky guys. Ripley! These men seem lost, lonely, sad. Is it ridiculous to suggest that there’s something in you that draws you to these characters — or is it a coincidence?

That’s a really good question. I think it can’t be a coincidence. Like, even when you said “happy-go-lucky”, right? My immediate instinct is to say, “Show me this happy-go-lucky person.” With a different prism on this person, there would be a part of him that’s not happy-go-lucky, because that’s the way human beings are. If we could think now of a part that’s the opposite of the kind of part [he typically plays], a happy-go-lucky character…

How about the kinds of roles that Hugh Grant plays in those rom-coms? Yeah, the character might be a little bit repressed, a bit awkward at first, but basically everything’s cool, then he meets a beautiful woman, it doesn’t work out for about five minutes, and then it does. The end.

[Chuckles] OK, yeah. I’d love to have a go at that.

Wouldn’t you like to do that?

I would! I really would.

Why haven’t you?

I don’t know! It’s weird. That is something I would really love to do. Because I love those films. There’s a joy to them. It’s something I would love to embrace now. When I was growing up, as a young actor, I did want to play the darkness. With Moriarty, I was like, “I’ve got this in me and I’d like to express it.” And, conversely, now I think the opposite. I know that’s a little bit ironic, given I’ve just played Tom Ripley. Ha! But I have just played it, and I have spent a lot of time in characters that are isolated. And I was in a play [Vanya] that was one person. I don’t feel sad doing those things. It’s cathartic. But I would love the idea of doing something different.

Also, you don’t strike me as a person who is especially morose.

No! No, no, no. I’m not. But again, we all contain multitudes. My mother’s legacy was so joyful. Not that she didn’t have her soulful moments, because of course she did. I mean this as the opposite of morbidity, but it doesn’t end well for any of us, it really doesn’t. So bathing in the murkier waters, it’s wonderful to be able to explore that side of you, but also the opposite is true, the idea of joy and fun and lightness is something I’m definitely interested in. Like a musical! I’d love to be in a musical. I’ve just done a cameo in a comedy that I can’t talk about yet. It was just a day, with someone I really love, and it just lifted me up. But of course, there’s the stuff that people associate you with, and that’s what brings you to the table.

You played a baddie really well, so you get more baddies.

Yeah. You have to be quite ferocious about that. You have to go, “Oh, wow, that really is a great film-maker, that’s a lovely opportunity…” But how much time do you have left and what do you want to put out to the world? I feel like I want to be able to manifest what I have within me now. That’s a wonderful thing to be able to do. It’s such a privilege. And I feel so grateful for the opportunities I’ve been given. But why not get out of the hay barn and play in the hay?

Ripley has been well received. Do you read reviews?

I read some of them.

Why?

I’m interested in the audience. You know when people say, “You should never care about what other people think?” Of course I care what people think.

Ripley is excellent, but it’s quite gruelling to watch. Was it gruelling to make?

Yeah.

Because you have to inhabit this deeply unhappy person?

Maybe not unhappy. But very isolated, I think that’s key. It was hard. There was a huge amount of actual acting. Doing 12-hour days for almost a year. I’m not necessarily convinced you should act that much.

Ripley is himself an actor. He puts on other people’s identities because he doesn’t like his own. He doesn’t like himself. Some people think actors are people who don’t like themselves so you pretend to be other people, assume other identities. Or maybe it’s that actors are hollow shells. When you’re not acting, there’s no one there. No you. Sorry to be rude.

No, it’s not rude at all. I totally understand it. But I find it to be completely the opposite of what I’ve learnt. The essence of acting, for me, the great catharsis of it, is that you’re not pretending to be somebody else, you’re exploring different sides of yourself. You’re going, who would I be in these circumstances? Some of the darkest, most unhappy people I know are the people who say, “I don’t have an angry bone in my body.” Then why do I feel so tense around you? People who have no anger… I remember I used to have it with some religious people when I was growing up. People proclaiming that they’re happy or good or kind, that does not necessarily mean that they are happy or good or kind. That’s the brand they’re selling. I’ve always liked that expression: “fame is the mask that eats into the face.” How do you keep a healthy life when you’re pretending to be other people? You do it by going, “I’m going to admit I have a dark side.” It’s much healthier to shout at a fictional character in a swimming pool [as Moriarty does in Sherlock] than it is to be rude to a waiter in a restaurant, in real life.

You find that therapeutic?

Yes, you’re still expressing that anger. I think it is therapeutic.

So playing Tom Ripley every day for a year, were you able to exorcise something, or work through something?

Well, that’s why I found Tom Ripley quite difficult. He’s hard to know, and a harder character to love. If you think of Adam in All of Us Strangers, you go, “OK, I understand what your pain is.” What I understand with Tom, the essence of that character, is that he’s somebody who has a big chasm that is unknowable, perhaps even to himself. We’re all a little bit like that, we’re all sometimes mysterious to ourselves — “I don’t know why I did that…” — but to have empathy for someone like that is difficult. You know the boy in your class who gets bullied, and it’s awful, and you try and understand it but he doesn’t make it easier for himself? That’s the way I feel about Tom Ripley. It’s a thorny relationship. Your first job as an actor is to advocate for the character. That’s why I hate him being described as a psychopath. Everyone else can say what they like about him, but I have to be like, ‘Maybe he’s just… hangry?’ So you have to try and empathise, try and understand. When we call people who do terrible things monsters — “This evil monster!” — I think that’s a way of absenting yourself from that darkness. Because it’s not a monster. It’s a human being that did this. You can’t look away from the fact that human beings, sometimes for completely unknowable reasons, do terrible things. And that’s why it’s interesting when people talk about Tom Ripley. They say, “Have you ever met a Tom Ripley type?” The reason the character is so enduring is because there’s Tom Ripley in all of us. That’s why we kind of want him to get away with it. That’s [Highsmith’s] singular achievement, I think.

I find reading the Ripley books quite unpleasant. It’s a world I really don’t want to spend any time in. I read two of them preparing for this. She’s a great writer, but they’re horrible characters; it’s a depressing world.

I agree. That’s what I found most challenging. Where is the beating heart here? How much time do I want to spend here? And when you do, well, it took its toll. It did make me question how much time I want to spend with that character, absolutely. That’s the truth.

The way you play him, he’s very controlled. You didn’t play him big.

I think it’s important to offer up difference facets of the character to the director and he chooses the ones he feels marry to his vision. And those are the ones [Steven Zaillian] chose. And he executed those expertly.

Are you a member of any clubs?

Yeah, I’m a member of the Mile High Club. No, no…

That’ll do nicely.

OK, that’s my answer.

What’s your earliest memory?

Do they still have, I think it’s called a play pen?

Sort of like tiny little jails for toddlers? What a good idea they were!

I remember being massively happy in it. My mother used to say she just used to fling me in that thing and give me random kitchen utensils. I don’t know, like a spoon. I’ve always been quite good in my own company. I really remember being left to my own imagination and being very happy.

Do you live alone now?

Yeah.

Is that not lonely?

Of course I’ve experienced that but, ultimately, no. I don’t know if that’s the way I’m going to be for the rest of my life. But I certainly don’t feel lonely. I’ve got so much love in my life.

Would it be OK if you lived alone for the rest of your life?

Yeah. It would be OK. One of my great heroes is Esther Perel.

I don’t know who that is.

Esther Perel. She’s a sort of love and relationships expert, a therapist, and she’s a writer. A real hero, I think you’d really dig her. She talks about relationships and the mythology around them. The difference between safety and freedom. She talks with real compassion about both men and women; she talks about this idea of what we think we want, and what we really want. And how there’s only one prototype for a successful life, really, or a successful relationship. Which is: you meet somebody, da-da-da, you fall in love, da-da-da, you have kids, da-da-da. And that prototype just can’t suit every person in the world. There are some people who live in the world who might see their partner every second Tuesday and that suits them. And to be able to understand and communicate your own preference at any given time is really the aim. To be able to say, “At the moment I’m happy in the way I am, but maybe at some point…” I’ve lived with people before, and maybe I will again, but at the moment it feels right to sort of keep it fluid.

The difficulty, of course, with relationships, is there’s another person with their own preferences. Maybe you’re OK with every second Tuesday, but they need Thursdays and Fridays, too…

But isn’t that the beauty of love? That you construct something, like a blanket. You stitch all these things together. One of the things about being gay and having a life that ultimately is slightly different from the majority of people’s, is you learn that you can create your own way of living, that is different and wonderful. A homosexual relationship doesn’t necessarily have to ape what a heterosexual relationship is. That’s a very important thing to acknowledge. I mean, of course, if you want to do that, that’s brilliant. But you don’t have to. To me, the worst thing is to be dishonest or uncommunicative or unhappy or joyless in a relationship. It’s much more important to be able to have a difficult conversation or a brave conversation about how you feel or what you want. So many of my gay friends, I feel very proud of them, really admiring of the fact we have these conversations. It seems very adult and very loving to be able to acknowledge that the difference between safety and freedom can be real torture for some people. How do I love somebody, and still keep my own sense of autonomy and adventure? That’s a real problem. That’s what Esther Perel says. It’s one of the biggest causes of the demise of a relationship. That people coast along, they can’t have that conversation, and then the whole bottom falls out of the boat.

I wasn’t necessarily going to ask you about being gay. One tries to avoid labelling you as “gay actor Andrew Scott” instead of “actor Andrew Scott, who happens to be gay”. But since we’re talking about it already: because you’re famous, you become a de facto spokesperson for gay people. People look to you for the “gay opinion.” Are you OK with that?

I’ll tell you my thoughts on that. If I talk about it in every interview, it sounds like I want to talk about it in every interview. And, of course, I’m asked about it in most interviews, so I’m going to answer it because I’m not ashamed of it. But sometimes I think the more progressive thing to do is what you’re saying: to not talk about it and hopefully for people to realise that if you had to go into work every single day and they said, “Hey, Alex! Still straight? How’s that going?”… I mean, being gay is not even particularly interesting, any more than being straight is. But I understand, and I’m happy to talk about it. I suppose it depends on the scenario. I just don’t want to ever give the impression that it isn’t a source of huge joy in my life. And at this stage in my life, rather than talk about how painful it might have been or the shame, or not getting cast in things [because of it], actually, I’m so proud of the fact that I’m able to play all these different parts and, hopefully, in some ways it demystifies it and makes people — not just gay people, but all people — go, “Oh, yeah, that’s great that it’s represented in the world, but being gay is not your number-one attribute.” The problem is it becomes your schtick. Frankly, I feel like I’ve got just a bit more to offer than that.

Two reasons I think you get asked about being gay. One is just prurience — you’re famous and we want to know who you’re shagging — and the other is that identity politics is such an obsession, and so polarising, and we hope you’ll say something controversial.

I think that’s right, I think that’s what it is. But sometimes people think there’s just one answer, in 15 characters or less. That’s something I resist, slightly.

All of Us Strangers is about loads of things, about grief, love, loneliness, but it’s also very specifically about being gay. To me, anyway.

Yes, it is.

I thought, in particular, that the scene with Claire Foy, where your character comes out to his mother, was incredibly moving.

Isn’t it extraordinary, though, that you, who is not a gay person, could find that so moving? There’s no way you’d find that moving if it was only about being gay. I always say that coming out has nothing to do with sex. When you’re talking to your parent, you’re not thinking, “Oh, this is making me feel a bit frisky.” Anyone can understand that this is about somebody who has something within them — in this case, it’s about sexuality — that he hopes is not going to be the reason that his parents don’t speak to him anymore. And I think we all have that: “I hope you still love me.” And the great pleasure about All of Us Strangers is that it’s reached not just a particular type of audience, but all types of people. And I love they’re able to market it to everyone. Usually they do this weird thing where they pretend the film’s not gay…

Right. There would be a picture of a woman on the poster.

Exactly. Someone who’s playing the neighbour! But now you’re able to market a film with Paul [Mescal] and I, and the fact is that that’s going to sell tickets. I know there’s a long way to go, but that is progression. Before, that wasn’t the case. This time, no one gave a fuck. Nothing bad happened. The world didn’t explode. Family didn’t collapse.

Identity politics question: there’s an opinion now frequently expressed that gay people ought to be played by gay actors, and so on. What are your thoughts on that?

The way I look at it, if somebody was to make a film about my life — it’d be quite a weird film — would I want only gay actors to be auditioned to play me? I would say that I’m more than my sexuality. But there might be another gay person who feels that’s incredibly important to who they are and how they would like to be represented on film. How do we balance that? I don’t know. I don’t have an easy answer on that. I think it’s a case-by-case thing.

You’ve played straight people and gay people. You’re Irish but you’ve played English people and American people. I would hope you would be able to continue doing that.

The question I suppose is opportunity, and who gets it. It was very frustrating to me, when I was growing up, that there were no gay actors.

Well, there were lots of gay actors…

But not “out” gay actors. Now there are more. Representation is so important. So I think it’s complicated, and nuanced. And talking about it in a general way rather than a specific way is not always helpful. It depends which film we are talking about. Which actor.

You were spared the curse of instant mega-fame, aged 22. Would you have handled that well?

No. I think all that scrutiny and opinion, it’s a lot. Now I’m able to look at a bad review or somebody saying something really horrible about the way I look, or even someone saying really nice things about that, and go [shrugs]. Before, when that happened, it was devastating. But I survived and it was fine, and I got another job and I was able to kiss someone at a disco, so… Whereas if you’re 22 and you don’t have that experience behind you, you go, “Oh, my God. This is horrible, what do I do?” And also, there’s much more scrutiny now, so much more. I think that must be really hard. Social media is a crazy thing, isn’t it?

I think it’s a horrible thing, on the whole.

That thing you were saying about cinema, about how it’s not natural to see yourself, or other people like that… The amount of information that we’re supposed to absorb and process? Wow. You wake up in the morning and you’re already looking at it.

They used to say that the fame of TV actors was of a different order because they are in your home. People felt they knew the stars of Coronation Street in a much more intimate way, while movie stars, Cary Grant or whoever, these were much more remote, almost mythical creatures. People who are famous on Instagram or TikTok are in the palm of your hand talking to you all day.

And it’s so interesting what people on social media choose to tell you about their lives, even when nobody’s asking them any questions. Like, is that person insane? It’s a very dangerous thing. I find it troubling.

Do you think things are getting better or are they getting worse?

That’s such a good question. I have to believe they’re getting better. I don’t know what that says about me.

It says you’re an optimist.

I think I am an optimist.

What’s the weirdest thing you’ve ever put in your mouth?

Fucking hell. Do you know what I don’t like? Any food that you don’t have to put any effort into eating.

Give me an example.

Custard.

Yes!

I don’t mind ice cream, because it’s got a bit of texture. But I don’t like mashed potato. I don’t like creamed potatoes, or creamed anything.

Risotto?

Absolutely borderline. So if it’s got a little bite to it, it’s OK. But baby food. Ugh! Makes me feel a bit sick.

What’s your favourite of your own body parts?

Ahahah! What do I like? What have we got? I don’t mind my nose? My eyes are OK. Like, my eyes are definitely expressive, God knows. Fucking hell. I remember I was in rehearsal once, and the director said, “Andrew, I just don’t know what you’re thinking.” And the whole company started to laugh. They were like “You don’t? What the fuck is wrong with you?” Because I think I’ve got quite a readable face.

Which is a tool for an actor, right?

It can be a tool for an actor. But you have to learn what your face does, as an actor. On film, your thoughts really are picked up.

What’s your favourite body part that belongs to someone else?

I like hands. And I like teeth. Someone with a nice smile.

Are you similar to your dad?

Yeah, I am. He’s pretty soft-natured, which I think I am, to a degree. He likes fun, too. And he likes people. He’s good at talking to people. He’s kind of sensitive, emotional. He’s a lovely man, a very dutiful dad to us, very loyal.

Would you miss the attention if your fame disappeared overnight?

I definitely think I would miss an audience, if that’s what you mean. The ability to tell a story in front of an audience, I’d miss that. Not to have that outlet.

Before you got famous, you were having a pretty decent career, working with good people, getting interesting parts. Would it have been OK to just carry on being that guy, under the radar?

Oh, my God, yes. Absolutely.

Would you have preferred that to the fame?

The thing is, what it affords you is the opportunity to be cast in really good stuff. You get better roles, particularly on screen. And I’m quite lucky. I have a manageable amount of fame, for the most part.

Some people are born for fame. They love it. They’re flowers to the sun. Others should never have become famous. They can’t handle it. You’ve found you’re OK with it.

Do you know what I feel? I feel, if I was in something I didn’t like, if I was getting lots of attention for something I didn’t feel was representative of me, I think I’d feel quite differently. I feel very relaxed, doing this interview with you today. I feel like, whatever you’re going to ask me, I would feel self-possessed enough to say, “Alex, do you mind if we don’t talk about that?”

Shall we leave it there, then?

Thank you. That was lovely.'

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reluctantjoe · 11 months ago

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Mathew Baynton: ‘I’ve never done any Shakespeare – although I’ve played the man himself’

Best known as part of the troupe behind hit TV series Horrible Histories and Ghosts, Mathew Baynton tells Fergus Morgan about returning to the stage – in the RSC’s A Midsummer Night’s Dream – and how his Bottom will be sweet and sincere

Actor and writer Mathew Baynton will be familiar to most from his screen roles – as Deano in Gavin and Stacey, Simon in Peep Show and as lovelorn 19th-century poet Thomas Thorne in BBC One’s much-loved and recently concluded sitcom Ghosts. In fact, television has taken up most of Baynton’s time lately. When he steps on stage as Bottom in the Royal Shakespeare Company’s new production of A Midsummer Night’s Dream later this month, it will be his first theatrical role in more than a decade.

“I never made a conscious decision to do less theatre,” Baynton says. “There has been stuff that never worked out, some near misses that didn’t happen and it ended up being 10 years. I love Shakespeare but I’ve never had the chance to do any, although I’ve played the man himself a couple of times. I have had that Uncle Monty realisation from Withnail and I that I will never play Romeo or Hamlet, but there are loads of great Shakespeare roles that I want to do, such as this one.”

Born in 1980, Baynton grew up in Southend-on-Sea. He was “comedy obsessed” as a child – “I used to have everything from Blackadder to French and Saunders on VHS,” he remembers – then became interested in the physical theatre comedy of troupes such as Peepolykus and Spymonkey. He completed a degree in directing at Rose Bruford College, then travelled to Paris to train at the prestigious Ecole Philippe Gaulier school.

In 2009, he collaborated with five other comedians – Simon Farnaby, Martha Howe-Douglas, Jim Howick, Laurence Rickard and Ben Willbond – on the CBBC sketch show Horrible Histories. The six of them subsequently formed the collective Them There, and went on to create the series Yonderland and Ghosts. Baynton also co-wrote the 2013 comedy The Wrong Mans with James Corden, and stars in recent blockbuster Wonka as a conniving chocolatier. He lives in London with his wife and children.

“Every influence I’ve ever had is in there somewhere,” Baynton says, when asked about his approach to comedy. “In some ways, though, the older I get, the more I think that being funny is almost innate. It feels like a rarer quality than any other. It is hard to teach someone who has no funny bones to be funny. Ultimately, I just like collaborating in a room with like-minded people, trying to make stuff funnier and better. It feels natural to me. It feels not dissimilar to playing in a band.”

What production made you fall in love with theatre?

I had a wonderful theatre studies teacher called Mr Valencia, who borrowed the school minibus and drove us into London to see shows. He took us to some absolute crackers. One that stands out in particular is Complicité’s The Street of Crocodiles. That blew my mind.

What are you finding inspiring at the moment?

I’m an avid consumer of all kinds of art. I like discovering new things. I don’t get to the theatre as much as I’d like to, though. The most amazing show I saw recently was Accidental Death of an Anarchist starring Daniel Rigby and written by Tom Basden. That was completely inspiring.

What do you wish you could change about the performing arts industry?

Firstly, tickets are way too expensive. Secondly, access to our industries is really difficult. We lose an awful lot of voices that would enrich our industry because they can’t afford a career in the arts.

What is the worst thing that has happened to you on stage?

I can’t think of anything off the top of my head. On television, you can corpse and do another take. On stage, there is that hot panic when you realise you can’t hold on. I don’t think it will matter too much if that happens in A Midsummer Night’s Dream. It would be different if I was playing Macbeth.

What is the best thing that has happened to you on stage?

I’m lucky that I have been able to work with some of my heroes. To pick a recent example, on the first day of shooting for Wonka, I was in a green room at St Paul’s Cathedral with Rowan Atkinson. I was sat there with Blackadder. That was a pinch-me moment.

What role do you really want to play?

There are loads. I’m hungry to do lots of stuff, not just comedy. I’d love to play Malvolio one day. I was asked this question on the red carpet for Wonka, and I said that I would love to play Jack Skellington if they ever did a stage adaptation of the Tim Burton film The Nightmare Before Christmas.

What projects are you involved in at the moment?

I’m playing Bottom with the Royal Shakespeare Company until the end of March. My Bottom does have some similarities to Thomas in Ghosts. I look a lot like him, I suppose, and I’m playing him with sincerity, too. Bottom is just really, really keen on putting on a show and there is something sweet and interesting about that.

A Midsummer Night’s Dream is at the Royal Shakespeare Theatre, Stratford-upon-Avon from January 30 to March 30: rsc.org.uk

#mathew baynton #mat baynton #the stage #a midsummer night's dream #a midsummer nights dream #amnd #another lovely read #plus a new photo!! will have to check out their social media & a possible website for hopefully more #rj: interview #rj: mathew baynton #rj: the stage #rj: a midsummer night's dream #rj: 2024

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xoxo-bunnydumpling · 2 years ago

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My son has a band competition this coming up week, state championship. He was really nervous today, got tired of being nervous, and asked me if I've ever fucked up.

Oh boy.

So I decided to tell him about the time I just kinda made shit up at a Shakespeare festival. What had happened was...when we moved back to California from [redacted] we moved to a city with a performing arts school. Public, no tuition, but you had to audition. I'd been drumming a while and thought I wanted to do that 5ever, so even though my mother had sold my drums to put a down payment on our apartment I rocked my little ass down there on a city bus after not practicing at all for several months and auditioned for the music program.

I got accepted, somehow, and they put me in the jazz band. After my first semester, I don't remember what happened but the jazz guy left and we were put into concert band which I struggled with a ton. See...jazz guy was teaching us to read music, the other guy expected us to already know. I still don't know how, because I beefed with this guy so so completely, and he with me, that I left the program. My only other choices for "major" were theatre and visual arts so I went for theatre because I incorrectly assumed it was easier.

I wasn't supposed to go to Shakespeare fest as a freshman. That was a senior thing, but not enough seniors wanted to go that year. So they kinda just started asking people "hey kid, wanna learn Shakespeare?" And I did because the trip was a whole weekend away from my shitty living situation.

I'm pretty good at memorizing things. We had a whole month, surely that's enough time with rehearsals and whatnot.

As it turns out, it might not be. I'm on stage, in the gorram fuck middle of a monologue and my brain goes poof. I was given some advice for in case that happened..."riff your way back" and so I tried to. I tried so hard to get back on course and it was not happening at all so I'm up there sweatin' like three bitches just making shit up.

Shakespeare isn't really a make shit up kinda vibe.

It was awful.

So terrible.

My god I can still feel the embarrassment in my soul.

I threw up after.

I told him all this, and he looked at me and said "shoulda stayed in band, dude."

Yeahhhh, probably.

The thing with that is, someone was an asshole. They told me, "there's no way you're gonna make it here. You're not one of us and you're not an actor. You should just go back to normie school."

And so I decided to stay in theatre after jazz guy came back. I did everything I had time for and some stuff I didn't. I auditioned for shows I didn't even want to be in so that person would see me every single time and when I beat them to a role they assumed they'd get because they were an actor and I wasn't it was the best day of my petty little life.

Am I an actor now? No. Am I still petty? Hell yeah. I see kids in my son's band neg him for not having played music since birth, etc all the time. But he's made it to the FUCKING STATE CHAMPIONSHIPS because he's amazing and also because being petty is apparently genetic. He could have left for sports, he's good at that too, but I know he stays because he loves it and also to let them know he won't be ran off.

However this competition goes, I'm proud of him...and if he fucks up like he's afraid he'll do, then it just be like that sometimes.

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thompsonstessa-moved · 3 years ago

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'Teraz Rock' Interview - english translation

A well know polish magazine about rock music 'Teraz Rock' (Now Rock) had an interview with Måneskin, and since one of the polish fans on FB shared pictures of the magazine, I decided to translate the interview, because I loved some of the stuff they said there! :D

As always, the whole thing is under read more. ;)

Maneskin is not only ‘Zitti e buoni’ and their winning performance in Rotterdam during the recent finale of Eurovision Song Contest. Italian band fits perfectly into the trend of rock restorers, and at the same time fights with the mental narrowness, prejudices and homophobia. On August 19th they will play In Park Kolibki In Gdynia.

I: You started by playing on the streets of Rome…

V: Unfortunately, there is not a lot of possibilities to debut in Rome. Rome is lacking the appropriate places, there are almost no rock shows. So we couldn’t find a place where we could show ourselves to the people. So we decided to play on the streets to gain the following, the listeners. We did that for good few months. And we had a lot of fun doing that. We think it really helped us, too. Because when you play on the streets, you don’t play for someone who came to listen to you. You need to attract people’s attention. So it was a great lesson on stage skills, to keep the attention. And we played many hours each day, so we also evolved as musicians, as a band.

I: Is it true that you had issues with police? V, D, T, E: Yes, that’s true!! (laugh)

D: It was all because of this old lady, that lived on the first floor, near the place where we used to play. She snitched on us! And sometimes police came and tried to get us to leave.

I: They didn’t arrest you?

D: No, it wasn’t that bad.

V: We were 16 back then. We just went all ‘We swear we won’t do it again!’ (laugh). We hid somewhere for 10 minutes….

D: Went around the block….

V: And played again (laugh).

I: You admited that at first you were shy. How did it happen that you gained so much self-confidence? Do you think one has to be self-confident if they want to show the world that they have something to say in music, in art?

V: It is important, but its more about feeling good with yourself and having fun doing what you do, rather than confronting the world. I think that if you lack confidence, you can’t fully enjoy creating, because you keep thinking ‘What the other will think about it?’. But everyone has to go through this phase. In my opinion, self-confidence is not something you’re born with. Everyone has the moments of hesitation and doubt. I have them too, still. And I think that’s perfectly normal. But you need to learn to appreciate yourself, accept yourself the way you are, because you can’t run away from yourself. We have whole life with ourselves, until the day we die (laugh).

I: Damiano, in one of the interviews you said ‘What we say, can change someone way of thinking’. Do you want to influence your audience? Artist like Chuck Berry or AC/DC just had fun on stage.

D: We also have fun on stage. But now, when we’re well known, we can get to many people, especially young ones. And there’s a chance, that if we say something positive to them, we could help them with their problems, that they can’t fight on their own. For example – like Vic said – we can help them gain more self-confidence and make them feel safer in the world around them. I’ll say this: if as a musician you have something to share with others, do it. But if you just want to have fun playing, that’s OK too.

T: Exactly.

I: Your behaviour on stage is often the reason for homophobic attacks. What would you say to homophobes here in Poland?

V: Fuck them!!!

T: Fuck them!

E: Fuck them, fuck them! (laughing)

D: Maybe not so vulgar.....

T: Fuck them!

D: For sure they should open up more, get rid of prejudices. Make a step forward. Free themselves from the old way of thinking. Let the others live however they want.

I: You debuted in 2017 with EP ‘Chosen’ with two of your own songs and few covers. Even tho you were so young, you already came off as mature musicians with a set style…

V: Thanks, but I don’t think so (laugh).

D: I don’t think we would agree with that.

E: We wouldn’t agree with that, definitely.

V: My bass playing skills definitely left much to be desired.

D: 'Chosen' definitely has its advantages, but… we were still looking for our sound back then. That EP is so much more different than our other albums. But it is a part of our career, our journey, and we don’t regret anything that has to do with it. We had a lot of fun recording it and… its something we did in the past and we’re happy that people loved it.

V: Still love it!

D: Exactly, still love it. Even tho we changed so much since then.

V: The most important and coolest thing about that EP is that even tho we were really young and our skills weren’t as good, you can still hear that we already had charisma and knew what we wanted. And even tho most of the EP consists of known songs, we changed them, played them in our own way, our own style. And that’s really cool because it shows us as a band with their own personality. Of course, now that we listen to that EP, we have lot to complain about…

D: We would do the songs much better.

V: But we like the attitude we already had back then. Even tho we were so young.

E: Our sound really changed since then, but you need to remember that when we we’re recording it, it was already a huge accomplishment for us.

D: That’s true.

I: On ‘Chosen’ Damiano sung in english. On your first album, ‘Il ballo della vita’ from 2018, you had songs in italian as well. Did your songs get more personal because of that?

D: I wouldn’t say that. We started writing songs in italian out of necessity. If you’re an Italian artist and want to reach Italian audience, you need, you have to sing in italian, because not a lot of people speak english there. Now it’s different, we managed to reach international audience, so we can make more songs in english. But we won’t resign from italian, we like to write in italian as well.

I: While recording ‘Il ballo della vita’ you made documentary ‘This Is Maneskin’…

E: They will never forget it! (laugh)

I: You can see there, that during that time you argued a lot.

D: We were young!

I: Did the conflicts threaten your band’s future?

D: No! We were just starting out...

V: Conflicts were inevitable. We were very young and suddenly tabloids were writing about us. And recording an album required a lot of work. And we never experienced that before, we had issues dealing with work in the studio. Because creating and recording together isn’t easy. You need to make many decisions, everyone has their own opinion. Now we’re more mature, we know how to deal with those situations. We can discuss with each other in a constructive way. We were much more childish back then and yeah, we fought sometimes. But even then nothing happened that could threaten our band.

I: ‘Il ballo della vita’ is a concept album of sorts. You have there Marlena, who, like you said, is personification of the concern a lot of you have – that we’re not able to be yourself…

D: The album was supposed to share a message to our fans. We wanted to tell them how important for us is the freedom to be yourself. The ability to love someone, that was chosen by our heart. Freedom to wear the clothes we like. Et cetera, et cetera… We realized that the album would speak to people more, and will be easier to understand, if we gave that idea a name. Of course it’s an idea that we still share to this day, just maybe a bit differently.

I: Your last album, ‘Teatro D’Ira Vol. 1’, you recorded live in studio. Did the way you worked on it was much different from the way you recorded ‘Il ballo della vita’?

D: Oh yeah! It definitely took us less time!

V: Definitely much faster. It was very exciting. We wanted to keep in studio the energy we have when we play concerts, which meant playing together. Which is of course much more difficult than recording separately. But we told to ourselves: let it be, we should at least try. And we loved the result.

D: You know, at first you work on the material in rehearsal room. And you’re full of energy. But then you come into recording studio, where you divide the song into parts, and you loose that power, that magic. So we realized that we should change the way we work, so we could keep the emotions from rehearsals.

I: ‘Teatro D’Ira Vol. 1’ is another concept album. You said its all about the rage, that plays the role of catharsis sometimes. Can you say something more about it?

V: Anger is mostly seen as something negative. And we think that classifying emotions as positive or negative is stupid. Especially in art. When you’re creating, anger can make you give more from yourself, say more. And that’s what our album is about, talking about the world of theatre. We show that something that’s seen as bad, can – especially in the world of art – become something good. And those songs, that are so full of rage, can bring relief to our listeners, which only confirms what I’m trying to say.

I: In the lyrics to 'In nome del padre’ and ‘Vent’anni’ you’re talking about mistakes you made in the past...

D: They are very different tracks, even if they seem to talk about the same topic. Vent’anni is all about our age, because we think it’s a very special moment in your life: you become an adult, but you’re still too young to be considered as such, and they don’t treat you seriously. We wanted to share that with our fans, because maybe they think the same. And In nome del padre is about the battle we had to fight, the mistakes we had to make, to get where we are today. Of course we’re still young, we still make mistakes. But I’m singing about the mistakes from the past, because they made us the way we are today. And I’m saying: don’t be afraid to make mistakes, because they are a part of your journey, your life. What’s important is how you react to those mistakes.

E: It’s not a mistake to make mistakes.

I: The next album, continuation of ‘Teatro D’Ira Vol. 1’ – is it already recorded?

D: No, no.

V: Indeed, our next album will be continuation of ‘Teatro D’Ira Vol. 1’, but we’re still working on it. We don’t want to record it in a hurry, we want to take our time making it.

D: We have a lot of songs already, but we want to have plenty to choose from. We want the album to have the most representative songs, the best ones.

#maneskin #måneskin #måneskin interview #maneskin interview #damiano david #victoria de aneglis #ethan torchio #thomas raggi #*mine

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emmythespacecowgirl · 3 years ago

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Happy holidays, Emmy!!

For the ship ask game (Band of Brothers, please? you are a gem💎) ... my biggest passion is storytelling, through art, writing, and theater. I am definitely a cat person (though I also like dogs) and can't wait to adopt one once circumstances fall into place. I am also an introvert who feels emotions very strongly and wears her heart on her sleeve. I joke about my trauma to cope lol but all I really want is to tell somebody wholeheartedly about what I've been through while they hold me. And cuddles!! My love language is 10000% physical affection. Also I think I'm pretty good at gift-giving so that's a thing too. I don't get fired up all that easily but when I do it's a firestorm. My sleep schedule goes from 10 hours of sleep to 2 hours and it's fine anyway I'm so glad you opened up requests for this and I can't wait to see what you come up with!

💕💕

Omg I’m so glad to see you in my inbox @howunexpectedlyso ! Your blogs bring me such joy! I couldn’t wait to respond to your request but it also took me a while to brainstorm HCs because I see you with a lot of the Easy boys and I wanted to make sure I picked the most compatible one! Here you go! And Happy Holidays!!

I ship you with: George Luz!

What would we do w/o George Luz??

What would George Luz do w/o you?? ;)

You guys are perfect together and really light up each other's lives during the holidays

Like you, George is a natural storyteller

More so in the way of acting, though

You both audition at your community theatre for It’s A Wonderful Life

George pouts all week about not getting the main role, George Bailey

He says that he would’ve been perfect, after all, he is a George, too ;)

You get cast as Mary

You help eachother run lines

George is also your hype man if you ever get stage fright or start doubting your own acting abilities

During final bows, he’s beaming with pride when he sees you out there on the stage

After the final performance, George convinces you it’s a good idea to throw the cast party at your apartment

Though you both love the cast like family, your favorite part of the evening is when everybody leaves

You like it, as an introvert, because that means you get to recharge

George likes it because it gives him a chance to cuddle with you on the couch

It’s the one time the man with actually stfu

Like you, George is also a physically affectionate person

He knows exactly how to nuzzle his face into the crook of your neck and kiss your ear after whispering “I Love You”

You both fall asleep on the couch, party streamers still on the floor, watching your favorite christmas movie at 2am.

The last thing you remember hearing is George mimicking some stupid line from the movie.

George is more than happy to keep snuggling you until 10am

He basically is insulted if you or anyone suggests getting up before 9am

Even though he gets up sort of late, he still has a fun activity planned for the day

It is the week before Christmas after all��

Though groggy, he drives you both down the street to grab a coffee/tea

He then drives you both to the Humane Society.

You look over at him skeptically

“What?” He shrugs. “I just want to take a look inside.”

So you both go in and George asks the volunteers to see the cats.

Your heart immediately starts swelling. George knows how much you love cats.

The volunteers bring out a new litter of kittens.

One of them immediately catches your eye - an orange tabby.

George is like a little kid in a candy shop.

He’s on the floor playing with the kittens, making funny cat noises.

Your heart already belongs to the orange tabby, who hasn’t left your side since you met.

George can tell how smitten you are with the kitten.

“We’ll take that little guy!” George tells the volunteer, pointing to the kitten.

“What?!” You turn to George.

“Merry Christmas, sugar.” George smiles up at you.

He tells you how he remembers you telling him one night how much you’ve always wanted a cat, and now that you guys have moved in together, you can finally start raising one.

“Maybe next Christmas we can invest in a dog.” George winks at you sweetly, relishing your delight at your new Christmas gift.

Hope you enjoyed! Happy Holidays!!

#holiday gifts #holiday headcanons #hbowar #band of brothers #george luz #howunexpectedlyso #<3

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paralleljulieverse · 3 years ago

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It’s been a while between posts here at the Parallel Julieverse, but we have finally managed to clear a bit of time from work, life, and other such annoyances to get back to what really matters: all things Julie! And in this post we highlight an interesting tidbit of trivia from late-1950 when Julie was appearing in Red Riding Hood at the Theatre Royal Nottingham, the subject of a recent 70th anniversary tribute post.

Although she had only just turned 15 when she was cast as the eponymous lead in Red Riding Hood, Julie Andrews was already an established juvenile star of considerable note. Her debut star-making turn as a 12-year-old child prodigy in Starlight Roof in 1947/48 garnered widespread media attention and it catapulted the young singer into a whirlwind period of touring performances, radio programmes, West End pantomimes, and even early television appearances. Julie’s subsequent casting as the resident singer in the hit BBC radio series, Educating Archie, augmented her fame further, bringing her voice into the sitting rooms of Britain on a weekly basis and making her a household name.

With this growing renown came equally expanded opportunities for cross-promotional marketing such as celebrity endorsements and advertising. A particular variant of celebrity promotion popular in the era was the staged 'star visit’ or what today might be termed ‘celebrity event marketing’ (Segrave 2005). Here the star would be invited to appear at a particular event or special occasion as a way of boosting public and media interest, while serving in return as a form of value-adding PR for the star and his/her professional ventures.

Julie was involved in several such ‘star visits’ during the three month run of Red Riding Hood. During rehearsals in mid-December 1950, she was invited as a VIP guest and honorary judge at the Annual Dance for Booth and Son, a major British apparel manufacturing company (‘Ilkeston’, 1). Around the same time, she paid a special visit to the Nazareth House for Children in Nottingham (‘Night’, 2), as well as the Borough Green Air Training Corps Cadets Open Night where “[p]art of the evening’s entertainment had to be cancelled in order to allow the enthusiastic younger generation to get her autograph” (‘Julie stopped’, 3).

One of the more fascinating such events -- and the one that we profile here -- was a courtesy visit to famed music impresario, Lawrence Wright. Today, Wright is little remembered, save by a handful of theatre history enthusiasts, but he was a major figure in the British entertainment industry of the early twentieth century (Wright 1988). Popularly dubbed the ‘Daddy of Tin Pan Alley’ and the ‘Monarch of Melody’, Wright started as a music composer in his hometown of Leicester where, under the pseudonym of Horatio Nicholls, he penned a string of popular songs such as “Down by the Stream", “Blue Eyes”, “Toy Drum Major”, and “Among My Souvenirs” (‘Alley’s Daddy’, 3).

Wright’s greatest success, however, came as a sheet music publisher and entertainment entrepreneur. In 1910, he chanced upon a catchy tune written by a local Leicester street singer called “Don’t Go Down the Mine, Daddy”. He promptly purchased the rights to the song and published it as part of his embryonic music company. A week after the song went on sale, there was a tragic mining disaster in Whitehaven in which 147 men and boys lost their lives. Recognising a potential marketing angle, Wright had a snipe printed across the top of the sheet music declaring that “Half the profits from the first ten thousand sold will go to the relief fund for the Whitehaven pit disaster” (Wright, 4). The song became a national sensation, selling over a million copies, and making Wright a small fortune. With the proceeds, he moved to London and set up shop as the ‘Lawrence Wright Music Company’ in Denmark Street, establishing what would become the city’s ‘Tin Pan Alley’.

Under the slogan, ‘You Can’t Go Wrong with the Wright Song’, Wright became the single biggest music publisher in the UK with an eventual catalogue of over 5000 songs which he leased to major theatre producers and singing artists of the day. In an era when many homes had a piano and singalongs in the parlour were a popular social pastime, Wright also sold his sheet music direct to the public through a nationwide chain of ‘Lawrence Wright Music Shops’. Ever the canny entrepreneur, Wright diversified his business holdings with a host of affiliate ventures. In 1926, he founded The Melody Maker, the first British periodical devoted to popular music, which remained in continuous publication right into the early-2000s. He launched a popular series of self-paced musical tutorials which taught a generation of young Britons how to play everything from the piano to the banjo. Wright also moved into theatre producing, mounting an annual summer revue, On With the Show at the North Pier Pavilion in Blackpool, which ran for 32 years and served as a showcase for many of the nation’s biggest variety acts (Wright 1988).

One of Wright’s more legendary professional pursuits was in the area of entertainment publicity. An inveterate showman, he would do anything to advertise his latest song or business venture, often falling foul of the authorities with some of his more colourful efforts. To promote his 1927 song, “Me and Jane in a Plane”, he chartered a bi-plane to fly at low altitude around the Blackpool Tower, while Jack Hylton and his Band played the song on board and dropped advertising leaflets to the startled crowds below. He offered £1000 to anyone who could disprove the title of another Wright song, “I’ve Never Seen a Straight Banana”, with the result that Denmark Street was awash with truckloads of fruit sent in by eager contestants. And what better way to launch a tune called “Sahara” than to dress a bevy of beautiful blondes as Arabian princesses and ride them on camels around Piccadilly Circus (Wright, 11; ‘King’, 7).

Less extravagant, but no less important to his business success, was Wright’s promotional use of stars. Across his fifty year career, Wright forged key professional relationships with many leading musical artists of the day. He even married a star: variety singer and comedienne, Betsy Warren, in 1933, though their union ended in divorce after only a few years. More enduring were his collaborations with the scores of stars who sang his songs and appeared in his shows. In 1960 to mark his 50th year in show business, Melody Maker published a special golden anniversary tribute to Wright that was brimming with congratulatory greetings from a cavalcade of stars old and new: everyone from George Formby, Jack Payne, and Billy Cotton to Harry Secombe, Connie Francis, and Frankie Vaughan (Wright, 18).

It was in this context that 15-year-old Julie Andrews found herself paying a promotional ‘star visit’ to Lawrence Wright in late 1950. The precise circumstances surrounding the visit are unknown. The young singer had an existing professional relationship of sorts with Wright, having included several of his songs in her concert repertoire such as “The Dream of Olwen” and “I Heard a Robin Singing”. Indeed, an article in the trade press from this time makes mention of Julie in relation to a newly published Wright number, “The Song of the Tritsch Tratsch” which she had started to perform in some of her concerts and, she was quoted as saying, it “always gets a grand reception” (‘Song Notes’, 4). Another likely influence behind the visit was Tom Arnold, the producer of Red Riding Hood. Arnold was a close business associate of Wright’s and one suspects he may have been instrumental in engineering the visit as a way of promoting his panto. Either way, at some point in November/December 1950, Julie dutifully trotted off to Wright’s office where, with photographers conveniently on hand, the young “panto starlet” was received by the impresario and what press reports termed a chorus of “his stars”.

It is this “chorus of stars” that makes the visit especially interesting from a theatre history perspective. While the names of the five female stars assembled to greet Julie may not ring many bells today, they were all celebrated theatrical luminaries of their day:

Carole Lynne (1918-2008): A glamorous actress and singer of the 1940s, Lynne starred in a string of big West End musicals including Black Velvet (1939), Old Chelsea (1943) opposite Richard Tauber, and a revival of Jill Darling (1945). She also appeared in a number of wartime comedy films such as Ghost Train (1941) and Asking For Trouble (1942) with Max Miller. In 1946, Lynne married famed theatre impresario, Lord Bernard Delfont -- the brother of Sir Lew Grade who would play a major role in Julie’s career -- and, after retiring from the stage in the early 50s, she became a prominent society hostess and patron to many theatre charities (’Carole Lynne’, 62).

Dorothy Ward (1890-1987): A noted beauty of the Edwardian stage, Ward rose to prominence in West End operettas such as The Dairymaids (1906) and Tom Jones (1907). She achieved her greatest fame, however, as a dashing pantomime Principal Boy, appearing in over 40 pantos across her 50 year career. In many of these shows, she played opposite her husband, Shaun Glenville, a noted panto Dame, and few Christmases passed without the pair “on the same stage, he in skirts and she in tights” ( ‘Obituary: Miss Dorothy Ward’, 14).

Marie Burke (1894-1988): A singer of remarkable versatility, Burke originally trained for an operatic career but found her niche in the lighter fields of operetta and musical theatre. She made a high profile debut as Isolde in Charles Cochran’s controversial 1919 production of Afgar, after which she spent several years touring in the United States and Australia. Burke had her greatest stage success playing the part of Julie in the premiere London production of Show Boat (1928). Thereafter, she headlined several major operettas including the London premiere of Waltzes from Vienna (1931-32) and its Broadway transfer as The Great Waltz (1934), and Don Juan de Mañara (1937) at Covent Garden. Burke had an equally successful screen career, appearing in over 70 films and TV programmes from the teens till the 1970s (‘Obituary: Marie Burke’, 12).

Patricia Burke (1917-2003) : The daughter of Marie, Patricia Burke was born in the proverbial trunk while her mother and father, tenor Tom Burke, were on a concert tour in Milan. Inevitably, she took to the boards herself as a teen, singing and dancing her way to fame in a string of West End musical successes of the 1930s -- with more than a few Julie connections. She made her professional debut in the 1933 premiere of Cole Porter’s Nymph Errant starring Gertrude Lawrence and later appeared alongside Beatrice Lillie in Happy Returns (1938). One of her greatest West End successes was as the female lead in The Lisbon Story (1943), a show which introduced the popular standard, “Pedro, the Fisherman” which Julie would later record. Following the war, Burke made an unexpected move into 'legit’ theatre, playing the female lead opposite Trevor Howard in a well received 1946 Old Vic production of The Taming of the Shrew, followed with a number of other equally high profile performances in classics such as As You Like It (1948), Jonson’s The Alchemist (1948) and Shaw’s Saint Joan (1948). Burke never forgot her popular roots, though, and she continued to alternate dramatic roles with musicals and pantos, as well as appearances in film and TV programmes (‘Patricia Burke’, p. 44).

Marjorie Browne (1910-1990): Another popular performer of the mid-century, Browne started her career in the mid-twenties as one of producer Charles Cochran’s ‘Young Lady’ beauties, scoring a major success in his revue One Damn Thing After Another (1927). Browne went on to perform widely in hit West End shows such as On Your Toes (1937) and Chu Chin Chow (1940), as well as touring productions of Rose Marie (1942-3), Hit the Deck (1944) and Good Night Vienna (1946). She also appeared in a number of British film musicals of the 30s and 40s including Lassie from Lancashire (1938), Laugh It Off (1940) co-starring Tommy Trinder, and I Didn’t Do It (1945) with George Formby.

It was, thus, quite the illustrious welcoming committee on hand to receive our young Julie. And, as much as the visit was a factitious PR event staged for the cameras by the ever-wily Lawrence Wright, there is still something deeply moving about its symbolic enactment of a generational passing of the theatrical torch. As representatives of the outgoing old guard, the five grand stars stand at the rear, poised with the confidence of a lifetime’s experience, charging their glasses in warm salute to the rising star of the next generation. That the women are bedecked with the emblematic accoutrements of mid-century celebrity -- furs, coiffure, champagne -- while, in the foreground, an adolescent Julie -- perched rather awkwardly on the corner of the desk, lanky legs akimbo -- is garbed in a homey juvenile ensemble of woollen coat, tartan skirt, ankle socks and Mary Janes -- cradling that perennial icon of cosy British domesticity, a cup of tea -- only adds to the symbolic poignancy.

By 1950, the tide was also starting to ebb for Lawrence Wright. Musical tastes were changing and audiences were fast moving on from the fireplace singalongs and end-of-pier entertainments with which he had built his career. A few short years later, he would stage his final summer revue in Blackpool in 1956, going into semi-retirement before passing in 1964 at age 76. His voluminous catalogue of songs, however, would endure. Prized as a valuable commercial property, the Lawrence Wright catalogue has been owned, at various times, by the Beatles and Michael Jackson, before being bought up by the Universal Music group (Horn, 595).

As a final Julie connection, years after her 1950 ‘star visit’ to the great man himself, Julie would once again sing a Lawrence Wright song when, as Gertrude Lawrence in the 1968 musical biopic, STAR!, she performed the classic WW1 music hall number, “Burlington Bertie from Bow”. Wright had purchased the rights to "Burlington Bertie” when it was first written in 1914 and it would remain a valuable possession of his corporate trunk. Even though “Burlington Bertie” was not in fact a song ever performed by Gertrude Lawrence, it perfectly captured the flavour of Edwardian music hall and provided an ideal showcase for Julie’s combined vocal and comic talents. The song was also something of a personal favourite for Julie. She had recorded the song previously for her 1962 album of music hall standards, and had even shared the stage in the late-40s with the original “Burlington Bertie” herself, the legendary Ella Shields (Andrews, 116). Julie’s performance of “Burlington Bertie” in STAR! would prove a highlight of that otherwise troubled film and she would continue to perform the number in concert well into the 1980s, proving indeed that “you can’t go wrong with a Wright song”!

Sources:

‘Alley’s Daddy Dead’, 1964. The Stage and Television Today, 21 March: 3.

Andrews, Julie. 2019. Home Work: A memoir of my Hollywood years. London: Weidenfeld & Nicolson.

D.G. 1964. ‘The King is Dead. Long Live the King!’, The Illustrated Chronicle. 22 May: 7.

Heyes, Joy 1991. ‘Obituary: Marjorie Browne.’ The Stage and Television Today, 21 February: 30.

Horn, David 2004. ‘Lawrence Wright Music Company’ in J. Shepherd et al, eds. Continuum Encyclopedia of Popular Music of the World : Media, industry, society. London: Continuum, pp. 594-95.

‘Ilkeston Firm’s Event’, 1950. The Nottingham Evening Post. 16 December: 1.

‘Julie stopped the show at cadet’s open night.’ 1950. The Chronicle and Advertiser. 15 December: 3.

“Night of their Lives: Children at panto. dress rehearsal’, 1950. The Nottingham Evening Post. 23 December: 2.

’Carole Lynne: Glamorous actress and musical theatre star who as Lady delfont became one of London’s leading theatrical hostesses’ 2008. The Times, 22 January: p. 62.

‘Obituary: Marie Burke’ 1988. The Times, 23 March: p.12

‘Obituary: Miss Dorothy Ward’ 1987. The Times, 22 January: p. 14.

‘Patricia Burke: Thirties musical star who proved her range with Shakespearean roles, but retained a love of pantomime.’ 2003, The Times, 27 November: p. 44.

Segrave, Kerry, 2005. Endorsements in Advertising: A social history. Jefferson, N.C.: McFarland.

‘Song Notes’ 1950. The Stage. 16 November, p. 4.

Wright, Lawrette, 1988. Lawrence Wright: Souvenirs for a century. Chards: Matthews Wright Press.

#julie andrews #lawrence wright #red riding hood #united kingdom #musical theatre #theatre history #music hall #variety #burlington bertie from bow #carole lynne #dorothy ward #marie burke #patricia burke #marjorie browne #ella shields #british

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mira-nicodiangelo-grey · 4 years ago

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Keith, Alex and Nico in SIX

SIX The Musical band - random multi fandom edition. I’m just playing around here. I had to change a coupla things to fit into SIX’s all-female cast and to spread diversity.

Just a thought

SIX The Alternates with Keith from Voltron, Nico from PJO and Alex Fierro from Magnus Chase.

Mikeila “Kei” (Keith) Kogane- Kei is a well established nonbinary actor (worked for Disney and Dreamworks) got called up to do the job since they just got done with a big one. They read the music and heard a quick demo and fell in love with Aragon. Their agent Shiro assistant Pidge arranged the audition. The audition process was long but they eventually got the roles of Aragon and Parr. As Aragon, Kei is bold, fierce and unapologetic. That’s what they love about No Way. It just speaks volumes to Kei. As Parr, Kei is unafraid, ready to take risks for the sake of art and feminism. Their musical inspirations include Shakira and Selena Quintanilla. They’re a big fan of reggae and lowkey, pop but don’t tell them you know that.

Alessandra Christina “Alex” Fierro is genderfluid and a new graduate from the Acting Studio school in Milan. After a few odd jobs here and there, like small films and theatre Alex was looking for something big. One day she fell across a poster for this up and coming band/musical, SIX. She thought, alright, bet! And signed up for auditions. She originally auditioned for Howard and Parr. She didn’t get it but the casting directors loved her too much so they had her sing for the other queens. Eventually Alex was hired to Alternate for Boleyn and Cleves. Boleyn fits her mischievous spirit and fun loving nature perfectly and Cleves is just Alex’s role model. She claims to want to end up like her. Her favourite colors are green and pink, luckily she gets wear one of them for the show. She hates green peppers with a passion and she has a dark secret involving a clip, a paper bag and her boyfriend Magnus who may or not have stolen a bike and egged the police.

Nikolina “Nico” Di Angelo is a trans nonbinary who originally quit acting to pursue other paths. She has a fascination with the monarchs of England, especially Henry VIII. She has performed on more than one occasion his famous Greensleeves in public. When her friend Annabeth caught wind of SIX’s auditions, she urged Nico to go through with it despite knowing she had given up acting. After her incessant whining, Nico agreed. But Nico auditioned a little late and couldn’t get in. All the roles were filled up. Until one of the alternates had to drop because of a spat involving one of the creatives. So now, Nico is in charge of Howard and Seymour. Nico felt a connection to Seymour, feeling like she understood her the most having lost her own mother at a young age she always cries when listening to Heart of Stone. Nico had more trouble connecting with Howard. Eventually Nico grew attached to Howard, her struggle and the pink hair. Nico was the first to get Swingo and has a video on Cameo and YouTube of her performing all SIX songs including MegaSIX.

The three alternates makes the most mischief. Especially Alex and Nico who love to terrify the cast and creatives.

They hang out almost 24/7 outside the theatre.

They dream of starting a new band together.

Kei’s personal style is more grunge, lots of flannels, beanies. Alex is almost like a K-pop star, very chic, very modern. Nico looks like a movie star with the leather jacket, necklace, boots and tight-fitted heans.

The three love doing challenges and dumb things on Instagram live. They use Alex’s account. Kei doesn’t like using theirs (mostly because they can’t remember their password and are too proud to change it) and Nico disabled hers, saying she prefers using Tunblr and Twitter to troll the bigots and phobes.

They’ve often talked about doing their own cast recording fro SIX on YouTube with them performing their original roles. They’ve already done SIX (the song) live the three of them so this isn’t much of a stretch.

Kei sometimes likes to dress and walk around pretending to be a guy named Keith. They even have a voice ready for it.

They’re the only one with a husband, Shiro. Alex has a boyfriend and Nico is too oblivious for her own good.

She has someone on her radar and the guy is clearly in love with her it’s just Nico doesn’t get the signals he’s giving out.

Nico is always asked to say “gay rights” whenever she appears on Alex’s instagram lives.

Alex sometimes pretends to be an Australian who opened up a salon with a specialty for the K. Howard lewk. Nico is a frequent customer and Kei is responsible for catering.

#nico di angelo #keith kogane #alex fierro #six the musical au #six the musical #genderbend #catherine of aragon #anne boleyn #Jane Seymour #Anna of Cleves #Katherine Howard #Catherine Parr #percy jackson and the olympians #heroes of olympus #magnus chase gods of asgard #my posts

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siriuslyblack12 · 4 years ago

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high school paracosm

this might be the start of a mini-series where i share little bits and pieces from my paracosms/paras out of all of my current paracosms, this has the least world-building yet the most character development. it’s my second-oldest and definitely has a special place in my heart (i would literally die for any one of these characters lmaooo). it’s essentially about a group of british high school students dealing with all kinds of angst, drama and a fair amount of happiness. i’m very scared to post this so we’ll see how it goes.

vanessa pierre

cis woman

bisexual disaster

dating cass johnson

scouse

bottom set

she’s a natural ginger but dyes it black. blue eyes. white.

funniest person you’ll ever meet

shitty home life (to be specific, her dad left and she hasn’t seen him in years and her mum is addicted to alcohol and drugs. she tries to help her mum, but a lot of the time she has to sleep at cass or ruby’s house, or in the worst circumstances on the street.)

because of this, she always gives spare change or food to homeless people even if she didn’t have much to begin with.

her home did get better after her mum’s new boyfriend daniel checked her into rehab and group therapy to get help. everyone’s trying their best to make it work.

dyes her own hair. it’s part of her aesthetic.

friendship wise, she is closest to ruby. although she loves cass more than she loves herself.

cass johnson

non-binary

attracted to women but doesn’t really label it.

dating vanessa pierre

top set

light brown hair with an undercut. brown eyes. mixed race.

the literal kindest, most caring and least judgemental

has a good relationship with their parents and 12 year old sister violet who are all very supportive of anything they do. definitely the type of family to buy out the front row of every concert cass is in.

their biggest passion is musical theatre. a very talented actor and singer, their most notable role being ‘belle’ in the school production of ‘beauty and the beast’ that they also directed.

animals are also another big interest. when they get out of school they want to become a vet to help and care for all kinds of animals, and throughout high school donates any spare change to animal charities.

they’re pretty close with everyone, but particularly ezra and jonah

quite insecure about their body, but masks it with positivity and kindness.

makes everyone around them happy.

ruby diaz

cis woman

straight and a very big ally

dated jonah blue for a year or so, but currently single

top set, very much what people would label a ‘tryhard’, ‘sweat’ or a ‘nerd’

dark curly hair. freckles. latina.

twin sister of asher diaz

she’s a very empathetic person, more often than not putting everyone else’s needs above her own. this could be to her detriment, but she’s making an effort to balance her own mental health

divorced parents, but she stays positive. goes to her dad’s house on weekends.

she likes to think she doesn’t care, but at heart she’s a hopeless romantic. the biggest shipper of every couple in the school, but particularly her brother asher and cole.

speaking of her brother, it’s one of those dynamics where they play fight constantly but would certainly die for the other

the cutest pet dog lmao

she’s a very outspoken activist, often lecturing her mum and older family members about their implicit biases

closest to vanessa and asher

asher diaz

cis man

gay

dating cole harrison-singh

middle set

dark hair. blue or brown eyes. latino.

twin brother of ruby diaz

coming out was really hard for him, as it is for a lot of queer people. he hated the fact that everyone made it such a big deal, and that they treated it as this big thing even though he’d been feeling this way for as long as he can remember

plays guitar and sings quite well, in the school band

his relationship with cole is tentative, but once they figure out their dynamic they’re extremely cute. we love to see it.

he was more affected by the divorce than his sister, and now feels quite protective over her as a sort of father figure that they no longer really have. definitely some issues he needs to work on.

very athletic

him and ezra are best friend goals, and he’s also obviously close to ruby

jonah blue

cis man

pansexual

dated ruby diaz, but currently dating erin saeli

top set, but one of those people really talented people that can get good grades without breaking a sweat

shaved head. brown eyes. darkskin black man.

his main hobby is swimming and he’s on an elite team that probably trains 6 or 7 times a week. sometimes he finds it hard to juggle that and school and a social life but he could never give it up

art is his hidden talent. mainly because he keeps it personal, but also because no one really expected someone as confident and outgoing as him to enjoy drawing and painting.

he and ruby stayed really good friends even after their breakup

if anything it made them closer

closest to cass

ezra cheung

trans man

aro/ace

single

bottom set

dark hair. blue eyes. chinese.

he first figured out he was aro/ace when he was about 14/15 and everyone around him started to feel more comfortable in their own sexualities. his friends would talk to him about crushes and he’d just smile and nod.

mental health is something he really struggles with. fitting his life around bad days and episodes is a chore in and of it’s own.

but he’s trying his best to get the help he needs and reach out to his friends whenever he needs someone to talk to.

would punch transphobes except he’s too nice

closest to asher and cass. him and cass bond over gender and cute kittens.

minor paras:

cole harrison-singh

cis man

gay

dating asher diaz

top set

brown hair. blue eyes. white.

adopted by lesbian mums, lily harrison and naveena singh. these two are an absolute power couple

he and asher met through the school band and he’s a very skilled piano player. despite this, he gets very shy when it comes to performing in front of other people so doesn’t do it often.

experiments with genderless clothing and makeup

just an all around good person

martha quinn

cis woman

straight

single

top set

ginger!! blue eyes and lots of freckles. white.

a teahcer’s pet to her core, would sell anyone out for validation (honestly me too)

doesn’t get along well with any of the other paras, but does warm up to them and make an effort to be a better person eventually. character development

crushed on jonah when he first moved to the school but got over it quite quickly

erin polka

cis woman

bisexual

dating jonah blue

middle set

long dark hair. thai.

works at mcdonalds part time

a girly-girl who is no less amazing and strong than the other women (i will have no internalised misogyny anywhere near me thank you very much)

big introvert. when she does speak or show passion in something you know it’s well thought out and communicated.

very very pretty. if she was real i would date her.

#madd #maladaptive daydreaming #immersive daydreaming #paracosm #para #paraportal #meet my paras #actuallymadd #maladaptive problems #maladaptive daydreaming disorder

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taeguboi · 5 years ago

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BTS as... Rockers

Ngl, I panicked a little when I checked on the masterlist because an older post about BTS as rock band members was labelled as this title and I’d already written this one for like 3 members already. There’s various genres I mention, some of which are also metal and pop but I thought a simple general title would be best here.

Anyways, my second post coming back recently. Hope you enjoy.

Mainly a classics man

Loves to analyse lyrics

and loves writing his own lyrics based on his current favourites

It’s like a form of literature to him

Loves to chill out to prog and psychedelic rock

Accidentally had the same music tastes as that weird geography teacher in school

Probably has a pet named after a member of a power / symphonic metal band

sorry I’m a bit of a Nightwish nerd and now I can just imagine him calling for his dog “Floor!” and everyone getting confused because they think he’s just shouting at the ground

this is the kind of genre he likes the most other than classic rock; that’s where the most literature references are. It’s poetry about poetry

Has a journal of art and lyrics quotes for when he’s super into a song

Could be mistaken for a geek in school

because to a juvenile ear, his taste in music might be challenging to listen to

like no one else had the patience aged 12 to listen to a 9 minute song or an instrumental track

and then even at 15/16, how many people your age would listen to Dark Side Of The Moon?

Guess he would say music is all about sitting back and listening and taking it in

Would love to be a songwriter for the right kind of singer

unfortunately though, he’s a bit of a loner

likes his own company too much

it’s probably the solitude that motivates him to write

too many more friends than he already has would be too much of a distraction

It’s not a sad situation though

music is what Namjoon loves the most

and “nothing else matters”

Oh yes, let’s have a bit of Metallica in there too

It’s not until he finishes school that he becomes more in touch with what people in the current world of rock and metal like

discovered “Rollin’” by Limp Bizkit like WAY too many years after it came out

“Have you heard this ace song man?”

“yep... in 2004 dude”

“oh”

But he’s no ashamed or anything, no

He’s proud to be a fan of the bands he likes

even if they aren’t to everyone’s tastes

“Well, sorry if this isn’t some 3 minute long four chord song repeating the same 5 words”

If they don’t appreciate it, their loss

Jin

The old ones are the best ones

Think 50s rock n’ roll; Little Richard, Elvis, and so on

mixed with guilty pleasures of songs about ‘my baby girl’

Loves themed music nights

Whilst of course his favourites are the 50s themed ones

he also loves showing up to 60s nights to flaunt the flower power

or 80s nights in a fun wig as some member of a hair metal band

all the styles are very fun

but on a daily basis, he’s basically dresses like a teddy boy

tight trousers with white socks peaking out

jacket - sometimes a suit jacket, sometimes denim

as you can imagine, when a lot of this stuff comes back in fashion...

“Well, I did it first...”

you know, in this era he means he did it first

Loves a good finger clicker song

Once considered doing a tribute act around pubs and clubs

but he couldn’t decide who he wanted to be

Probably should take a role in some live production of Grease

he’s seen it enough times

and he can sing

He reckons he could never do theatre for long though

his fantasies are with playing instruments to perform

talented keyboard player

starting to get the hang of guitar too

but he does get carried away whilst trying to learn guitar

because he wants to add on all the cool moves NOW

He’s got some bangers he created on the keyboard though

he didn’t really intend to create original songs

it just happened one day after a break up

and he listened to Heartbreak Hotel

too many times

he just sat at his keyboard

and made something that really felt special

and then the day after that, he made a more upbeat song

and the week after that, he has 4 full songs in total

Open mic nights become something he enjoys

a bit of a local celebrity

“Would you play my grandma’s 80th party? Pleeeease?”

and aww bless him, he plays all the throwback songs at care homes

all free of charge

slips in some of his original music too

“Ooh, I’m afraid I don’t remember that one dear, must be my brain”

“Oh, no no no” explains Jin “I made it myself”

Old dears just love him basically

but so do the girls his age

Whilst some think the whole 50s get up is a bit lame

some go wild for it

because he dons all his outfits so well

and his songs feel so true to the era they were inspired by

you gain a love for the 50s just from watching Jin

Talented boy, keeping the 50s alive

Suga

A lot say Yoongi has an acquired taste

an electronic element to rock or metal always makes it more interesting to him

loves industrial music - NIN for days

Linkin Park made most of his jams

cried for half a day at the news of Chester no longer being with us

Likes a bit of new wave, synthpop, all that

emo songs just help you through the bad times okay

Can equally enjoy a dub festival as much as a rock concert

some people think his taste is actually naff

but then they realise he also listens to the likes Foo Fighters or Sum 41

Plays like the same 30 songs on repeat

but his collection has so much more

He has some rock and blues for the road trip

he’s got your 70s singalongs for the party

Was briefly a DJ at a rock bar

got fired for not playing enough popular songs in his set

“wtf I thought this was a bar where people could appreciate this” huffs Yoongi

“yes but people want to sing to ‘down with the sickness’ or something, not ‘down in the park’!”

“stuff you then, I’ll take Gary somewhere else with me”

guilty pleasure: Kate Bush

A somewhat gothic sense of style

but not overwhelmingly gothic

He likes bandannas and black clothes

not always in black clothes though

sometimes the merch he wants just isn’t available in black

but no worries

as long as he can happily flaunt the music that makes him who he is

J-Hope

Can listen to any rock genre

give him something and he probably already loves it

So yeah, the band members are pretty cool and all that

but what Hoseok has more interest in the backstage roles

he’d love to manage a rock band

be a tour manager

guitar tech

Much knowledge is stored in that brain of his

and he wants to put it to good use

He starts out as a promoter and organiser for the rock bar in town

which he eventually lives above

His events are ace

he can pick out fresh talent that everyone on that scene can enjoy

His showcase nights are the place to be

everyone can agree, he’s got amazing taste

no one can disagree with him

He’s a one man show and still managed to pull it off

he’s the promoter, the sound guy, the tech on all the instruments

way more professional than most other local music events

He takes pride in his work

did I mention he’s so good, it becomes a full time job?

As time goes by, he listens to less and less older music

but that’s okay

he’s happy with the time it takes to listen to all the up and coming bands

in the moment is where you should live

and he can still appreciate a band’s influences should they initiate conversation

“man, this dude really knows his stuff”

“will you manage our next tour?”

“can you do sound at our next gig? our guy’s rubbish”

and that one is like right in front of their current sound guy

The future is bright for Hoseok

his love for rock music could really earn him a solid living

Jimin

Some say he’s a bit of a poser in his leather jacket

but he really does love his rock music

Sometimes a bit behind on modern rock bands or releases

Low key wishes he was born in the 50s / 60s

just so he could live in his favourite eras

his heart really lies with the classics

60s, 70s, 80s.

90s at a push

not the later 90s where grunge bands did pop

actually any movie made in that time makes him cringe

like he’s all up for good clean fun

but christ it’s like they were trying to go back to the 50s or something

not everything is ‘swell’ you know

Don’t get him wrong though

he does also like some 50s music

He may or may not have spent that one time acting like Elvis in the mirror

it really hyped him up before a night out though

it may or may not have become a thing before going out in the evenings to boost his confidence

His all time favourite bands have to be The Rolling Stones and AC/DC

and no, he couldn’t pick between the two, ever

Doesn’t really have a desire to be in a band

but sort of accidentally picks up the bass to help out a mate in a band

and sort of accidentally becomes a permanent member

It’s just a cover band

but it’s so much fun

Sometimes, you can have a really bad day

and then listening to 23 people singing “I Love Rock n Roll”

kind of lifts your mood

“Play Wonderwall!”

gets a bit annoying to him

kind of wants to hit that one guy around the head with his bass

but he holds back

Because being aggressive wouldn’t be very rock of him

and whilst he does like punk music

he’s definitely not a punk

Screw all that political rubbish

music should be to enjoy yourself with

stop worrying about the world for one minute and

let’s sing about whiskey and cigarettes and just living life

“What do you MEAN you don’t know any Def Leppard songs?”

“For crying out loud!”

He tries to understand that not everyone will listen what the music he likes

“but... like seriously, how can you not though?”

Probably likes all the underrated bands

Loves vinyl

definitely collects vinyls

Likes to shop at vintage stores to fulfil his obscure taste

People are like “you paid £60 just for that?”

but to Tae, it’s worth every penny

He likes the classics too

he can sing along in a rock bar to all the well known tunes

old or modern

and there may be loads in his vinyl collection barely anyone recognises

but there’s some more familiar faces too

there’s The Beatles, Guns n’ Roses, Foo Fighters, anything like that

it’s just only like 20% of his huge collection

Whilst his style is inspired by those he idolises...

he can never copy them

that would be an insult to them and his originality

Plays guitar and writes songs

never anything soppy though

actually fairly hesitant to pick up an acoustic guitar

always plays electric

and the songs he makes are about having a good time, life experiences

but not about love

He can listen to a couple of cheesy tracks

he just won’t make any

“Who the heck is John Otway, Tae?”

“Oh, you know, Wild Willy Barrat”

“Willy who?”

“Cor baby, that’s really free!”

“....”

“Headbutts! da da da da da... Headbuttttsssss”

I feel like rocker V loves anything that feels slightly random

probably make his own secret songs that sound silly to others

Probably has a band that never gigs

it’s him singing and playing guitar

and a bassist and drummer that aren’t really sure why they’re here

but they kind of like the unique stuff he does

and the band is almost purposely bad

“It’s the imperfections that really give a song character”

Jungkook

Modern rock and metal

low key emo

Tears Don’t Fall by BFMV on repeat aged 14, his first break up

Lives for festivals

like when he goes to work, that is what he is earning money for

well, that and bills and food

has a jar for each festival he wants to go to this year

Also loves a bit of melodic punk

like when that one Australian band are finally coming to his country

he HAS to go

help me I’m really sad because this is me and The Decline were supposed to be coming to the UK and then this pandemic happened and now I might never see them criii

Has a playlist for every aspect of life

every feeling, every colour, every occasion

songs that remind him of a time, ones where he can visualise a colour...

many people don’t get it

“how many playlists?”

“how can a song be a colour?”

it just is

like come on, listen to this Red Jumpsuit Apparatus song

and tell him this doesn’t remind you of gold

Could be a journalist

knows everything and anything about his favourite bands

AVENGED SEVENFOLD

because it’s the perfect mixture of everything he loves about music

vests because M.Shadows

So badly wants to be in a band

tries every instrument you could find in a typical rock band

loves the drums

gets stuck on guitar though in his first band

well, he was just desperate to go gigging

he left after a year and a bit though

got boring

forms his own band instead around him being on the drums

Lives for this band

it’s like a rock band but with political lyrics

and they can perform at most events

they just fit any bill

gigs are booked almost every weekend

road trip with the lads

they travel like 50 miles just to be paid in beer only

Dreams of big time collaborations

that will probably never happen and he knows that

but it’s nice to dream, right?

puts on his own gigs a few years down the line

of course his own band are always on the bill

everyone thinks his gigs are a hoot

He even manages to book some lesser known punk bands

but they are a massive deal to him

“God, I love live music!”

“Do you always wear a black shirt guk?”

“Hey, I’m a drummer! It’s hard work; a lot of sweat involved... I’m sure no one wants to see my wet pits whilst trying to enjoy the show”

and then that person wishes they never asked...

but he’s right

he knows that a good band is all about the hard graft and work

and he is always so thankful for the great rock bands that influence him

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littleeyesofpallas · 4 years ago

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The other day i had a kinda drunken rant I went on with a friend that I had wished I could’ve written down. But today I read an article about the shift in hollywood marketing from star power to IP and character driven power instead: the idea being that an original movie used be able to draw crowds with the basic idea of “your favorite star as <insert role>” but we’ve moved more towards the appeal of familiar franchise names like “from the creator of XYZ.” But I think this is an interesting place to draw the line because it does go back to that drunken rant. So, here I go again... this is gonna be lo~ng and boring (and this is the shortest possible version) and without pictures, but god knows i have no idea what i would put to accompany this super tangent-filled tirade, so I guess just buckle up...

(I apologize now for all the weird side subjects that I’m going to name drop but just not take the time here to go in depth with.)

I don’t even remember where my drunken rant with my friend the other night started so my first obstacle is finding a place to even begin with this because it has so many entry points and none of them are any closer to where this all ends than any other so like.... whatever... Shakespeare.

It’s a super complicated thing but in the first era of professional english theatre that Shakespeare ushered in (from the mid-late 1500s to early-mid 1600s) there were strong strong associations with theatre and prostitution. Maybe it was exactly what it sounded like, maybe it was elitist slander against the revolutionary accessibility of the arts to the poor as self debasing, maybe it was the church being really angry about literally everything all the time, maybe it was a little of all of that... But either way the persisting notion was that a theatre, established or travelling, was a place one could ostensibly go to pay for sex with the troupe’s actors. of course at the time women weren’t a part of that profession, and while they may have been as much a part of the theater going demographic as anyone else it’s hard to pinpoint how much of the already vaguely defined theatre sex trade they patronized --Point being when we talk about theatres prostituting their actors we’re talking about male theatre goers paying to have sex with male actors, and predominantly those young boys playing female roles. In most classic academic circles this is either wholly ignored, brushed aside/glossed over, or sloppily chalked up to “homosexuality.” But there’s a lot more nuance to that... which is part of the big mess of stuff I’m just not getting into here...

But this is where I draw my line of connection to Kabuki theatre. Kabuki somewhat infamously had similar practices as all-male theatre and as duel industry for theatre and prostitution. And as a parallel development it seems to make sense... In England and Japan alike, you have a group of people who by nature of their jobs charm people and constantly move from town to town. Even if a community or government thinks what they’re doing is wrong, by the time they can take notice or do anything to stop them: they charm, they fuck, they leave. But unlike Shakespearean theatre, kabuki has a slightly more convoluted history of development.

See, Kabuki started with Izumi-no-Okumo, a shinto shrine maid (ironically also in the 1500-1600s cusp, same as shakespeare) and although a lot of her personal history is lost to time you can imagine the basic development here: a shrine maid tells the myths, she tells the myths dramatically and with with character voice, then all that but with props, and costume, and then dividing roles into separate actors, and collecting donations for the shrine as regular practice anyway but hey look people donate more when they’ve come for a story they enjoy... and then oops you’ve invented theatre. Also on account of this being started with shinto shrine maids, the form naturally took an all female slant.

Whether it started with Okumo herself or not, as theatre became an established form, and a lucrative one at that, non shinto affiliated women quickly seized the chance to make a living outside the bounds of common peasantry, and with the growth of travelling theatre as an industry that same side venture of prostitution developed. But here’s where it gets interesting...

Due to things that, again I won’t dive into here, the untaxed revenues of prostitution painted a target on the backs of kabuki actresses, and women were eventually outlawed from theatre. The art form was of course immensely popular however so to keep the gravy train rolling the theatre form continued but now with all young-male casts, to retain the feminine aesthetics of female kabuki. This did absolutely nothing to stop the rate of prostitution however, so they outlawed it again and replaced the young boys with grown men. This still didn’t stop the prostitution but there was other stuff going on in Japan at that point and legislative attentions were pulled elsewhere.

And here’s my weird little take away from this... it’s not like Kabuki theatre suddenly went from being popular with horny straight men to horny gay men in a seemless and perfectly balanced transition. (and granted japan at the time was a lot more open about their grasp of sexuality compared to now and to the west in general) so presumably a lot of these thirsty theatre goers were just overwhelmingly indiscriminate in their tastes in fucking actors... But stick a pin in that, we’ve got a tangent to go on!

So around this same time Japan was having kind of a second rennaissance: japan’s high arts culture had first really risen to prominence in the heian period right before the long long descent into the civilwar we all know and lover for all its flashy samurai drama. When that 400-ish year civil war finally ended and then stabilized under the Tokugawa shogunate in the Edo period, the art scene finally had some room to breathe again, and among many other things ukiyo-e wood block prints saw a huge explosion in popularity. And part of this tied into Kabuki theatre, as an extremely popular genre of prints were actor portraits and theatre scenes. Actor portraits in particular are kind of culturally fascinating, because they weren’t simply prints of character illustration, they were frequently labeled with both the character played, the story they featured in, and the name of the actor playing them. moreover, despite the reverence of classical art historians now, these weren’t fine art at the time; they were mass produced, affordable and disposable. In major cities, everyone went to see theatre, and everyone bought, kept, and even collected actor portraits. As theatre seasons and troupes came and went actor portraits came to occupy and kind of cultural value space a lot like American baseball cards in how prestige, rarity, and trading became an entire subculture in and of itself within the sports/theatre community.

Now we see how Japan had created this thriving popular/mass culture, and celebrity culture for itself. And while the notion of a “parasocial relationship” wouldn’t be formulated and explored until the 1950s-60s in the wake of things like Elvis fever and Beetles mania, that brand of one-sided relationship where you as an audience member form a “relationship” with a celebrity that involves collecting information about their heavily curated persona is exactly what japan stumbled into some 300 years earlier. And in fact Japanese pop culture would maintain a lineage of parasocial relationships during the intervening years (in a way the deification and worship of the emperor as a god-king was a kind of parasocial relationship in the way a secular monarch doesn’t quite achieve) So it’s no surprise that when Takarazuka Revue opened in the 1910s as a new modern all-female theatre form, it attracted a familiar old brand of horny theatre audience --one that maintained a very nebulous relationship with the now much more stringent notions of gender and its relation to sexuality.

taking this tangent a little further, Japanese pop culture has always shown this interesting, self-aware approach to the parasocial relationship dynamic that western cultures seems to lack. I remember that when the 1990s put boy bands briefly into the spotlight, the thing that sunk them in the American eye seemed to be this weird sense of betrayal that the boys werent some garage band rags to riches story, and they didnt write their own music, or make their own dance moves, or even sing live at their own concerts. America seemed to be repulsed by this notion of a manufactured pop hit. Japan however (and Korea soon to follow) seemed to thrive in this instead; there was no pretense that J-pop idols weren’t manufactured, and in fact they took pride in the rigors of having been hand picked and raised to stardom --of course they were scouted and trained, because the idol could’ve been any of millions but it was them who got picked, it was them who sang the best, performed the best, climbed the charts, and fought to stay there. Stardom wasn’t an art form, it was a contest, and they were WINNING.

And the manufactured nature of that J-pop idol business model is what gave rise to Hatsune Miku (in fact there were multiple attempts in the 1980s to design and market a wholly fictional pop idol, but if anything they were too ahead of their time and lacked the technology to really sell the idea in its best form) because when your entire product is about making and curating your performers’ public persona, to the extreme level at which them having their own lives actually starts to contradict their stage persona and hurt their marketability... why bother projecting the persona onto a real person? Why not just cut the human component out all together and just market the persona for what it is? And for Japan I think that kind of relationship was one that they were culturally always just a few steps away from being ready to accept anyway, so it just took a little persistence.

Then came the anime waifu thing... Dating sims, and body pillow marriages, etc... and I think the pretty unanimous impulse to turn this into a enormous joke (and lets be real who could blame anyone for that) overlooks what actually happened here: paraosocial relationships in the purest form, with the fleshy middleman removed and with it the lie, not less false but somehow now false yet honest. A bizarre paradox to be sure...

But now lets back this up... Kabuki theatre. Prostitution. The change from women to young boys to men, and the almost hilarious unflappably bisexual audience who embraced it. I don’t think it was a component of sexuality as any historians who have looked at that time period bothered to conceive of it. Because even in an early japanese mass culture scene, the relationship was between the audience and the persona, and not the audience and the actors; The audience was always in love with the characters in their collectible trading prints, with their 15th century waifus, and they paid to have sex with those personas regardless of the bodies or real people involved.

...

okay, so, I typed all that out weeks ago and then just left it in my drafts, not even really intending to come back to it. And now that I’m here, I don’t know that I had a point to this when i went on my drunk rant. But i guess if there was any kind of a take away from this, it’s that I find that people have a lot of trouble separating personal identity from gender, from performance, from social dynamics... and in western culture, especially within recent history/memory, that’s kind of understandably hard to untangle. But historically people’s sexuality and sense of attraction have basically always been based implicitly on attraction to an idea made manifest in a persona first, and a body to match it only secondarily to that;

Society’s abiding dedication to forcing you into a gendered box, and to box gender into a narrow range of performance, is equitable to screeching fans being “in love” with celebrities they’ve never met and convinced that the steady feed of curated marketed personality traits constitute “knowing” those celebrity strangers. The idea that the person and the persona are the same is a lie told to sell product. Gender is just the brand. You’re the rockstar. Fuck marketing.

#long ass rant #who is this even aimed at #what do i even tag this with

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zachvillasource · 5 years ago

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Remember when celebrities had to have an actual talent to earn their fame? When they had to be able to sing, dance, or act — sometimes all three at once? There doesn’t seem to be too many multi-talented celebrities anymore. That’s why when Zach Villa enters the room, the energy completely shifts. He is so talented, you won’t be sure what hit you. This energy may initially be attributed to his neon hair— but that’s not the reason his presence is so arresting. Want him to dance? Sure. Want him to sing? Ok. Want him to do a monologue? He’ll likely ask you which one you want to hear. Villa is a genuine triple threat in a sea of reality TV stars and wannabe Instagram influencers.

Most recently, Villa appeared on American Horror Story: 1984, portraying a disturbingly hot version of real-life serial killer Richard Ramirez, which has garnered him acclaim. But contrary to people thinking he just popped up out of nowhere, he’s actually been performing for a very long time. How did Zach Villa go from zero to 100 in triple threat domination? [more under the read more]

Villa has a pretty significant background in musical theatre, which comes as a surprise considering he mostly plays dark characters on TV and currently fronts the emo punk band, Sorry Kyle. Musicals and tap dancing are the antithesis of his roles as a performer now, but it all began by him playing a gargoyle on stage in a community theatre production. “I couldn’t remember my two lines to save my life. Give me a break, I was a child!” Community theatre subsequently became a big part of his life. “There were so many dance performances to choose from and my mom probably has some adorable (embarrassing) footage of those times… I played Dallas in The Outsiders my last year in public school. That was a turning point when I realized that there must be more training involved in acting…” And training Villa got, at one of the most prestigious institutions in the world—Julliard. And no… it wasn’t just like the ’90s classic, Save the Last Dance, and probably not the kind of training one imagines will prepare an actor to become a serial killer on American Horror Story—but, indeed, it did prepare Villa. “You learn just as much from a good experience as you do a bad experience,” Villa reflects of his time at Julliard. “And that made me strong and skilled, and I am grateful. Also, it’s a conservatory, so there was no way I was going to convince the program to let me take a dance class with Julia down the hall with my course-load… but trust me, I tried.” Though currently Villa spends a lot of his time doing various TV shows like NCIS :LA, Fox’s Bordertown, Honeyglue, and Cardboard Boxer, he also still continues to perform locally in various Los Angeles venues, including having made a guest appearance as the Sexy Oogie Boogie in a Halloween show last October. So which type of performance does Zach Villa like most? “Each provides a different kind of high. There is nothing like hundreds or thousands of people screaming at you while you rip a solo, or the breath being collectively held in a theater as you say the climactic line reveal — but in all performative mediums you are manipulating space and time. As performing artists that is what we do. But in theater or on stage with a band you have a very different set of parameters and violence with which you can paint the picture that you are making for the audience. So basically, I’m greedy. I really like to ‘paint’— and performing in all of these mediums lets me do it in a variety of ways. And at the end of the day, they all feed each other. I act like I do because I dance, because I sing, because I understand rhythm, because I understand melody, because I understand energy and inflection… you get the idea.”In Ryan Murphy’s American Horror Story: 1984 series last year, though you won’t see his character busting out a tap solo, there’s no question that Villa’s extensive background and training helped him to win over fans with his portrayal of Ramirez. “A ton of research went in to it — and then at some point you just have to sail the ship with what you know and riff on it like jazz and make your own original thing. One of my favorite parts as the show developed included finding opportunities to show some humor with this character, who I’m sure for most audience members represented chaotic evil. And learning how to levitate for the role. That was pretty cool… I enjoyed the role of Richard Ramirez less because he was a murderer and more because he was a complex psychological case. Trying to find empathy in that mess was so satisfyingly challenging to me. I think any character that has a wild or complex life — someone that we don’t societally see as being relatable or simple — those characters are interesting to me.” When considering his so-called overnight success, Villa asserts that Lizzo may have said it best: “8 years of touring, giving out free tix to my undersold shows, sleepless nights in my car, losing my dad & giving up on music, playing shows for free beer & food w/ -32$ in my bank account, constantly writing songs, hearing ‘no’ but always saying ‘yes.’ Glad I never gave up. This is what ‘overnight success’ looks like.” Villa adds, “I mean, how do I improve on that explanation? Art is a lifestyle, a developing, ongoing relationship you build with yourself, and like any career there is a grind to get that payoff. I think that through the grind, you come to appreciate what you have when you get it. And some people never get it. I’m very grateful. That being said, I know my gifts and have been shining the light, and I am glad that I have some company nowadays.”In addition to his ongoing acting roles, Villa is increasingly focused on music projects — his aforementioned emo punk band, Sorry Kyle, and a solo project that showcases his darker side. His latest single, “Revolver,” is a mashup of hip hop, Trent Reznor-esque industrial rock, and melodic spoken word. On the other hand, Sorry Kyle is a dream come true for anyone who loves Jimmy Eat World and Green Day. “’I am large, and I contain multitudes.’ Someone brilliant said that and I agree with them. The current projects are fairly representative of some main tenets that are current for me. Sorry Kyle with pop punk and emo vs. my solo project that is darker, moodier and more complex. But does it encapsulate everything? Heck no. Let’s circle back in 40 years or so when I’ve pushed out a few more records.”Villa teases that new music is on the horizon. “I am releasing a ton…records for Sorry Kyle and my solo project respectively, and maybe a couple other surprises. I just want to keep that flowing. I hope to be back for AHS again. Going to make more tap dance videos. Get my pilot’s license and ride my motorcycle a lot more. It’s a very exciting time and this is just the beginning…I’d also love to play an action spy/hero, or a political figure of intrigue. Give me a curveball, I’ll hit it.”

#zach villa #ahs cast #ahs 1984 #zvs:article #zvs:interview #*

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voicedaily · 5 years ago

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Hey, thanks for this blog! I see you post about the japan remake recently. I don't watch it yet, is it worth watching? How about Mo Tae Gu? Kim Jae Wook set a high bar so I don't want to disappointed with his japan counterpart if I watched it..

Yo! Thanks for stopping by. Of course, I have to keep making this blog active with content [laughs]. And right after season 03 is over, we’re lucky that Japan airs the remake of season 01 just in two weeks. As for your question, I plan to write a review after the series is over. The last episode will be aired on Sep 21.

But for short, I can say it’s worth watching. Well, the remake version of Kang Kwonjoo isn’t satisfying but It has much better, better storytelling than the original has. Jdrama always has the strength of story-wise better while K-drama tends to focus on conflict and sometimes makes the story draggy, and it happened too with Voice. I still remember I did grumble of some aspects in the original haha. But before you decide to watch it, I hope you don’t have the same standard because both Jdrama and Kdrama is naturally different in values. J-drama values more in a down-to-earth/realistic approach to visualize while K-drama tends to make beautiful cinematography with a higher budget. For example, the death of Hwang Kyungil and Nam Sangtae in the remake is more realistic for forensic points to camouflage it as suicide (so I don’t feel the cops are very stupid), the murder of Madam Jang (replaced with Inspector Okihara, equivalent with Inspector Jang character) also more make sense there that you can’t imagine how the culprit in the original did it all in short time and even carried the body outside from 2nd floor to his car on park area without being noticed by anyone; but you feel more chill and horror in the original when you saw a body is burned down, a room full of blood with eyeball taken out, and a body hanging on the tree right when you open the curtain. Same with the villain’s basement; the remake makes it dark, dull and dusty as what basement is used to be while the original made it bright so we could see the red blood stained clearly everywhere.

This “realistic” vs “beautiful” also applies to their drama characters. I can say Korean people shown on TV dramas are better-looking than Japanese ones. I believe it’s a major influence on how Mo Taegu becomes the most stunning villain in Kdrama history. The beauty shots accommodate the perfect combination of the villain’s elegance character and the actor’s handsomeness despite the brutal murders and the amazing acting ability to be a psychopath. Probably those are the 15-30 extra minutes of visualization that the remake does not have (despite the fact of J-drama always having shorter episodes). But it doesn’t mean the remake version of Mo Taegu, Hongo Shizuku, is more lacking in his character. They rewrite their own version while still keep some aspects from the original as follows:

Mo Family runs a public transport company, Hongo Family runs a construction/civil engineering holdings.

While an image of Taegu having the ability to play grand piano as he loves classical music is only mentioned in Kim Jae Wook’s interview, the remake realizes it.

Shizuku is more independent than Taegu when playing a “game”, there’s no his dad’s secretary helping him to flee after he killed Hikari’s (Kwonjoo) dad and to abduct Toru (Daeshik), it hints he takes or abducted them all by himself before killing them in his basement. He also ordered Toru, all by himself and save his contact.

Taegu collects a suitcase of the victim’s hairs still on the bloody scalp (but then, I imagine his random victims on street are women because the hairs he collects are long), Shizuku collects a glass shelf of blood-stained kettlebells. In both of their collection, the name of our hero and heroine are written as he plans to murder them later.

The remake doesn’t include the demon aesthetic that Taegu sometimes underlined his murder as the words of God by citing a bible chapter written on the victim’s blood. Taegu also used other weapons to kill Sangtae (rope and knife). And there’s also a narration that he loves mutilating a body, too (implicit said by Sangtae that Taegu killed his dad that way, explicit when it was shown Taegu keeps the old lady‘s tongue and when Kwonjoo found Madam Jang’s crime scene). However, Shizuku is more consistent in his actions, he left the body in one piece and only collects the kettlebells he just used, whoever his victim is.

Point 4 and 5 make me conclude that the original built Taegu like the star in a slasher/cult horror movie, it was so random (I’m sure even the genius Spencer Reid from FBI Behavourial Analysis Unit in CBS Criminal Minds series would hardly find the connection LOL) while the remake designs Shizuku more like a common serial killer with specific behavior as a crime/procedural series always use to be.

Now, as Kim Jaewook set a high bar, there’s no other counterpart to play the same character who represents the coexist of beauty and madness better than Iseya Yusuke. Both of them starts their career as a fashion model in catwalk and magazine when they were studying. Their physical appearance, their lean body structure and height, and their sexiness/attractiveness are very alike. You even almost can’t differentiate Hongo Shizuku with Mo Taegu when you see them in suit from their back. Well, Iseya Yusuke is as old as Jang Hyuk (born in 1976), so he might be not as handsome as Kim Jaewook in fangirls’ taste. But for acting ability, he’s still the perfect cast balancing Kim Jaewook for these reasons:

Both of them are graduated from the University of Arts. Kim Jaewook is from Seoul Institute of Arts, major in music. Iseya Yusuke is from Tokyo Institute of Arts, major in design. Tho’, Iseya Yusuke achieves his Master’s Degree and exchange program at New York University (major in film).

With that background, both of them aren’t just an actor, but more an artist. Kim Jaewook has a rock band and also plays in theatre as a foreign musician biopic, Iseya Yusuke directed a few movies that were invited to the international film festivals.

Both of them are hardly known popular as TV drama star despite their talents. Kim Jaewook loves indie projects and took supporting role/second lead role in some TV dramas, it took 17 years after his debut that he finally pick a lead male role in popular TV drama genre, rom-com (Her Private Life, 2019). Iseya Yusuke is known better as a movie star, he also took various roles in historical dramas in public channel, it took 19 years after his debut that he finally plays for a commercial broadcast in a TV drama (Prison Princesses, 2017) more in comedic role.

Both ever performed in Korea-Japan collaboration movie. Kim Jaewook in Butterfly Sleep (2017) with Miho Nakayama, directed by Jeong Jaeun. Iseya Yusuke in The Tenor Lirico Spinto (2012) with Yoo Jitae, directed by Kim Sangman.

Both of them ever acted to make a passionate gay kiss scene in the movie. Kim Jaewook in Antique (2008) with Andy Gillet. Iseya Yusuke in Tonde Saitama (2019) with Gackt.

Nah, Idk whether this is the script one that wrote Hongo Shizuku like this below or that’s Iseya Yusuke himself who interprets his character differently from Kim Jaewook:

Remember the scene in the basement that Taegu could hear the sound of the people he murdered? Taegu felt haunted while Shizuku enjoyed it that he even made a gesture of an orchestra conductor conducting their haunting voice. And when his mother’s voice is echoing, yelling at him to not witness that his dad killed someone in the basement; Taegu felt like the trauma strikes him while Shizuku is bothered at first, but then he smiles and waves at her.

So… I think the original shows that Taegu still has a human side and weak point (although his murder methods are the most brutal among three VOICE’s villains) while the remake is like telling us that Shizuku’s madness level is at Kaneki’s level.

#ocn voice #voice: 110 emergency control room #kim jae wook #yusuke iseya #ask

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jeffersonhairpie · 5 years ago

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I got to see the Jesus Christ Superstar at the Barbican in London tonight and it was SO GOOD (this is the production that transferred from the Regents Park Open Air Theatre)

In my experience, JCS productions tend to err on the side of a technically brilliant Jesus who can just about act his way through the show (because Gethsemane is HARD. It's one of, if not the most technically difficult songs that male leads will ever be asked to perform) and a Judas who can more or less stay in key but is a fantastic actor. Honestly Robert Tripoli I as Jesus is a little weak, or we got him on an off night (or I'm just not a big fan of this trend of Jesus letting his voice crack over the high notes. I'm demanding, I want a technically brilliant and emotionally satisfying performance. Sue me) but Judas?????

Ricardo Afonso was a revelation. His voice is outrageously strong, his range is super impressive and I can't remember the last time I've seen a male lead exercise that much control over his voice. He absolutely belted the 'every time I look at you I don't understand...' from The Last Supper and the force of his accusation against Jesus was just fucking flawless. He hit every emotional beat right on the head and you just couldn't not feel for him the entire beat through. Urgh!!! Favourite Judas ever hands down and it's gonna be a long time before anyone tops him.

Mary, played by Sallay Garnett, had a really interesting, not standard musical voice. I would have liked her to be a bit more physically expressive but it was really great to hear some texture to the vocal performances that you don't often get with musicals

The Pharisees in general were done fantastically. I loved them flipping their sceptres over to become microphone stands. Calvin Cornwall as Caiaphas had all the right charisma for the kind of leader I can totally believe everyone falling bin line with and Nathan Amzi was a fantastically simpering Annas who's turn as Judas I would LOVE to see as he was understudy for the role.

Herod came in looking like a gold blimp with a train on his dress that covered half the stage. He was very silly, with BIG makeup. His attendents were dressed with bloody plates around their necks like the halos you often see around saints heads in biblical art which created this really creepy vibe as they're doing these silly camp dances all covered in blood. I think this was supposed to be a reference to the killing of St John the Baptist?

The colour palette for the production was pretty well fixed. Most of the stage was done up in white, beige, greyish blue and gold highlights. The exceptions to this were the blood, which was shown as red as it should be, and Pilate (and later on Judas) who was dressed in black (which didn't stand out that much from the overall pallet). But when Judas went to the Pharisees, when he refuses and refuses to take their money, Caiaphas grand his hands and forces them into the treasure chest they were using to represent the payment and when they came out they were caked in silver paint, marking Judas's treachery and he didn't wash his hands for the entire rest of the show!!! So he stood out like a sore thumb with his silver hands

When Pilate first came on just before Simon Zealotes to judge the crowd he was clearly hung over, drinking a beer, with his good pulled up over his head and his guitar bouncing along his back and he looked like a total waster who would rather be literally anywhere else and it was cool

It was a very stripped back production with minimal use of props and when they needed props they tried to make them out of sound equipment that the band might be using. Main characters were always singing into held microphones, meaning that when Judas hangs himself he could hang his microphone and have it hit the same note (his mic cable was red to signify his blood). When Pilate comes into judge Judas his microphone had a cable and he flicked it like it was a whip. Jesus was tied for his lashes with more microphone cables and crucified on mic and speaker stands

The production was super physical and the dance team and choreographer clearly worked HARD on it. There were physical motifs used throughout the production to show different character groups and emotions, with Judas's doubt represented by a specific dancer who opened the whole show and would frequently appear as a silhouette in the dry ice mist

And on top of that, they had a full band on stage. No synth trumpets or flutes or anything. All the rockband instruments, brass, woodwind, strings and piano. It sounded amazing and brought depth and power to so many of the songs in the show that I hadn't even considered before

Overall it's just an astonishingly good production and I cannot recommend it highly enough

#jcs #jesus christ superstar #shitty text post #long post

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rivetgoth · 5 years ago

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This is gonna be long, apologies in advance. Just wanted to type something up properly about all of my thoughts now that I'm home and decompressing 🖤

Last year, I took a late night flight back to LAX on the Monday after Cold Waves VII. My signed VIP poster was the most valuable possession I could possibly imagine, and I was scared of it getting crushed in my luggage, so I brought it as a carry on. I knew that if I listened to ohGr I would start crying, and I didn’t want to cry in the airport, so I waited, clutching my little rolled up poster that Ogre and Paul Barker and the whole ohGr crew had signed. Ogre had drawn a little heart and written “hugZ and much support Artistically.” I had picked a spot in the very back of the plane, because I thought it would be less crowded, and I was right. I had no one else around me, my row was empty aside from myself. I’ll never forget the feeling of looking out the window as the plane took off and I watched Chicago get smaller and smaller and turn to little specks of light in the night, clutching my poster like it was all I had to live for. I put on Sunnypsyop and cried myself to sleep.

There’s so much I want to say about Cold Waves and I don’t even know how to start, so I guess I can start at the beginning. Last year on September 20th I flew to Chicago for the first time in my life and met up with one of my best friends in the world, Trigger (Sylvan), to see Nivek Ogre, my biggest hero, and meet him for a second time (I was meeting both Trigger AND Ogre for a second time, actually). It was a life changing event for me. For starters, seeing Ogre is always life changing. The love and care and passion and kindness that he puts out into the world makes the whole planet a better place and lights up my life in a way that nothing else ever has. He’s the heart of the industrial scene for me, because it was through him that I got into this music and found this community. When I saw him, not only did he remember me from when we had seen each other before a year earlier, but he encouraged me not to give up on my art, telling me that not only was I talented but that he could see the work I put into what I did and could tell I was improving. He told me not to give up and gave me so many hugs and he drew me a puppy to get tattooed. Ogre was currently nursing a recently-broken jaw but he was in the cheeriest highest spirits, he was as warm and loving as ever and so excited about the tour, and he put on one of the best shows I’ve ever seen. His strength and resilience and passion for his art inspired me so much, and getting to see him alongside Trigger and even be able to tell Ogre that we met each other through our shared love of his work made the whole thing even more special. Over the course of the festival I also got to see the rest of the ohGr crew, Paul Barker, and Jared Louche, who were all incredibly sweet and fantastic. Many of them have been people I’ve had the honor to speak with either online or off various times since then and have served such a crucial place in my life as role models and figureheads of a community that means so much to me.

The whole weekend was incredible. Trigger and I made so many memories that I’ll cherish forever. I still laugh over so many little things. The show was amazing. I don’t know if I could ever envision a lineup cooler than Cocksure, Lead Into Gold, Chemlab, and ohGr back to back. So many heroes, so many legends. I was living in the middle of nowhere at the time and had missed a lot of concerts due to being unable to get to them. I was seeing people like Chris Connelly and Paul Barker for the very first time. I thought I would never see Chemlab, and yet there I was seeing them among so many incredible people who I had looked up to for so long. So many people who had changed my life and saved my life. But everyone was amazing, and I not only got to see other legendary incredible bands like Front Line Assembly (CYBERAKTIF!!), I got to discover new bands I relisten to all the damn time like ACTORS. I felt connected with everyone in the audience and I got to meet a ton of cool people who were so friendly and so accepting of me. Jim Marcus got on stage and gave a talk about how Cold Waves and the industrial community at large is like a family and I really believed it and felt it and knew it was true.

The craziest thing about Cold Waves VII, though, was the fact that I literally moved out of my parents’ house and to Los Angeles the very next day. When I landed in LAX in the middle of the night I didn’t go home – I met my parents at a little motel where they had brought all of my stuff, sitting in boxes in the back of their minivan. I had packed it all up before I left for Chicago. The next morning we moved everything into my dorm room and my parents left, and there I was living in Los Angeles, alone, away from my family for the first time in my life, at age nineteen. I had just been accepted to UCLA late that spring and classes started the Thursday after the festival. It was a huge change and a huge new beginning and I was so scared of what was to come. I was scared of being alone and I didn’t know if I’d be able to survive in LA. I didn’t know if I’d belong, if I’d be able to succeed, if I would be able to fit in anywhere. Cold Waves served as the opening to a whole new chapter of my life and I was able to leave the completely magical world of the Metro and fly to a brand new home and start my life with the knowledge that I had been surrounded just a day before by countless people who understood me and supported me and who felt the same love and passion as I did. The following month I got Ogre’s puppy tattooed, and I began going to local goth clubs and concerts and meeting up with various people and making friends nearby. It was a slow process that’s probably ongoing forever, but I feel like it all traces back to Cold Waves as a catalyst for a reminder that I would never be alone.

This year’s Cold Waves was a weekend I’ll hold onto for the rest of my life. With my venture into the Los Angeles goth scene and the world around it I met another one of my closest best friends, Angel, who’s now also my roommate. Funny enough I owe Ogre to our meeting as well, because our first conversation was about her going to see him. This time, she flew to Chicago with me to meet up with Trigger. Being able to add a third person to our little entourage was so fun and cool. I love both Angel and Trigger so so much and it was so cool to see our little group grow bigger and I felt like there was an instant ability to connect through shared jokes and shared passions and shared understandings. On the night that we got there, after a little bit of initial awkwardness just as we figured out what we were doing and settled into a workable dynamic between the three of us (and found food after a day of accidentally starving ourselves in the way one does when traveling), we ended up staying up until five in the morning doing “Chemlab karaoke” in our hotel room until we received a noise complaint (oops). Then we had to get up less than three hours later so we didn’t miss breakfast, and spent the whole first day of the festival running on about two and a half hours of sleep and weird tasting hotel bananas. It was an amazing bonding experience and that night alone was some of the most fun I can ever remember having, just being able to hang out with two of my best friends and scream the lyrics to music we loved, so excited for what was to come. I was able to prove that I know EVERY lyric to “Jesus Christ Porno Star” before the noise complaint forced us to shut the hell up.

From here, I don’t even know how to start. How do I even begin to talk about the next four nights? For one, everything was perfect in a way that I didn’t know was possible. Absolutely everything went perfectly as planned. Everything worked out. It felt like we had entered a dimension where nothing bad could happen. Quickly discarding our failed attempt at continental breakfast, we got into a daily ritual of waking up, getting ready, loitering at the Starbucks by the Metro for a few hours, and then heading to the venue early enough that we were guaranteed a spot at the front of the theatre every single night (we didn’t do much Chicago sightseeing… we needed to sleep in with how late we were staying up each night, hehe). On the very first night Jared spotted us in line and came over to give us big hugs and say hi!! That was amazing, because we’d been looking forward to hugging Jared all year. And that was one of MANY to come!! We got to be front and center when Curse Mackey came on stage, who we’d been looking forward to since the release of his first solo album earlier this year. The album is completely fantastic as was his performance. Trigger and I had such a blast being able to scream along to every single song. When we yelled out “WE LOVE YOU CURSE MACKEY” he called back “I love you too!”, and he grabbed our hands so many times during the show. And then… fucking CHEMLAB!!!! Easily one of the best shows I’ve ever witnessed. It was so fucking perfect. The absolute chaos of the beach balls, Jared’s grand entrance, Curse’s return to the stage, the music, the paint, the feathers, Jared spitting water at us until we were covered in his spit, and then Adrian Halo, another friend I’ve made in LA who I love, was pulled onto the stage for the finale. And Jared gave Angel the painting he made on stage! I felt like I was going to cry just watching it all. It was so fun, so exciting, so thrilling. I never wanted it to end. After the show we got to meet up with Curse and Jared and they were both so unbelievably nice. It felt like talking to old friends. There was immediate acceptance of us as fans and as people. I can’t thank either of them enough for the kindness they showed. They made me feel like I belonged there and I mattered there and I was apart of something.

…And we WERE apart of something. We got to witness so much greatness. We got to cry in the front of the audience when Severed Heads ended their final song of their final set. We got to experience the raw, primal, intense excitement the moment Paul started blaring classic Ministry tracks from his Min-Dub Soundsystem. Acumen vs 16Volt were so fucking fun and cool and their backing footage at the end absolutely made me cry. Light Asylum was amazing and her return to the stage with Test Dept. (also totally mindblowing and so INDUSTRIAL) was so epic – As was her Leigh Bowery shirt, which was awesome (I love Leigh Bowery!). Every single band stood out and did something interesting, fun, engaging, creative, cool, etc. It felt like I was apart of something real and this community had carved a very real space for itself in the world of music and art. I got to meet in person people who I’ve known online for ages. People I’ve only ever chatted with through Instagram DMs and Facebook comments ran up to me and we immediately hugged and started talking and it was perfectly natural. We clicked immediately because we knew that we were all here for the same things. I got to make new friends while waiting in line or waiting for the show to start in the theatre. It felt like every single day I was making new friends or meeting up with old friends. I finally got to meet Jim Marcus in person and thank them for the times that they’ve been a pivotal role model for me in my life and give them the huge hug they deserve. I have so many memories that I’ll hang onto for the rest of my life.

I worry about being alone a lot in my life. Not necessarily physically alone – If anything, I love a lot of solitude and I’m not always very sociable. I’m definitely more introverted than extroverted typically. But I worry a lot about a more deep-seated loneliness, especially as an artist. I’ve always been drawn to artistic groups in history that functioned as, well, groups. Andy Warhol’s Factory and the New Romantic Blitz Kids have been interests of mine for a long time because I’m so fascinated in the idea of artists being able to form a community and be connected, even when there is a fallout or things don’t always go perfectly. I’ve struggled more than I care to admit with a sensation throughout my life of not belonging or fitting in with anyone anywhere. I’m good enough at putting on a friendly attitude and people tend to like me, it’s not even that I end up a social outcast. It’s internal, an inwards fear that no one will ever be able to understand me and people like me with the same passions as I don’t truly exist. But Cold Waves proves that they do. People “like me” in every type of way really do exist. It was completely amazing to be able to meet so many people, to be able to strike up conversations with just about anyone, to meet up with new friends and old friends and feel connected to so many human beings around me, all from different walks of life, from different parts of the country or even world, with different stories and hopes and dreams, but we all could be connected for that weekend to our shared love of industrial music and our shared love for Jamie Duffy and Chicago and everything that this subculture has built. The musicians themselves accepted us so quickly as apart of their world. We were more than just fans, there was a real exchange of energy and passion between creator and audience happening, a connection between everyone in the Metro.

On the last day of Cold Waves I wore a pig costume, partly because I love PIG and had been looking forward to seeing Raymond live since I saw him tour with Killing Joke the year before, but also partly just because I fucking adore pigs (the animal) and thought it would be fun. It was goofy and I almost didn’t do it because I was worried people would think I was stupid, but I love the idea of dressing up and wearing fun costumes and I wanted Raymond to see! It ended up being the perfect ending to the festival and it tied everything together so well. Everyone loved it. So many people complimented it and took pictures of me or with me. I’ve seen Instagram posts from strangers talking about me, mentioning the “devoted young fan in the pig nose in the front row.” I’ve seen Facebook posts that mention me. It sounds conceited, but it’s not that I care about popularity or attention, honestly – Most of these people will never even know my name. It was just so fun to be able to dress up in a fun way to support music that I love and represent something that means a lot to me and have such a hugely positive reaction, all these people who love it and accept and embrace it. Raymond reaching down to poke my pig nose during the show was the absolute highlight of the night, and one of the big highlights of Cold Waves altogether. I had a stranger come up to me after the show and say, “You know, you were a really important part of the PIG concert!” It totally made my night. I got to meet so many great people that night. I met up with Logan, who’s a total sweetheart and I’m SO glad we had the chance to connect in person after talking online, I also finally talked to another Angel who lives in LA who I had seen around and they were so so so sweet as well. I got to speak to Jim Marcus, as I said before (they’re my dad now), I got to say hi to and hug Paul Barker for the third time, I got to meet Raymond Watts for the first time and tell him about how much I love his work and hug him, I got to chat with all the people I had already met in line and in the front row the past few days for a final time. It felt so connected. I felt so connected to everyone. When Jim gave the talk on stage about our community and how much it matters and how we’re all there for each other, I really started to cry right there at the front of the audience. It’s so true in such a real and profound way that I’ve never felt anywhere else but in the industrial community. I was there hundreds, thousands of miles from my home in California, surrounded by people who were mostly more or less strangers, but I felt so connected to them and so accepted by them and I loved all of them so much and I felt like they loved me.

It’s so sad to leave Cold Waves and be back home. I love LA but there’s nothing like Cold Waves. There’s nothing like being in the Metro surrounded by everyone else like that. I can’t wait to go back. I feel so reinvigorated in my art and my projects, I want to create and I want to bring to life my own passions so that I can share them with others and give back to this community. I wish I had a way to properly thank everyone – All of the unbelievably talented musicians who are all so sweet and so humble and so amazing, all of the people in the audience who chatted with me and befriended me, all of the friends I made there and all of the friends I already had, the security guards, doormen, managers, everyone who helps keep the place together, Darkest Before Dawn, everyone who works tirelessly to put this event together each year. I don’t know where I’d be without it. Thank you so much for the most incredible time, I’m going to try to keep the spirit of Cold Waves alive in my art and creation even now as I settle back into my home. And I can’t wait to be back next year!

#soft hooting

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