#i think the musical has one of the most magnificent openings of an theatre production I’ve had the pleasure of seeing

[kissingwookiees]

wicked good.

[whatzaoverwatch]

The Reaper of the Opera Chapter 1: The Opera House

Oh no it’s finally happening. Can’t stop me now from doing this long time wish of the Overwatch Phantom of the Opera crossover AU. Please enjoy the madness.

Next

Present Day

The abandoned opera house lingered of dread and mystery. Dust covering every inch of the place, no trace of life anywhere to be seen. That is until a group of the wealthy standards began waltzing in. Opening the aged door with great force. Guided by an omnic of red eyes, he lead them into the theatre quietly.  Dressed in a black suit to present his class; giving him a polished look in comparison to his surroundings. Stepping upon the tattered stage floor, the creaks and old wood echoing the vacant space. Various articles of clothing and antiques were on display, covered in rags to prevent any dirt from touching the surface.

“Please take your places ladies and gentlemen,” The omnic informed his guests, their footsteps heard from behind. Various sneezes and murmurs filling the air. Taking his place upon a mahogany podium as he rose his voice to gain their attention, “Do make some space for everyone. Spread out if you must, I do not wish to be here all day.”

Everyone gathered closer to their places. From the elderly to the youth they arrived. Taking in the sights and musty air. Some grimacing at the display, while others take in the broken chairs and the burnt curtains. A door closes shut behind by two men in similar suits to the omnic.

“That is everyone Maximilian.” They informed the omnic before them. Max looked to the crowd seeing everyone present and accounted for.

“Very small crowd…although I hardly expected an audience at all,” he critiqued, fixing his tie before drawing his attention to the small audience, “First and foremost, I would like to thank you all for coming to the auction this evening. Tonight, we may present you with many of the salvaged items that belonged to the Overwatch Opera Company. I can assure you that aside from its worn out appearance, we are pleased to honour it’s history by its salvaged treasures.”

None of the guests truly had any care, looking rather bored and uninterested in his speech. The back of his mind wondered if it truly was worth the money spent to make this possible. Gesturing to his men, the two bring over a covered item to set in the middle of the group.

“Let’s begin with our first item of the auction,” The men pulled away the cloth to reveal an old looking box. Carved and engraved with paint chipping the edges. Receiving a fair number of giggles and scowls from the sight, “Here we have what you believe is an ordinary box. However, when you open its casing, you will be amazed.”

One of the men slowly opened its casing to present a music box, with one little monkey figure playing the cymbals. A gentle and quiet tune echoing the theatre. The lullaby withered away the doubt of its value. The patrons listened in wonder at the music box. If Max could smile, he would be doing so from their change of demeanor.

“We shall begin the bidding at 50.”

Various hand raises commenced, the price raising higher with each call. 70 to 85, reaching up to a mere 120 by an older woman. The bidders thinning out, leaving the older lass to be the victor.

“Going once, going twice…sold to the lady in the front,” He gestured to the older woman. Watching her frail face beam with delight at the music box, “All payments will be required before departure. Now onto the next item for bid.”

Throughout the hour, each item was proceeding to sell off. From old tattered costumes, to various props from previous productions. Although the profits were selling lower than Max anticipated, he had one more item to reveal. A finale worth this tiring event.

“And now for our final item of the evening. Gentlemen.” He beckoned his audience to turn around and face where a crowd would once sat long ago.

The men proceeding to their places as rehearsed, grabbing the chains on either side and pulling them firmly. Lowering before them is a cloaked chandelier that enveloped nearly the entire ceiling. Patrons backed away swiftly while Max looked upon them in amusement.

“Here before you is the very chandelier that has hung in the Overwatch Opera Company for decades. Lighting what once was a beautiful theatre to all its magnificent performances. Unfortunately, just mere moments before the infamous fire took place, the chandelier was struck down and collapsed before everyone. Some say it was a broken chain, or perhaps a lazy backstage hand. But allow me to reveal to you people the truth: The chandelier was struck down by a spirit.”

“A spirit?” One person sneered in doubt, turning to Max in disbelief of his tale, “You’re saying some ghost decided to take down that big thing?”

“I understand your doubts, believe me I do. However, what I speak of is no tall tale. You see, this Opera Company had its glory. But within it was a rather dark secret. A monster of anger and vengeance far beyond ones imagination. I believe they had called him: The Reaper of the Opera.”

Dead silence filled the air as a sense of misery came upon the crowd. Some even swore they heard an organ playing within the distance. The air grew cold from the very mention of that name. The doubter still fixing their gaze upon Max as he proceeded.

“Let’s begin the bidding shall we?”

-

Ten Years Ago

“Ah my friend, why must you be so glum? It is a glorious day!” The booming voice of a larger man encouraged his shorter companion beside him.

His hair white and slicked back to show a scar over his one eye. A beard as jolly as his voice. His smile as bright as his heart as he strode with pride. Walking down the cobblestone path, passing pedestrians and vehicles on the side of the road. The man he spoke to was very much shorter than him. A yellow beard plastered on his scowling face. An eyepatch covering one eye as he walked in larger steps to keep up with his companion.

“What’s there to be excited about? We are just going to the theatre to meet with the manager.” The shorter one grumbled. Not surprised that the larger one gasped in shock.

“Torbjorn! This is no ordinary theatre; we are approaching the Overwatch Opera Company! The most extraordinary theatre in the world!” He boasted, gesturing the rather polished and luxurious building before them.

The building polished and carved with marble. A large stair case leading to an archway filled with glass doors. Posters and faces of the various performers of the company. One common face being a cheerful young woman with brunette hair and pink striped cheeks.

“To think that we have been hired to take over the company. It is a great honour!”

“You are lucky that Ingrid has a passion for this sort of junk,” He confessed, looking up at the building. Unable to hide the impressed look he had on how lavish the building looked. That amusement completely subsided by his companions knowing look, “Don’t give me that look Reinhardt…”

“Admit it, you are just as thrilled as I. Even passed that grumpy facade. Come my friend,” He beckons the bearded man towards the entrance, “The company awaits!”

Torbjorn merely groaned at Reinhardts passion as they headed to the front door. Making their way up the steps, preparing to open the large antique doors. Before they could enter, a rough voice cut their actions.

“The theatre isn’t open to visitors right now.” The two men looked to the side to see an older man leaning against the wall.

Hair completely white and receding, showing off two rather alarming scars on the mans face. A complete opposite to the blue eyes that gazed upon them. The man in a long blue coat, black trousers & black boots, taking in the cloudy morning air. His scowl just as equal to Torbjorn if not more exhausted. The two men exchanged glances from the strangers comment.

“Ah, we have some business with the manager of the company. A mister Jack Morrison if you will.” Reinhardt informed, having the man leer in his direction.

“Well, you’re unfortunately looking at him,” The man reluctantly introduced himself with his arms crossed, “What do you want?”

“Oh! It is such an honor to meet you Mr. Morrison! I have been a huge fan of the Companys work fo-“ Reinhardt began to express with great enthusiasm. Jack’s patience grew thin, evident as he turned for the door.

“If you are only here to praise then save it for the presses. I don’t have time for that crap anymore.” He grumbled.

“Forgive my rather obnoxious friend here,” Torbjorn interrupted, receiving a rather insulted ‘hey’ by Reinhardt, “My name is Torbjorn Lindholm and that is Reinhardt Wilhelm. We are the new managers for the Opera Company. I believe you called to meet with us.”

Jack turned himself around to observe. A stone-cold look plastered on his face. Releasing the tension by opening the doors.

“Fine, come in.” He grunts, heading inside while the two men follow suit.

Inside held two spiral staircases leading up to various doors and potted plants. More posters from the outside were displayed in frames. A miniature chandelier lighting the entire room. A ticket booth found on the side, enclosed with a sold-out sign while the other way lead towards some backstage hallways.

“We can speak more of the details in my office. Just some paperwork and guidelines we have to go over.” Jack explained heading towards the hallways.

The two men followed suit, only for the sound of an operatic note being heard from the other side of the doors. Reinhardt held his companion in place while he listened in wonder.

“Do you hear that? It is the sound of passion and power!” Reinhardt gasped, halting Jack in his steps.

“They are just rehearsing; they have a show tonight. Just leave them to their business.” He dismissed, leaving Reinhardt to feel a little broken.

“But we must see their progress!” Reinhardt demanded, feeling Torbjorn pull away from his friend.

“Come on Reinhardt, we can see their performance tonight.” He stated, only to receive a rather stubborn look.

“But we should introduce ourselves! It’d be in good manager spirit if we tell them to break a leg!” He reminded, only to receive rather uneasy looks from the old men. Shrinking back with a shrug, “It’s a theatre figure of speech…”

Jack pinched the bridge of his nose before shrugging, “Alright, we can take a quick look. Have to break the news to them anyhow.” Before the two could question that statement, Jack lead them up the stairs and into the grand theatre.

Inside was rows of red velvet seats all in a formal U-shaped curve. Boxes pampered in curtains and gold that hung against the walls of the theatre. Brightening the entire theatre was a glamourous chandelier that sparkled against the tapestry. Painted mosaics covered the ceiling. Columns separating each sets of rows, leading towards the stage at the very end. A scene was being played out of the upcoming performance. A forest themed background was lit against a set of dancers. All graceful and synchronized to the music being played by the man by the piano. Before them was a young woman moving around the stage. Brown eyes filled with determination as she sung to the empty seats. The two men were left in awe until the woman completely halted her actions.

“Stop stop STOP!” She barked towards the pianist. The dreadlock haired man looking to the woman rather exhausted by her abrupt halt. Clearly showing that this was not the first time this happened today. She approached the man with a glare, “You are going way too fast on my part. How many times to I have to tell you to go slower?”

“Here we go…” A grumble from Jack could be heard behind Reinhardt and Torbjorn as they listened in.

“I told you that is how the piece works. You are supposed to be in a faster tempo!” He exclaimed, grabbing the music sheets to show to the woman. As much as he protested, the woman was having none of it.

“The show will not be perfect if it doesn’t go my way! My way is having my parts be slow!” She pouted looking at him, “Lucio you are making me work too much...”

The argument was interrupted by the sound of a cane hitting the floor. All the attention turning towards an older woman with silver hair. Braided and covered in a hijab.  A tattoo under her one eye as the other was covered in a black eyepatch. Her dark skin hidden in her black and blue attire. Her presence giving an authoritative stature to everyone around her.

“That is enough Hana,” The woman spoke to the brunette. Making her turn around to the older woman. The dancers standing by her side, upright but exhausted, “As much as you desire for more presence on the stage, changing the direction of the original music will overthrow my dancers.”

“I believe she is correct my dear!” Reinhardt chimed in, gaining the attention of the rest of the group. Hana rather displeased by the unfamiliar input.

“And who are you?” She demanded. Reinhardt, quickly making his way on the stage. Much to Torbjorns protests, Reinhardt greeted the young woman with a grin.

“I am simply a man with passion for the theatre. I am also aware that you are none other than the great Hana Song! The songstress of many awards and fans, including myself,” His charm and ego brushing was not to be desired by those around him. However, the flattery was already working, evident to Hanas charmed smile, “A show must be memorable and driven with emotions to let the audience leave with satisfaction! Even in a higher tempo, you may work wonders! Grasp every beat like a lover and sing your heart to the world.”

“Oh brother…” Torbjorn groaned. Jack’s attention was drawn to the older woman. Seeing her hardened stare before intruding.

“Let everyone take five, we will take it from the beginning of Act 2,” She announces, having the other stage members relax with a few more stretches. The dancers free from their poised manners until the old woman turned towards them, “Each of you needs to polish their work. Lena, more grace. Amelie, let your motions become fluent. Fareeha, keep on your toes. [Name], your eyes must look ahead and not in the clouds.”

The women nodding to their critiques as they make haste in their work. Leaving them to their notes before approaching Jack and Torbjorn. Amused by the new faces first impressions.

“I thought we had an agreement to no early visitors Jack.” She teased, having Jack shrug nonchalantly with a sigh.

“There is a reason that I bent our rules a little,” He gestured to the two men, having Reinhardt pull away from praising Hana, “This here is Torbjorn Lindholm and Reinhardt Wilhelm.”

“And who may this lovely woman be?” Reinhardt asked politely, taking the hand of the woman with endearment. She hummed at the loving look of the larger one with a smile.

“This here is Ana Amari, she is the dancing instructor to our company.” Jack introduced receiving an amused hum from the woman.

“All these years and all you have to title me as is dancing instructor?” She teased Jack, having him mumble an apology, “Well that’s all I am nowadays.”

“I think not my dear, I see a fire within you that can bring a thousand men to their knees.” Reinhardt complimented, making Torbjorn rightfully intervene.

“Will you give the woman some space? No need for you to woo everyone you meet.” Torbjorn warned, seeing the love struck daze Reinhardt had on Ana. Jack couldn’t help but snort.

“You might want to ease up on her. Although she is divorced, she is not that open for a replacement at the moment.” He muttered to the two men, his words hushed by Anas knowing gaze.

“I see that you two are exceptionally charming. Are you the new stagehands? Our current one could use the assistance.”

“Not quite…” Jack muttered before taking himself to the stage to draw attention to the performers, “Might as well announce this while we are here: These men right here are my replacements. They will oversee the opera company from now on.”

The group were soon in disarray of the news as even Ana was taken back. Murmurs and gasps filled the stage at the retirement. The two men approached while Jack placed a hand on Reinhardts back.

“Although I had my doubts, I can be certain that these two will continue to uphold the Opera houses reputation. Please take them in as one of your own as you have done with me. I apologize for the short notice, but I do wish all of you the best of luck…or break a leg rather.”

The group left to chatter about the sudden news, only for Ana to tug at Jacks arm.

“Jack, a word?” She muttered, taking him to the side. He was already uneasy as he rose his hands.

“Look, I know I should’ve told you this earlier, but I had my reasons.” He assured the doubting young woman.

“Are you certain that those two can handle this?” She questioned, the two men began introduced themselves to some of the members.

“Well to be honest, not entirely. But I know I can also trust you.” He places a hand on her shoulder with a small smirk. Unable to diminish Anas disbelief as she held him still.

“And have you told the new managers about their…specific instructions?” Jack left frozen in his place, as it was evident that they hadn’t a clue. Rummaging in his jacket as he pulled out an envelope.

“I was instructed to give them this, but I’d rather let you give it to them. It seems he already knew before I had a say,” He hands over the note, stepping away with an apologetic look, “Forgive me, I can no longer follow his instructions anymore.”

“Jack…”

Suddenly, cold shift in the air was felt, the lights flickering causing the members to stiffen in their place. Torbjorn and Reinhardt left puzzled, looking about as they could’ve sworn they heard whispers from the walls. A now spooked Reinhardt is left judged by Torbjorn. Ana stared up at the ceiling, a hand firm on her cane at the tension. Returning her attention to now the empty space before her. Just like that, Jack was gone before her eyes. Taken back a bit as she held the note, looking at the red skull in the wax stamp on the envelope.

“It’s probably the damn wind, you big lug.” Torbjorn grumbled at the paranoia.

“No it isn’t! It’s the Reaper of the Opera.” Lena chimed in, only to be hushed by her fellow dancers.

“The Reaper??” Reinhardt spoke confused towards the young womans’ proclamation. His nerves calmed as Ana approached the two of them. Torbjorn looked behind the woman to suddenly find Jack gone.

“Hey, where did Mr. Morrison go?” He questioned, only to be handed the note.

“He had to take his leave, however he told me to bring you this.” She informed, stepping away to let them read.

“A fond greeting to the new managers. I congratulate you on this highest honor. Just as Mr. Morrison has endured, I have provided a set of instructions that must be kept,” Torbjorn read, as Reinhardt followed along, “For every performance that the Opera Company holds, Box 5 should never be occupied whatsoever. I also expect my monthly wages to be paid on schedule and at the select location. Should my instructions be left abandoned, I vow that much dismay will befall the company. From your most generous patron – R. Now wait a damn moment, what’s all of this for??”

“It is your instructions as the new managers, you must follow these regulations.” Ana informed holding onto her can tightly. Torbjorn left unimpressed as he approaches.

“Now listen here, I won’t be casting aside any money to some stranger! I have my own wife and kids to feed at home,” He tosses the letter to Reinhardt with a grunt, “If some prankster wants to demand money, they oughta just show themselves right now!”

As cursed as Torbjorns words be, a spark and flicker of the lights was seen. Causing a disarray within the performers. In one swift movement, a weight bag from above landed towards a no expecting Hana as she fell to the floor in pain. Letting out a cry as she was struck to the ground with the weight on her leg.

“Hana!” Lucio cried out as the group huddled to see the damage. Unaware of the shadows that wandered above them.

To be continued

[365days365movies]

March 13, 2021: Kwaidan (Review)

How do you review an anthology?

Either I go section by section, or I review it all in one shot. Since it’s all one director and writer, the latter seems appealing, so I probably will go with that...but maybe not for all five sections. Hmm...an idea occurs. I think I’ve got it. But, before I go into that, what did I think of Kwaidan on first recall?

Also, real talk, the above GIF is now one of my favorites, and I WILL be using it in the future.

Kwaidan is an understates masterpiece, and one of the many reasons I’m glad I’m doing this misguided film project of mine. It’s genuinely great, and also a wonderful ghost story in its own right. I don’t get scared easily, and I can’t say that this film particularly frightened me, but I can say that it was an unnerving movie in many instances. As for which segment was my favorite...oof, genuinely a tough question to answer. I love how In A Cup of Tea ends, and The Woman of the Snow is a gorgeous fever dream of a sequence. The Black Hair is EASILY my least favorite, but it’s still a good starting point. 

But as for my favorite...

And in truth, I’m not completely sure I can articulate why. It’s close between this and The Woman of the Snow. Tea was a little too short for my tastes (even though I think it had the best ending), and Hair was...well, just fine, like I intonated above. Snow has some amazing visuals, and a great story, which may have been ruined for my by Tales from the Darkside: The Movie, but still was wonderful. But Hoichi...Hoichi was magnificent.

I love Hoichi himself, the opening kabuki theater is amazing in sound and appearance, and the reappearances of the visuals is stunning throughout. All I gotta say is, I loved every single part of this one. And yeah, it’s arguably the only one with a mostly happy ending, all things considered. But I may get more into that in the Review.

Yeah, speaking of that, how are we doing this? Well, some segments will be broken up by...segment, while others won’t be. Depends, you’ll see. So, let’s get to it! Below are listed the four segments, and their recaps. Click on them to read them in full!

The Black Hair (黒髪, Kurokami)

The Woman of the Snow (雪女, Yukionna)

Hoichi the Earless (耳無し芳一の話, Miminashi Hōichi no Hanashi)

In A Cup of Tea (茶碗の中, Chawan no Naka)

Without further ado, then...

Review

Cast and Acting: 9/10

Breaking this one up! Not a single shared cast member amongst any of the shorts, so this one is broken up by necessity.

Hair (8/10): Sorry to say, but this is arguably the weakest cast in the group. Granted, it’s not that many people, but it’s still not the strongest of these stories. The lead here is Rentarō Mikuni, and he’s fine. My only problem is that it feels like he’s acting. Which, to be fair, is very kabuki theatre. You know, over-exaggerated movements and emotions, all that jazz. But, without the physical trappings of kabuki, it just feels like, well...overacting. Again, not the worst, but not the best. Michiyo Aratama and Misako Watanabe are good as well, but they’re parts aren’t hefty enough for me to properly judge. Well, actually, Aratama is quite good, real talk.

Snow (10/10):  Amazing. Keiko Kishi is absolutely enrapturing as the Yuki-onna, and Tatsuya Nakadai ain’t bad as Minokichi either, lemme say. Again, limited cast for this one, but they definitely manage to excel. Seriously, they’re great.

Hoichi (10/10): This one has some of the best, though, both in terms of the kabuki scene, and in the regular scenes. The range of performances here is interesting, considering that you have the overdramatic stylings of kabuki on when end, the gentle nature of Katsuo Nakamura’s Hoichi on the other end, and the actually entertaining comedy relief monks in the middle. Yeah, I never mentioned it, but there are comedy relief monks in this segment, and they’re funny! This one is, all-around, a really strong cast, and the best in the film for sure.

Tea (8/10): This one is strong too, don’t get me wrong. Nakamura Kan'emon is a strong lead, but he’s not...perfect. Nor is Nokobu Nakaya as the ghost of Shibuku Heinai. Even the three samurai are a bit stiff. But in truth, it doesn’t interfere with the short, even a little bit. The 8 out of 10 is how I feel about it, but I genuinely don’t have a problem with it.

Average score’s a 9/10, which feels totally accurate to me. Moving on!

Plot and Writing: 10/10

I was going to break this one up, since they all have different plots. But, first of all, they all have the same writers. And second of all, they’re all...basically perfect? Like, real talk, I love all of these fuckin’ stories, dear Lord. And it’s Japanese folklore, which is basically always great. But OK, let’s break it down. These stories were originally collected for publishing by Lafcadio Hearn, a Greek-Irish man who lived in the United States for a decade, wrote about New Orleans, then moved to Japan and married a Japanese woman, eventually becoming a citizen and spending the rest of his life there as Koizumi Yakumo. Yeah. Dude has a STORY. He collected these stories in multiple books, and these stories were adapted by Yoko Mizuki, a female screenwriter, and one of the most accomplished female Japanese screenwriters ever, with 34 screen credits under her name. And this movie was relatively late in her career, too. Neat, all around. And yeah, these stories are WELL adapted, with the last one as a standout for me. In any case, this one is basically perfect.

Directing and Cinematography: 10/10

Yeah, this one’s perfect, too. I mean, come on, the fuckin’ SHOTS in this movie are fantastic. Director was Masaki Kobayashi, and the cinematographer was Shigeru Wakatsuki, and...yeah, it’s great. I don’t even have to say anything here, just watch the trailer for the movie. If there’s any specific standouts, though, they’d be The Woman in the Snow for Cinematography, and Hoichi the Earless for Direction. Amazing, and those two are the best examples.

Production and Art Design: 9/10

Um...yeah. Of course this one’s high, not even a question. LOOK AT THIS GODDAMN MOVIE. No more needed here, it’s a 10/10, it’s gorgeous all around. Well...OK, maybe it isn’t perfect. And that all basically falls at the feet of The Black Hair. I meant it when I said that this was the weakest short. Because...yeah, it is. From the initial old-age make-up, to the weirdly plain kimonos worn by an extremely wealthy woman who should be able to afford more ornately patterned kimonos, this one was...weaker, atmospherically. Still great, mind you...but weaker. So, OK, maybe not perfect, but still good.

Music and Editing: 8/10

And the music by Toru Takemitsu is definitely memorable as well...but is the editing perfect? Eh. Not really. Sorry, Hisashi Sagara, I know you’re working with 1965 technology here, but it’s not...perfect. There was some work needed throughout each short, to be honest, but it was still all pretty solid. Music really holds up this category, though.

OK, Japanese spirits, you’ve got a 92%! Don’t haunt me.

I really want to go to Japan, by the way. Like, I’ve always been interested, and I never would’ve turned down a trip there, but I REALLY want to go to Japan one day. I’d love to visit a temple or a shrine (respectfully, of course), I’d love to experience the people and the atmosphere...I just think it’d be very cool, to be honest with you. And movies like this have only heightened that desire.

Man, I loved this one! What comes next in the pattern? Right, surrealist films written by well-known and influential directors! Cool, I’m pumped! Let’s jump right into it! What could go wrong?

March 14, 2021: The Holy Mountain (1973)

[dweemeister]

Movie Odyssey Retrospective

Snow White and the Seven Dwarfs (1937)

On December 21, 1937, Hollywood’s stars and executives strode a blue carpet ushering them into a packed Carthay Circle Theatre in Los Angeles. The chilly night air typified expectations of the film premiering that evening. This was a premiere unlike any other, one for an animated feature film. During the silent film era and first decade of talkies, animated film evolved from simple gag drawings to endowing animated characters with personalities to character-driven short films heavy on slapstick (think Looney Tunes). For Walt Disney, supervising director David Hand, and the band of underpaid animators that they oversaw, Snow White and the Seven Dwarfs (the first cel-animated feature film; the oldest-surviving animated feature is from 1926 and the first animated feature is now lost) was a statement of purpose – an artistic culmination stemming from the Mickey Mouse shorts and especially the Silly Symphony series. But on the night of the premiere, Walt, Hand, and the animators that were invited or purchased a ticket had no clue how the audience would receive their work. With a fortune invested in the movie’s production, “Disney’s Folly” was predicted to be financially ruinous.

The lights dimmed. The audience found themselves entranced by the opening shot of the Queen’s castle; they applauded the background art when no animation was on the screen; they laughed at the dwarfs’ antics and adored the childlike Snow White. Then came Snow White’s presumed death. As her body rested in a glass coffin and the dwarfs and woodland animals tended to her wake, Walt, Hand, and the animators looked around the theater in disbelief. The calculating Hollywood executives, the pampered actors, and the cynical journalists and film reviewers sniffed their noses, some openly weeping. “Love’s first kiss” be damned; the animators, Hand, and Walt had triumphed. Walt’s dream of making animated cinema as dramatically and emotionally impactful as any live-action film had been realized. Securing the studio’s future to the temporary relief of Roy O. Disney (who managed the studio’s finances so often overspent by Walt), Snow White began the most important and accomplished run of consecutive animated features in history. By the end of that run with Bambi (1942), seldom would any animated films in the decades that followed achieve that mix of dramatic and emotional power without condescending to its audience.

I sometimes wonder about what it must have been like to be present when the Lumière brothers’ The Arrival of a Train at La Ciotat (1896 short film, France) premiered to an audience that, according to some accounts, panicked and dove out of the way as the train moved closer to the camera. Or when Atlanta Mayor William B. Hartsfield organized three days of celebration prior to the whites-only premiere of Gone with the Wind (1939). These are moments where the spectators could rightfully say they had never seen anything like the film they had watched. The same is true with Snow White’s premiere.

The Silly Symphony series allowed Walt’s animators to experiment with techniques that might be used in a feature film; the multiplane camera introduced during these short films provided depth and dimension, infusing backgrounds with atmosphere to influence emotion. Snow White utilized the multiplane camera to create the grandeur of the Queen’s castle and, perhaps most astonishingly, capturing Snow White’s disorientation and fear after the Huntsman – ordered by the Queen to murder the Fairest of Them All – spares her, beseeching her to flee. During Snow White’s flight, the lighting, fast-moving multiplane camera effects (blink or you will miss them), and the personification of nature as she descends deeper into the forest can be attributed to the innovations of Silly Symphonies, particularly The Old Mill (1937 short). The techniques found in this scene alone (yes, this includes those mysterious eyes in the dark and mossy trees that bear human faces) continue to influence countless animated films and television shows. It is magnificent artwork in any era, deserving to be taught frame-by-frame to those aspiring to make animated cinema.

The expenses taken to make Snow White required that character designs and movements portray only what is essential. Characters are designed and move in a way that helps them act in their scenes. With little experience in animating humans prior to Snow White, the title character (designed by Charles Thorson, who left Disney in protest for Warner Bros. to design Bugs Bunny and Elmer Fudd) and the Prince’s facial movements occasionally awkward. The Queen, who becomes larger than life with her flowing black and red cloak, is imposing – before and after drinking her transfiguring formula. But the best work is animation supervisor Fred Moore’s (pre-donkey Lampwick from 1940’s Pinocchio, Timothy Q. Mouse in 1941’s Dumbo) character design for the seven dwarfs. If one had no idea of each dwarf’s name – Doc, Grumpy, Sleepy, Happy, Bashful, Sneezy, and Dopey – prior to watching Snow White, their personalities could be guessed even without audio or motion. Their features would be terrifying in live-action, but the audience has already accepted their design because they have suspended their disbelief in magic mirrors and a princess who is understood by animals. Their body shapes and exaggerated facial features (nobody in real life has a nose like Grumpy; no drowsy person’s eyelids stay that half-shut like Sleepy’s) make each dwarf distinct, allowing the audience to recognize which dwarf is which without much confusion.

The famous “Heigh-Ho” sets this table early. When animator Shamus Culhane (a Bray Productions animator during the silent era; an uncredited co-director on 1941’s Mr. Bug Goes to Town from Fleischer Studios) was assigned the sequence where the dwarfs march home, it took him and his assistants a half-year to complete the animation. With direction from Hand and Moore, Culhane was directed to have the dwarfs march to the tempo of the musical number, but to bestow each with their own physicality. For a moment that lasts less than fifty seconds within a song, Culhane and his assistants’ painstaking labors set the standard of granular detail and individuality that the animating teams working on Snow White took upon themselves. Snow White’s seven dwarfs are brilliant comic actors, prancing in front of gorgeous watercolor backgrounds. The character design practices implemented in Snow White were improved on each entry of Disney’s Golden Age (which I demarcate as Snow White to Bambi). This development saw the early Disney animated features – along with the best Technicolor films of the 1930s and ‘40s such as The Wizard of Oz (1939) – become instrumental in setting Western cinema’s color coding, where characters and backgrounds express ideas and emotions in conjunction with character and production design.

As Snow White is a fairy tale, so it has the logic of one. In a time where filmmakers and audiences obsess over plot rather than character-driven emotion and themes, viewers could be taken aback by how abruptly Snow White changes moods and the title character’s behavior. Snow White has been ridiculed by some feminist critics, but I find that many of their justified concerns about the character – from her unprompted cleaning of the dwarfs’ house and her pining for a handsome man to whisk her away upholding gendered roles – are too often based on the assumption that she is a woman and that this film was intended for children. That is incorrect on both counts. Snow White in the original Grimm fairytale is a child, and in Disney’s version she has been thankfully aged up to (or is on the cusp of becoming) an adolescent. Walt made a film appealing to people of any age, hoping that its humor and pathos could be accessible to all.

Snow White, a young girl who has known nothing but submission to her stepmother, the Queen, is quite naïve, knowing little of the dangers outside the castle walls. Her stepmother’s obsession of physical beauty has influenced how she thinks, especially as she seeks personal validation from others (be it the Prince or the dwarfs). In the context in which she was raised, her passivity is understandable. Even if that means Snow White is a passive, unambitious character, her gentleness, which remains after the trauma with the Huntsman, is what makes her the fairest of them all. Characters act the way they do because of her compassion. Snow White, with her romantic longings, probably should not be emulated, but she sets the template that the most fascinating Disney animated heroines have built on.

One of the common themes in fairy tales is the assumption of increasing responsibilities as an individual matures. Though far more obvious in Pinocchio and Bambi (the latter is not a fairy tale), this dynamic also exists in Snow White. With the Queen’s physical and sexual withering, it is Snow White’s time, the film implies, to become an adult – adulthood arrives at differing times among human cultures. Her interactions with the dwarfs serve as a kind of rehearsal for adulthood, effectuated the moment the Prince revives her. These adult responsibilities are communicated through the gendered lens of mainstream 1930s filmmakers. When a female character is the star in a Disney animated canon film, how these responsibilities are portrayed and related to the protagonist depend on how each film’s writers understood gendered roles of their respective eras – the submissiveness of the 1930s; the corporate (in the negative sense), sloganeering feminism of the 2010s; and the rare exceptions. No matter the Disney animated film, those themes of one’s duties in the natural order are omnipresent across the canon. Such lessons are not only for children. Don’t let those dismissive of animated cinema (especially if they think that film history can be written without the Disney animated canon) tell you otherwise.

Musical films became possible after the introduction of synchronized sound, which heralded the end of the silent film era. In the early talkie years, studios – looking to experiment with sound – saturated theaters with musicals. Across the 1930s, the popularity of the genre rose and fell. Snow White arrived at a low tide for musicals, with Fred Astaire and Ginger Rogers’ partnership nearing its end and Shirley Temple, though still a massive draw, approaching her teenage years. Yet 1937 proved one of the most important years in musical film history, as those that adored Snow White linked animated features with musicals (the fact that Snow White boasted the world’s first soundtrack album for a film also helped). It is not coincidental that when Fleischer Studios set forth on Gulliver’s Travels (1939) – distributed by Paramount – as their response to Snow White, that film was also a musical. This link has proven resilient to the present day – pointless and unimaginative metatextual scoffing aside.

The creators of this early Disney sound are composer Frank Churchill (numerous Disney shorts and features from 1930 until Bambi) and lyricist Larry Morey (select shorts and Bambi) on the songs and composers Paul J. Smith (Pinocchio and 1954’s 20,000 Leagues Under the Sea) and Leigh Harline (Pinocchio, Mr. Bug Goes to Town) for the score. Despite the audio quality showing its age and the somewhat limited orchestra, the collective musical work is sublime, representing one of the greatest musical movie soundtracks as well as one of the best film scores of all time.

After a grand overture from Smith and Harline, “I’m Wishing/One Song”, considered a single song with two halves, is sung by Snow White (Adriana Caselotti and her distinctive high-pitched voice that is perfect for the character), then the Prince (Henry Stockwell). Simple are the lyrics. In a world of love at first sight, we learn so much about Snow White, the Prince, and the Queen in just three minutes. Delicate strings and a subtle harp line reflect Snow White’s longing and the Prince’s passion (listen closely to the score from start to finish and you’ll hear a rare film score where the harpist does plenty of emotional heavy lifting). The second half, “One Song” introduces us all too briefly to Stockwell’s beautiful singing voice – a type of voice that would all but disappear from popular music after the 1930s ended – and lyrics that, to reiterate, seem simple but are tremendously evocative.

One song I have but one song One song Only for you

One heart Tenderly beating Ever entreating Constant and true

Other musical highlights appear as Snow White flees into the forest (a dynamic example of action scoring in a Disney animated film), as well as her accompaniment through the forest by the woodland animals with, “A Smile and a Song”. Soon after, “Whistle While You Work” appears as the film is barely thirty minutes in. “Heigh-Ho” follows immediately after that. Snow White is packed with hit songs that have gained pop culture cachet outside the film. The weakest song in Snow White might be “Dwarf’s Washing Song”, which adds nothing to the dwarfs’ characterization but exemplifies how committed the musical team are in supporting the animators’ use of slapstick. When articulating the Queen’s villainy and second act transformation, Smith and Harline depend on string tremolos and churning strings and brass to reflect her whirlwind of fury.

Snow White’s signature song speaks to her nascent romantic desires. In the film’s greater subtext, it is also about her coming of age, the end of childhood, to take her place in what she believes is the natural order of things. “Someday My Prince Will Come”, in a slow three-quarter time evoking a Strauss waltz, allows Caselotti to breathe. Listen to Caselotti’s musical phrasing. In each luftpause, Churchill’s music and Morey’s lyrics allow the lines to rise and fall between two words, imbuing each bar with torrents of feeling. The same thing exists in “I’m Wishing/One Song”, to breathtaking results. “Someday My Prince Will Come” is popular among jazz musicians due to its chord structure, becoming a jazz standard when a Jewish band named the Ghetto Swingers, taking inspiration in the song’s hope for happier days ahead, performed the song at Theresienstadt concentration camp in 1943.

No one composes songs like “Someday My Prince Will Come” or “I’m Wishing/One Song” in films anymore – yes, I realize how trite that statement is – as modern composers and lyricists working in musical films/theater oftentimes try to fill out a meter with a repeated lyric (which, to my ears, is an admission of creative surrender) or, more interestingly to yours truly, rely more on ballad-like tunes. The voices of Caselotti and Stockwell lend well to the compositions they sing – reminiscent of Jeanette MacDonald and Nelson Eddy’s musical movies at Metro-Goldwyn-Mayer (MGM) in the 1930s. The partnership of Churchill, Morey, Smith, and Harline produced a stunning musical gift to audiences, setting the Disney musical sound that would last through the mid-century.

As the attendees of Snow White’s premiere left in jubilation, few could have imagined how complete Disney’s victory would be. Charlie Chaplin extolled the film as surpassing even his wildest expectations; esteemed director Cecil B. DeMille expressed his desire to make films like Snow White. Hugh Harman and Rudolf Ising, who founded Looney Tunes and Merrie Melodies for Warner Bros. and were currently Disney’s rivals at MGM, sent a telegram: “Our pride in the production is scarcely less than yours must be and we are grateful to you for fulfilling an ambition which many of us have long held for our industry.” In Europe, the admiration was just as vocal. Snow White’s native Germany received Disney’s adaptation ecstatically; the nation’s then-leader – soon to set Europe and North Africa aflame – considered it a great cinematic achievement. In the Soviet Union, the state media praised the dwarfs for reflecting communist ideals; outside of the Kremlin’s propagandists, no less than Sergei Eisenstein – the director of the most infamous massacre scene in cinematic history – proclaimed Snow White and the Seven Dwarfs as the greatest film ever made.

After cinemagoers made Snow White and the Seven Dwarfs the highest-grossing film of all time when adjusting for inflation, Walt Disney, David Hand, and their crewmembers knew that the world’s expectations for animated feature films had been raised to unimaginable heights. The studio – soon to be housed in a Burbank headquarters designed and constructed thanks to the profits from Snow White – continued to make short films including Mickey Mouse and friends, but short films would no longer be its focus. The Disney animators soon set themselves to work on four history-altering films: a wooden boy who learns selflessness and integrity, a “concert feature”, a pachyderm who triumphs because of his difference, and the growth of the Young Prince of the Forest. Despite the financial windfall of Snow White, Disney did not distribute their own films – RKO distributed all Disney (which did not become a major studio until the 1990s) films until 1956 – and Snow White was the only Golden Age Disney film that was an immediate financial success upon release (the others would recoup their costs after 1945).

During Snow White and the Seven Dwarfs’ release and in the years immediately after, the world was shattered by violence and remade. Like its fellow great films of the 1930s, Snow White provided solace to those seeking escape from global forces beyond their control. But few of its contemporaries could be said to have been as influential. Almost every animated film – no matter its origin, style, or year released – owes something to Snow White. Animated film has existed since the nineteenth century and there were animated features before its release. Cinema is one of the youngest of artforms, but the mythos of Snow White does not look likely to change. It is the beginning of animated cinema as we know it.

My rating: 10/10

^ Based on my personal imdb rating. Snow White and the Seven Dwarfs was upgraded from an initial score of 9/10. It is the one hundred and sixtieth feature-length or short film I have rated a ten on imdb.

This is the fourteenth Movie Odyssey Retrospective. Movie Odyssey Retrospectives are reviews on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include Mr. Smith Goes to Washington (1939), Dumbo (1941), and Oliver! (1968).

NOTE: This is the 700th full-length Movie Odyssey review I have published on tumblr.

[jayne-hecate-writer]

Opening night at the opera...

I had been looking forwards to this show for weeks, I had a special dress, new make up and severe anxiety for the whole day leading up to going out of the door...

The opera was the brand new production by The Welsh National Opera of “Un ballo in maschera” by Verdi, a Gothic melodrama in three acts and it was beautiful. This was also the opening night, in their home theatre, in Cardiff. So you can imagine the excitement among the audience, which unlike that we see in Bristol, seemed to have a bias towards the older opera lover. Generally speaking, from where we were sat, the average age of patrons was around 170! Come on young people, you need to embrace the arts because you are missing out on a spectacle of beauty.

So let’s start at the beginning of my story, which involves a trip to the theatre to see the WNO perform in Bristol, which was as always, utterly wonderful. During the intermission and after my dash to the loo, we were approached by the Press Officer, a charming young woman who clearly knows her onions and she asked if my dear friend Ginny would like to review a special show? It turns out the plebs like us are just the sort of people the WNO needs to bring in, in order to keep going. To be blunt, more plebs means more money in ticket sales... OK, that is remarkably disingenuous, but it stands as a point. The arts in this country are in desperate need of support and the more ordinary people who will embrace them, the longer they can survive. 

So, I placed the date in my diary and then pretended to forget about it, while inside my stomach squirmed at the thought of going to Cardiff to see a show in a huge auditorium. I also needed to make sure that I looked smart, this was after all, a special event, so no jeans and Slayer t-shirt for this one. Actually, as I think about this, I have never worn jeans and a Slayer t-shirt to the opera. Maybe I should from now on! Anyway, the only good frock I had in my wardrobe was broken. It also did not fit me that well and quite frankly it was close to being thrown out, despite having been really pretty when new. 

Luckily for me, while out at a Death Metal gig, I met the fabulously clever and talented Cassie of Jolliff Sewing and Embroidery and she said that no dress was beyond saving. Somewhat doubtfully, I gave her my frock and a small payment and hoped for the best. I told her to take her time and in almost no time at all I was told to come and get my frock. It looked brand new. No, actually, it looked better than brand new. It looked tailored, it fitted me perfectly and she had even repaired the lace on the front that I thought was beyond repair. I could not have been happier. My advice to anyone in need of dress making advice or clothing repairs is to talk to Cassie. Mind you, you will have to wait your turn because she now has the rest of my ripped and ruined wardrobe (I must stop fixing the motorbike while wearing ball gowns!) to fix up and alter. 

With a new frock and some new make up, I got myself ready and two hours before I was due to leave, I realised that I really did not want to go. The thought of travelling to Cardiff, of being in that huge room with all of those people, of being somewhere posh, of being sociable... all of the things that us socially awkward quiet shy types have to deal with on a daily basis suddenly piled up on my shoulders and threatened to crush me. I could not eat, I could not drink anything and I even forgot to take my meds prior to leaving. Physically shaking, I left the house and sat in the car. Not even rancid death metal could calm me down.

I picked up Ginny and we hit the motorway, in bad weather and low visibility. The trip to Wales was on and I was focused on getting us there safely. I had offered to drive because Ginny has always driven us previously and it seemed fair to share the load so to speak. Mind you, with no sense of direction, I needed a co-driver who could give me a running list of directions... It cannot have been a relaxing journey for her! Finally we arrived, parked up and I asked Ginny to remember where we had parked, otherwise we would have to walk home and I would never see my car again. 

The Wales Millennium Centre is huge, intimidating and very pretty, well for a building anyway. The acoustics are spectacular and the stage is fabulous. But that is not the best bit, not by far. The best bit is that the seating is soft, comfortable and plush, even in the cheap seats! I love the Bristol Hippodrome, I truly do, but this was a step up in terms of luxury. Everything is shiny and new, the floors are polished, the air is fragrant and the views of the stage are really well designed, even with an ugly fat bald bloke slumped in the seat in front of you! The lighting is wonderful, every detail is clear and yes, I was blown away. My nerves faded along with my inhibitions (thanks to the pain killers I was forced to swallow... Thanks useless body!) and I was able at last to relax in my seat and wait for the show to begin.

I was in awe as soon as the curtain rose. The set, the costumes, the choreography. It opened with a coffin, upon which lay my favourite character of the entire show, Oscar, performed by Julie Martin du Theil, with whom I immediately fell in love. The character of Oscar is a young, possibly gay, Herald, performed by a soprano, but for me the winning moment came when Oscar slid from his Master’s coffin top to reveal the most magnificent costume of the evening. It was all leather, with huge Gothic boots, making the character look like a young Danni Filth of Cradle of Filth. 

Photo credit:- The Welsh National Opera.

Once again, I am comparing classical music with black and death metal and as always, the comparison is worthy. The themes of this opera are dark, with images of Satanism, sacrifice and murder. This is in every blood soaked second, a truly Metal experience. The first act was for me the best, it is dark, occasionally evil and often sinister. My next favourite character was the Sorceress Ulrica, performed by the wickedly dark Sara Fulgoni. The dancers who played Ulrica’s servants were covered in brutal, but hilarious wounds that were soaked in red ribbons of gore, with the various implements of torture poking out of them. There were the usual knife and sword wounds, but also screwdrivers stuck in heads, hacksaws half way through limbs, scissors stabbed into backs, machetes embedded in brains... Every single one was brilliantly brutal and once again, just pure Black Metal.

Act two saw a less exciting and for me less enjoyable scene. The love torn Amelia performed by the always fabulous Mary Elizabeth Williams, is at the gallows gathering the magic herb needed to break the spell of love on her heart. The count who is in love with her watches in the distance, but given that she is married to his best friend, things are not going to end well for any of them. For me, this part of the show was the least interesting because it contained all of the heart break and misery of the piece. It was just far too nice, far to emotional and did not contain much of the mayhem and darkness of the first act. Mind you, the watchful foxes with their glowing red eyes were creepy and beautiful, while the full moon painting was breathtaking.

Act three sees the resolution of the piece and once again the costumes were fabulous, the music swelled and the lights were magnificent. As the party goers arrived at the masked ball (for which the show is named after) dressed in skeleton printed long coats, I desperately wanted one of the black ones to wear home. The wonderful Cassie may well have repaired my damaged velvet jacket, but the creepy and ghoulish skeleton coat would have been a prized piece indeed. 

With the show ended and numerous bows taken so that the royal visitor could be whisked away before us plebs got in the way, I was left with my fingers in my ears because right behind me was sat a man whose clapping was a sonic weapon, probably commissioned by the Police in case anyone decided to have a pop at the royal guest. How one man can clap that hard and that loudly and still have hands left at the end appalled me. I can only imagine that he has had plenty of practice, clapping down concrete bunkers until all that remains is pulverised gravel and dust! 

The drive home was somewhat more chaotic as lost drivers struggling to find the motorway swerved across lanes, almost as lost as I was. They badly needed a Ginny to navigate them too! Finally I arrived home, elated and still feeling pretty in my posh frock and make up. Taking it all off felt like I was stripping away something fabulous, removing something special that I did not want to lose. 

I must now thank the following people. Firstly the whole cast of the Welsh National Opera, for their fantastic Black Metal performance. Cassie for my wonderful dress and jacket. Then most of all, my dear friend Ginny for all of her tolerance, kindness, support and navigating. 

As for all of you, you absolutely must go and see the opera and support the arts in this country before they die out through falsely assumed snobbery and horrible feelings of impostor syndrome. Organisations like the WNO will not only welcome you into their home theatre, but they will do so with the open arms of friendship. If you have never seen an opera performed live or think that opera is not for you, choose one of their lighter ones, grab a good friend and go along. Trust me, I speak as a rancid Black Metal fan, opera really is for everyone and the Welsh National Opera are one of the best out there. 

[itwilltoteshappen]

You said it well, Niall is a consistent performer. He's good. Definitely has improved with every passing year & album, especially since Four. But Harry is an entertainer. Live, you can't take your eyes off of him, he's magnetic and beautiful. AND He's a great singer, with technical errors that come from some of the risk he's built into the songs he's created. SotT was the song he chose to debut live and then sing over and over all over a TV. That is a much harder song to sing than This Town.1/2

I certainly don't want to get into the game of comparing the guys, b/c they come with very diverse talents. But there's a reason for the acclaim for HS1-- we're not going to see that same scale for Niall & Liam's album release. Yes, the Azoff machinery is crushing it, but Harry, when he's out there performing makes people PAY attention. He's a mesmerizing mermaid. Like you said re: LLS/Kiwi: his theatrical expression, use of the mic stand like a prop, command of the stage. He sounded so good!2/2

oh anon you really want me to get in trouble, don’t you?  these are some dangerous words lol 

Here’s the thing.  I also really don’t want to compare in the “so and so is better” because that just opens up so many hell gates.  But I will say this much: everything is SO SUBJECTIVE.  I L.O.V.E. Harry’s theatricality on stage.  It’s right up my alley, it’s totally my jam, I am so here for it, I’m with you that I can’t take my eyes off of him when he performs.  But I’m also a musical theatre loving nerd who was raised on Elvis.  The things Harry Styles does is custom built for someone like me. BUT I know that’s not everyone’s jam. 

I know plenty of people that prefer something a little more straightforward like Niall’s performances.  they don’t like all the ornamentation.  One of my best friends not on tumblr (or well, only lurks on tumblr- I know you’re reading this, don’t try to hide from me) thinks Slow Hands is the best solo effort out of all the boys.  and I like Slow Hands a lot (even if the more I listen to the studio version the angrier I get about production choice to have that weird skippiness in the first verse- WHAT IS UP WITH THAT), but it’s just not my favorite tune.  

Also- I do have to say that while SOTT SEEMS like a far more difficult song to sing...This Town is actually quite deceiving.  That’s when Niall really impressed me the most.  The place where it sits in his voice is not an easy place to sustain for an entire song.  You have to be really warmed up and on and have strong breath control to be able to keep that up and he’s done magnificently.  

I mean, again, Harry is still my favorite performer out of all of them and I’ve said that since I joined fandom.  To me he really does have that extra something, but I am well aware that it’s not for everyone.  

[theincidentaltourist]

The Queen Mary 2. Gloriously Remastered And Back At Sea.

The worlds favourite ocean liner, the magnificent Queen Mary 2, was docked at the Cape Town Cruise Terminal for a couple of days, and I was lucky enough to enjoy a tour and lunch onboard. 

Purpose built to do the trans-Atlantic crossing, the Cunard Line’s Queen Mary 2 has a deeper reinforced hull to help her cut through rougher weather at great speed. Unlike the cruise liners who spend most of their time at a leisurely pace on the Mediterranean or Caribbean seas, this beauty can be tough, and is able to push forward at a speed of over 30 knots, making it possible to travel from South Hampton to New York in just 5 days. 

Her square shaped stern gives better hydrodynamic efficiency, says Steven Payne, the ship’s designer. Her lifeboats are high above the water line, so even a rogue wave can’t hurt them. And he shaped her bridge to protect passenger decks. The balconies are so high up that they are certainly not vulnerable – protected forward by the superstructure front, within the hull. And most of all besides the technical genius that she is, the QM2 is built for comfort and style. 

After 14 years at sea, this magnificent ocean liner recently took a 90 days break in Germany for some essential remastering and upgrades. Taking cognisance of guest’s feedback, the changes included the additional of more single rooms, a fresh look at colour and refurb of the state rooms and restaurants.

The refurbishment, which is the biggest makeover Cunard has witnessed in its 176 year history, cost in the region of £90 million, and included the addition of 6000 pieces of new furniture and 4000 pieces of art to the cruise ship's rooms. It is said that 5200 men and women worked over a million hours to overhaul her machinery, refresh the exterior of the ship and transform her reception rooms, dining areas and cabins.

One of the recently remastered states rooms. The natural light capturing the naval blues and white couches, inspired nooks enhanced by modernistic lighting. You'd want to spend much time here, cocktail or coffee in hand, watching the ocean go by. 

Passages are lined with lush red swivel chairs to take in the views from.

The Grand Lobby with it’s centre flower piece and symmetrical staircases, is where tours are booked and the Purser’s office is found.

More opulence, as one walks from one lounge to the next.

In her Queens Room is the largest dance floor at sea. Illuminations is a luxury 3D cinema, there’s a planetarium and a classical music venue and if you fancy a little shopping, there are some fine boutiques centred around the ship’s magnificent Grand Lobby, which provide a range of products from tempting souvenirs and gifts to exquisite jewellery and designer clothing.

The first planetarium at sea.

The Art Gallery to appease any art collector. 

There are walls of painting of famous fold who have take journeys on the Queen Mary 2, and its as though their spirits still live on in the lounges and on the dance floors.

The library is found at the helm and offers natural light and comfy reading chairs next to the windows, with views towards the ocean and is home to 10000 books.

One of the five swimming pools onboard.

About the Queen Mary 2.

The winter garden has been magnificently transformed into the Carinthia Lounge room. There’s a sherry bar with one bottle that dates from 1875, to some current brands and vintages. 1310 luxurious staterooms comprise standard cabins, penthouses and deluxe apartments complete with butler and concierge services and, in some instances, private elevators and gyms.

There’s a 1000 seater state-of-the-art theatre, the largest library at sea with 10 000 books, a 360-degree promenade deck, casino, traditional British pub, ballroom, nightclub, art gallery, five swimming pools and a 3D cinema that morphs into the first at-sea planetarium, making for no shortage of leisure options.

Eleven restaurants have 150 chefs showcasing 343 wine labels, and offering passengers menus that range from healthy to hearty, light to haute cuisine and an English high tea. The smoke their own meat, bake their own bread and from a supplier point of view are very meticulous. Fresh produce, wine, meat and flowers arrived whilst they were in Cape Town, enough to see the guests through to Sydney. The kitchen caters for all dietary requirements, from halaal to vegetarian.

A full time florist onboard and a team of 30 assistants sees to the fresh flower bouquets on each table, in each cabin, lobby and lounge. There is no class grading on the QM2 and the public areas are accessible to all guests, whether you’s in a small cabin or a suite.

The ship also has a very impressive green policy and allows nothing but a limited amount of finely processed food waste to go overboard. All else is sorted and collected, for disposal each time they arrive on shore. Including grey water. They process their own drinking water too.

A look at the remastering.

All 172 Grills suites have received a comprehensive restyling and have been reconfigured to maximise space.  The Grills dining experience has been elevated and the two Grill restaurants have been redesigned to offer more table size options and space.  

The King’s Court buffet has been redesigned to create a more open and central buffet area. The Carinthia Lounge – QM2’s Winter Garden – is now unrecognisable as it has been reconfigured into a refined, airy and versatile new venue.  The Verandah replaces the Todd English restaurant. 

Exactly 80 years after the first Cunard Verandah Grill went to sea on Queen Mary, the latest incarnation of The Verandah concept is now available on board Queen Mary 2 and offers contemporary premium French cuisine.

The Queen Mary 2 fun facts.

- She is four football fields in length – a total of 345 metres - She is equal to the height of a 23-storey building with 17 decks that tower 200 feet above the waterline - She covers an area of 3.5 acres - Her whistle is audible for ten miles - Her speed of 29.5 knots is double the speed of a Caribbean cruise ship and nearly three times the speed of a blue whale - She’s constructed from some 300,000 pieces of steel; her hull is made up of 94 steel blocks and weighs 50,000 tons (more than a school of 330 blue whales). The QM2 gross weight is 151,400 tons. - She carries 343 different wines on board with annual wine sales estimated at around 230 000 bottles. - In total over one year, passengers will consume 38,000 lbs of smoked salmon, 346,000 gallons of fruit juice, 249,000 lbs of potatoes and 420,000 packets of breakfast cereal.  Excluding wine, the QM2 serves 1.5 million drinks per annum. - There are 1310 staterooms in total of which 955 (73%) cabins feature balconies. - The maximum capacity is 3090 passengers, with a staff 1290 staff members, which explains the high level of detail that those on board experience.

A voyage on the Queen Mary 2 is certain to create unforgettable memories. This particular cruise journey continues onwards to Port Elizabeth, Mauritius, Reunion and culminates in Australia in April. This will be the first stop on her world cruise following her remastering.

Don’t be thinking that a trip onboard is out of your reach, a 7 day cruise can cost as little as R30000pp all inclusive. Or you could save up for the 118 around the world life altering experience. Packages include an onboard spend for meals and drink, and you can top up if needed. 

This route has them sweeping over the Indian Ocean on a 16-night cruise. After Cape Town, the QM2 will pause for the game reserves of Port Elizabeth before touching down in Reunion, with its rugged, volcanic interior - then on to beach-fringed Mauritius. Eight days later, historic Fremantle will welcome them to Australia. Here’s a look at pricing should you hope for a similar experience.

For more information see www.whitestar.co.za and follow RM@ on Twitter at https://twitter.com/RMSQueenMary2.

Thank you to Wired Communications for the invitation to join you for a tour and delicious lunch onboard

[dustedmagazine]

Joseph Burnett: 2016 in review

2016, you shan’t be missed. Thus far, most year-end round-ups outside of Breitbart and whatever equivalent we have for Der Stürmer these days (er, Breitbart?) have lamented the hideous direction the world has taken over the last 12 months. They’ve reeled off a list of lost artistic heroes that suggests whomever has taken up the job of ferrying the dead over the Styx once failed an audition to be harpist for Zeus and has a Manson-esque grudge against the talented as a result. So, whilst I can’t not mention the trauma of losing Bowie, Prince, Pauline Oliveros, two-thirds of ELP, Victoria Wood, Alan Rickman, Leonard Cohen, Andrzej Wajda, Dale Griffin of Mott the Hoople and my personal most harrowing Tony Conrad, like the shameful Brexit vote and baffling Trump triumph, I’d rather not dwell on these matters. The three letters “R.I.P.” convey more than I ever could. And I mean “R.I.P. humanity,” not just those individuals mentioned above. Actually, fuck you, 2016.  

So yeah, war, a refugee crisis, prejudice, nationalism and dead artists dominated 2016, but there was music too, and some of it was outstanding (as was a film that for me was the most important made in the UK for over a decade: I, Daniel Blake). Sadly, two stand-out albums from 2016 came from artists who departed this mortal coil not long afterwards: David Bowie’s Blackstar and Pauline Oliveros’ duo album with another casualty of 2016, Connie Crothers, First Meeting Still Sounding. The latter was only released as a tribute to pianist Crothers and tragically became one for Oliveros as well. It’s a wondrous meeting of two expansive and forward-thinking talents and a fitting farewell from both. As, in a rather different way, was Blackstar. I only heard the album after David Bowie had joined the ever-growing list of departed icons, so it seems impossible to divorce it from his passing, especially the wonderful “Lazarus.” But in addition being a farewell from an artist who had a profound impact on my life, it’s his most solid and musically coherent album in about two decades, benefitting notably from a gorgeous jazz-inflected production. An additional shout out must go to Leonard Cohen’s You Want it Darker, a bleak, introspective collection of songs that also sees an artist in the twilight of his existence reflecting on that stark reality.  

The legendary ECM Records had something of a bumper year to please admirers of their particular stylistic production and jazz fans as a whole. Wadada Leo Smith —whose colossal America’s National Parks was another highlight— teamed up with Vijay Iyer for the quietly spectacular A Cosmic Rhythm with Every Stroke, Golfam Khayam and Mona Matbou Riahi produced an undoubted masterpiece in Narrante, and Jack deJohnette bridged past and present on his delightful In Movement to deliver an achingly poignant reflection on the travails of African-Americans as they face racism and policemen’s guns. Special mention also to Theo Bleckmann, Carla Bley, Wolfert Brederode, Tigran Hamasyan and Ches Smith for their own masterful releases on ECM. Sarathy Korwar produced an intriguing post-jazz exercise in the form of Day to Day on NinjaTune, and beyond the specific realm of jazz the field of experimental music continues to throw up exciting and challenging works even in these straightened times, with composer Ben Johnston, Graham Lambkin, Cindytalk, Rhodri Davies and Richard Dawson’s Hen Ogledd and Oren Ambarchi all making it into my top 30 list. And I can’t not mention the wondrous drone works of Catherine Christer Hennix (both archival and new), Yves Tumor’s fractured pop or Gary Mundy’s expansively beautiful noise experiments in his solo incarnation as Kleistwahr.   

But, and this is purely on a personal level, electronic music delivered the most consistently exciting music of the year. In the UK, producers continue to probe where we go after dubstep and its quasi-punk levelling of form, something most notable in Kuedo’s Slow Knife, which may just have provided us with a clear run into the future. Meanwhile, many a British producer continued to delve into the hidden interstices of reality, as evidenced by Demdike Stare’s weird meshing of harsh techno and dub, the amalgamation of dark poetry and brittle electronica of eMMplekz, Pye Corner Audio’s horror-sci-fi dance and the sepulchral ambient techno of Andy Stott. And what to make of Dean Blunt’s sardonic take on Brexit Britain as Babyfather? His oblique but piercing political stance found an echo across the pond with Fatima Al Qadiri’s Brute, and even — away from electronica per se — Frank Ocean’s magnificent follow up to Color Orange, Blonde. But it’s impossible to look past Grumbling Fur and Furfour as the most perfect album of the year. Going beyond the promise of their past releases, Daniel O’Sullivan and Alexander Tucker elevated pop song into the most enthralling medium of expressing both joy and mystery, transcending dance, avant-garde, folk and hauntology in the process.  

It’s perhaps not surprising that in this fractured world we find comfort in the folk expressions of specific locations. The aforementioned Golfam Khayam and Mona Matbou Riahi took the exotic folk of their native Iran and spliced it with European avant-garde, whilst Aşıq Nargilə delivered an intoxicating aperçu of Georgian and Azeri troubadour music with a live set from London’s Café Oto, superbly preserved on vinyl by the diligent peeps of the venue themselves. Closer to home (well mine), Laura Cannell continues to sketch and sublimate the landscapes of England’s East Anglia via her recorders and fiddle. Also plundering and resurrecting the traditions of the UK’s hidden reverse is the Folklore Tapes label, a wonderful combination of record company and research project whose founders Ian Humberstone and David Chatton Barker have dedicated the last five or so years to resurrecting forgotten traditions of the land of my birth, in musical form. In 2016, two reissues of their Devon series (for those unfamiliar with UK geography, Devon is one of our wildest and most historically deep counties) and a new set of music inspired by the Black Dog mythology of England, crystallized Folklore Tapes as a singularly important, even crucial, vehicle for the preservation of some of the most fragile collective memories in Britain.  

If 2016 severed us so painfully from so many greats, I want to end by saluting two veterans who refuse to give up the ghost. Neil Young has slipped down the ranks of the intelligentsia’s appraisals when it comes to singer-songwriters, I think because he has traded in abstraction for visceral, sometimes slap-dashed and clumsy, invective. But fuck it, I wish more of our younger artists had his passion and anger, because we need it more than ever. Peace Trail is not some grand return to seventies form, but it’s important, often beautiful, and contains one of his best songs in a while in the title track. I’m glad he’s still out there. More impressive and welcome perhaps, however, was the return of Shirley Collins after a studio silence of no less than 38 years. At 81, her voice is more frail and strained than in her Love, Death and the Lady heyday, but rather than being a weakness, it only adds to the spectral beauty and gravitas of Lodestar. In such turbulent times, knowing Shirley Collins is out there, producing such incredible music and shining through the night with her humanity, is a real comfort.

 So yeah, fuck 2016 and fingers crossed 2017 won’t be such a bummer. Now forgive me whilst I reach for my copies of Lodestar and Furfour and hope that when I open my eyes the world will be gone... 

Grumbling Fur — Furfour (Thrill Jockey)

Golfam Khayam & Mona Matbou Riahi — Narrante (ECM)

Catherine Christer Hennix — Live at Issue Project Room (Important)

Yves Tumor — Serpent Music (PAN)

Andy Stott — Too Many Voices (Modern Love)

Shirley Collins — Lodestar (Domino)

Kuedo — Slow Knife (Planet Mu)

Pye Corner Audio — Stasis (Ghost Box)

Vijay Iyer & Wadada Leo Smith — A Cosmic Rhythm with Each Stroke (ECM)

Demdike Stare — Wonderland (Modern Love)

Aşıq Nargilə — Yurt Yeri (OtoRoku)

Kepler Quartet/Ben Johnston — String Quartets Nos 6, 7 & 8 (New World)

Laura Cannell — Simultaneous Flight Movement (Brawl)

Jenny Hval — Blood Bitch (Sacred Bones)

Frank Ocean — Blonde (Def Jam)

Babyfather — BBF Hosted by DJ Escrow (Hyperdub)

eMMplekz — Rook to TN34 (Mordant Music)

Kleistwahr — Over Your Heads Forever (Fourth Dimension)

Jack deJohnette — In Movement (ECM)

David Bowie — Blackstar (Sony/Columbia)

Fatima Al Qadiri — Brute (Hyperdub)

Graham Lambkin — Community (Kye)

Gate — Saturday Night Fever (MIE Music)

Cindytalk — The Labyrinth of the Straight Line (Editions Mego)

Pauline Oliveros & Connie Crothers — First Meeting Still Sounding (Important)

Tongues of Light — Channelled Messages at the End of History (Pre—Cert Home Entertainment)

Ian Humberstone — Folklore Tapes Occultural Creatures Vol.1: Black Dog Traditions of England (Folklore Tapes)

Oren Ambarchi — Hubris (Editions Mego)

Hen Ogledd — Bronze (alt.vinyl)

Neil Young — Peace Trail (Warner Reprise)

 Archive & reissue 

LaMonte Young & Marian Zazeela — The Theatre of Eternal Music: Dream House 78’17” (Les Série Shandar)

AMM — AMMMusic (Black Truffle)

Magpahi/Paper Dollhouse — Devon Folklore Tapes Vol.IV: Rituals & Practices (Folklore Tapes)

This Heat — This Heat / Deceit (Light in the Attic)

Catherine Christer Hennix — Central Palace Music from 100 Model Subjects For Hegikan Roku (Important)

Awalom Gebremariam — Desdes (Awesome Tapes from Africa)

Dean McPhee / Mary Arches — Devon Folklore Tapes Vol.V: Ornithology (Folklore Tapes)

Ragnar Johnson assisted by Jessica Mayer — Sacred Flute Music from New Guinea (Ideologic Organ)

Harry Bertoia — Sonambient  (Important)

Yoshi Wada — Off the Wall (Important)

 Best tracks 

Frank Ocean: “Nikes”

David Bowie: “Lazarus”

Grumbling Fur: “Acid Ali Khan”

Kuedo: “In Your Sleep”

Neil Young: “Peace Trail”

Leonard Cohen: “You Want it Darker”

Shirley Collins: “Awake Awake /The Split Ash Tree / May Carol / Southover”

eMMplekz: “Britain’s Go Talon”

Anohni: “Drone Bomb Me”

Yves Tumor: “The Feeling When You Walk Away”

[writing-creative-fiction]

Two ‘expeditions’ of my own in recent weeks have taken me out of the unbearabe heat of an unusually searing summer sun into the cool, air-conditioned enclaves of, first London’s National Portrait Gallery and secondly, Greenwich’s National Maritime Museum.

The Portraits

In the Victorian Gallery of the Portrait Gallery, among many representations of  influential men and women of that era, I discovered the following remarkably similar portraits by Stephen Pearce (1819-1904): the one on the left is of Sir Robert McClure R.N. (1807-1873); the one on the right is of Sir Francis Leopold McClintock R.N. (1819-1907).

McClure

McClintock

McClure joined the Royal Navy in 1824, made his first Arctic voyage in 1836-37, and played a prominent role in the search for the lost Franklin expedition of 1845. He was rewarded by Parliament for being the first to traverse the elusive and much sort after North West Passage – albeit he did so partly on foot – in 1854, and survived a Court Martial for abandoning his ships to serve in China and ultimately be promoted to Vice-Admiral in 1873.

McClintock joined the Royal Navy in 1831 and made his first Arctic voyage in 1848, just as concerns for the fate of the 1845 expedition were beginning to be raised. He commanded the 1857-59 expedition that discovered the Victory Point Record, among other relics and artefacts, that eventually proved the loss of Franklin and his entire crew of 129 men. Knighted in 1860, McClintock continued to command Royal Navy voyages until his retirement in 1884.

Also of interest in relation to this project, are these plaster medallions – created by Bernard Smith (1820-1885) – of (on the left) Sir John Richardson R.N. (1787-1865) and (on the right) Sir James Clark Ross R.N. (1800-1862).

Richardson had accompanied Sir John Franklin on two Arctic voyages, in 1819 and 1825, and in 1847 he led the first of the expeditions sent in search of the misssing 1845 expedition. Richardson also wrote a magnificent biographical entry on Franklin for the eighth volume of Encyclopaedia Britannica, published in February 1856, and it was reading this tribute that inspired Charles Dickens to say (in a letter to John Forster, dated March 1856)

I think Richardson’s manly friendship and love of Franklin, one of the noblest things I ever knew in my life. It makes ones heart beat high, with a sort of sacred joy.

(Dickens (vol 8), 1993, p. 66)

Dickens drew on this ‘manly friendship and love’ to develop the characters of Richard Wardour and Frank Aldersley when working with Wilkie Collins on their Arctic drama The Frozen Deep (see Brannon, 1966) and subsequently when creating the character of Sydney Carton in A Tale of Two Cities.

But I digress onto a pet subject! Sir James Clark Ross R.N.  – represented by the right-hand medallion above – is credited with discovering Magnetic North in 1831, commanded an expedition to the Antarctic in 1839-43, and led an Arctic expedition in search of Franklin in 1848-49. His uncle, John Ross, was also an Arctic explorer but fell out of favour with the Admiralty after turning-back on an expedition because he had seen a ‘mountain range’ that it later transpired was an hallucination caused by weather conditions.

This portrait of Sir Edwin Landseer also caught my eye, especially as I had just had lunch in Trafalgar Square watching a group of young Italian tourists clambering all over the finished lions. Here they are shown alongside their designer and creator in his workshop. Landseer, of course, was renowned from an early age for his represenations of wildlife and animals, among which is his only Arctic painting ‘Man Proposes, God Disposes’, which I featured in my first blog post in November 2017.

The Songs

At the National Maritime Museum, at an event organised in partnership with another of my favourite institutions The English Folk Dance and Song Society, I discovered a little of the history and lyrics of songs associated with Dr. John Rae, the Orkney-born Arctic explorer and Hudson’s Bay Company Factor who caused outrage in mid-century Victorian England by implying that the men of the lost Franklin expedition may have resorted to cannibalism. He had strong evidence to prove this, and science has more recently confirmed his findings, but he was derided and disbelieved in his own time and denied the honours and recognition that he deserved – again I digress to a favourite pet subject, and shall post more about this I suspect during, and/or following, my visit to Rae’s homeland in October this year.

As for the songs, there was one I was already familiar with as it is still sung regularly in Folk Clubs and at other traditional music sessions around the UK today. Called Lady Franklin’s Lament it has, like most songs that have been passed down through the oral folk tradition, many different versions of varying length.  Waltz and Engle, writing in 2015, state that “Broadside versions [of this ballad] probably date from the period 1850-1853”.

The version we learnt at the workshop was entitled Lady Franklin’s Lament for her Husband.  Longer than the commonly sung, more recent, versions it was sourced through both the Glasgow and Edinburgh Broadside Ballad Collections by the workshop’s co-ordinator, Orkney folk singer Aimee Leonard. In common with all versions, however, it tells the tale of a sailor dreaming that he’s heard “a female” who “can take no rest” weeping aloud that

Ten thousand pounds would I freely give, To say on earth that my husband do live.

The female is, of course, Franklin’s wife, Jane, who did offer rewards of £2000 and £3000 in March 1848 and March 1849 respectively, but not of as much as £10,000; maybe there is some poetic licence here. Nevertheless, Lady Franklin’s rewards were no doubt an incentive that preyed on the mind of many a poor sailor searching the Arctic seas for the lost expedition, and their exaggeration of the amount – or their conflation of it with larger rewards offered by the Government – is understandable.

The second song, Lament for Francis Crozier, was written in 2001 by Irish singer, mountaineer and polar explorer Frank Nugent whilst sailing near King William Island in a ship called the Northabout.  Francis Crozier had met, and fallen in love with, Franklin’s wife’s niece, Sophia Cracroft, when his ships called at Van Diemen’s Land (VDL; renamed Tasmania in 1856) during a voyage to Antarctica in the 1830s. Franklin was then Governer of VDL and entertained the Officers of the ships on which Crozier was serving – coincidentally, these were the same two ships, The Erebus and The Terror, on which Franklin sailed to the Arctic in 1845 with Crozier as his second-in-command. Crozier saw this voyage as his great chance to impress Sophia and thus win her heart, and her hand in marriage.  Sadly, as we know, this was not to be, and indeed it is likely that it never could have been.  Instead, Crozier was forced to take command of the expedition when Franklin died in 1847 (we know this because of the Victory Point Record I mentioned earlier) and he himself perished, we know not how, along with all the men under his command. As the song concludes:

Oh, what hardship and pain, did your poor seamen suffer … … you starved on the banks of Back’s Great Fish River The [North West] Passage it led you to heaven’s green shore.

Song 3 came from a collection of Songs of the North printed on board HMS Assistance during her 1850-51 expedition in search of Franklin. One of the ways in which crews entertained themselves during long lingering months stuck amid Arctic ice was to put on theatre shows and HMS Assistance was, at this time, home to The Royal Arctic Theatre – just as their compatriots aboard HMS Resolute in 1850-51 were home to the periodical newspaper The Illustrated Arctic News, a parody of London’s Illustrated London News, established in 1842.

Song 3, then, was sung at the closing of The Royal Arctic Theatre on 4th March 1851 by Lieutenant R.D.Aldrich R.N. and it opens with a plea to:

Come cheer up my lads! the season draws near When all wish to strive, nor care where they steer, …

whilst its chorus avows that:

Our hearts are all stout, and our motto shall be, Ready! aye ready! Ready! aye ready! To rescue our comrades from dire misery.

Dire misery indeed! But admirable sentiments with which to reinvigorate cold, hungry men suffering a multitude of minor ailments after a winter stuck in Arctic ice that was now abating and allowing their ships to move on.

Conclusions

These songs and portraits tell us much of the character and spirit of the men who ventured, literally, to the ends of the earth in order to advance geographic and scientific knowledge. They represent in words and pictures the images that their subjects and masters wanted the public to hear and see; images of men who could conquer the bleak wilderness of the Arctic and remain true to the gentlemanly ideals of the British establishment; images a nation’s ability to withstand everything the world could throw at it; images, ultimately, of arrogance and intransigence in the face of all circumstance.

  Works Cited

Brannan, Robert Louis, Under the Management of Mr Charles Dickens: His production of The Frozen Deep. New York: Cornell University Press, 1966

Dickens (vol 8), Charles, The Letters of Charles Dickens; Volume 8. 1856-1858, Pilgrim Edition. Oxford: Clarendon Press, 1993.

Waltz, R. B., & Engle, D. G. (2015). Lady Franklin’s Lament (The Sailor’s Dream) [Laws K9] – part 01. Retrieved May 28, 2016, from http://www.csufresno.edu/folklore/ballads/LK09.html

    Songs and Portraits Two 'expeditions' of my own in recent weeks have taken me out of the unbearabe heat of an unusually searing summer sun into the cool, air-conditioned enclaves of, first London's…

[ismael37olson]

Nothing's as Amazing as a Musical

I've written nine musicals -- book, music, and lyrics -- and all but one have been produced. My earlier shows are respectable efforts, but I wouldn't want anyone of them to be produced today. After all, I wrote my first show the summer before senior year in high school. It wasn't bad for a seventeen-year-old with no training, writing his first musical, but that's not really saying much. But I really like my later shows, particularly three of them (Attempting the Absurd, In the Blood, and Johnny Appleweed), and I've often thought what a shame it is that I spend a year or two writing a show, pour my soul into it, and then it runs for four weeks and disappears forever. After all that work. But I knew none of the theatrical publishers would publish my quirky little shows which have never run in New York. I've also been thinking a lot lately about how to augment my income. It's hard out there for a freelance artsy to pay the rent. I've been working on a new musical theatre analysis book (this will be my fifth of that kind), and I'm getting close to finishing, so I've begun thinking about getting it published. The publisher who put out my first four books isn't adding any more theatre titles for the foreseeable future. The publisher who put out my last book was a bit of a nightmare. And then someone pointed out to me that you can self-publish on Amazon. I looked into it, and found it's really easy and it's literally free! I also saw that you can choose from a dozen different sizes, which made me think... I could publish music books! So I sat down and went through my computer files, to see what there was that I had already written that was worth publishing, and that might make me some money. I ended up deciding to publish the script and music for three of my most recent musicals, two of my non-musical scripts, a collection of my songs from all my shows, and one novelty book that I've been wanting to get published for several years. But this was a bigger job than I thought. All those scripts were already in the computer, so I just had to reformat and clean them up. But only my last score was done on the computer -- all my earlier scores are in pencil on music manuscript paper. So for two shows I had to input the entire scores into the computer. It was time-consuming, but I'm so glad I did it. So here's what I've put up on Amazon lately, in addition to my four analysis books, my book about Hair, and my musical theatre history book. I can't describe the thrill of seeing my music in a published book!

Attempting the Absurd -- Meta before meta was cool. This is one of the first truly postmodern meta-musicals (written 1986-1992, debuted 1992), about a young man named Jason who has figured out that he's only a character in a musical and doesn’t actually exist; and his special knowledge has persuaded those around him that he's off his nut. Jason is a fictional character in the real world, but all the people around him are real people in a fictional world. So he sets off on a quest to find The Answers To It All, with his musical comedy sidekick, Chaz. Along the way the two find love (both gay and straight), community theatre friends, a little jail time, and ultimately irrefutable proof that Jason is right after all. Love and a copy of the script to Attempting the Absurd conquer all, and all ends as it should, with a happy, full company reprise. Songs include “I Love You,” “Being in a Musical,” “The City,” “Waltz for Chaz,” “Worse Things,” “The Optimistic Song,” “Old-Fashioned Musicals,” “The Big Finish,” and lots more. Both the script and the vocal selections are available on Amazon now!

In the Blood -- My 1995 vampire musical, part romance, part Gothic horror, part comedy. The show explores the unlikely romance between the vampire Zachary Church and Adam Graham, a hematologist with HIV, in the early years of the AIDS pandemic. If vampires are the only ones who can't be affected by the AIDS virus, do they have some responsibility to pass on their immunity? And for someone with AIDS, what price is too high for acquiring that immunity? When Adam asks Zach to turn him to vampirism so he won't die, Zach is torn. He has vowed never to make another vampire, never to subject anyone else to the horrific loneliness he has known for so long. Ultimately, Zach has to choose between condemning Adam to the tormented life of a vampire or watching him die, knowing he could've saved him. This was definitely the most serious show I've ever written, and the most sophisticated score. Both the script and the vocal selections are available on Amazon now!

Johnny Appleweed -- My 2006 stoner political satire, the first musical ever to make a serious case for the spiritual, existential, and psychological properties of marijuana. Through the lens of this pot-friendly worldview, the show takes aim at issues like American party politics, the War on Terror, the (undeclared) war on America's poor, the American culture of violence, gay marriage, the legalization of marijuana, sexual oppression, and increasingly rabid American religious fanaticism, all through the eyes of the laid-back, neo-mythic purveyor of pot, Johnny Appleweed, an itinerant philosopher-stoner, who argues that only through the mind-expanding properties of marijuana can we truly see the Larger Truths, so that we can finally solve our problems and move our civilization forward. A heady mix of Hair, The Daily Show, the films of Kevin Smith, Waiting for Godot, and The Wizard of Oz. Songs include “The Ballad of Johnny Appleweed,” “The Scheme of Things,” “Fucking Up America,” “Cannabis Dei,” “Weird Isn’t Weird,” “Jesus On the Tube,” “I Tapped That Ass,” “What Would Jesus Do?”, “A Great Big Cloud of Smoke,” and more.  Both the script and the vocal selections are available on Amazon now!

Astro Turf -- This is a twenty-minute one-act musical I wrote as a special project for a history of astronomy class at Harvard University in 1984. Five major astronomers, Aristotle, Ptolemy, Copernicus, Tycho Brahe, and Johannes Kepler, come together and present in song their views on the nature of motion and the creation of the heavens. Both my professors loved it. Owen Gingrich (professor emeritus of astronomy and the history of science, Harvard University), wrote, "This is really quite super! There is obviously a lot of research and thought here, and a lot of very subtle points! Bravo!" My other prof, D.W. Latham (Harvard-Smithsonian Center for Astrophysics), wrote, "A magnificent survey of the history of astronomy, so detailed, so insightful. They’re all excellent, but the Kepler piece is simply brilliant!" All five songs are in the vocal selections, now available on Amazon!

Songs from the Musicals of Scott Miller -- Even though a lot of my early shows aren't strong enough to be produced again, some of the songs in those shows are pretty good! So here's a fun collection of songs from all nine of my musicals, Adam’s Apple (1981), Musical (1983), Topsiders (1984), Astro Turf (1984), The Line (1985), Attempting the Absurd (1992), Breaking Out in Harmony (1994), In the Blood (1995), and Johnny Appleweed (2006). Songs include “Give Me My Cap’n Crunch,” “The Children of Izod,” “Pushers and Dealers Are People Too,” “Zit,” “Cupcakes at Seven,” “Get Screwed,” “Aristotle,” “Married or Gay,” “Cannabis Dei,” “Fucking Up America,” “I Tapped That Ass,” “Crime is Beauty,” “The Christmas Tree Fell Over and Our House is Burning Down,” and lots more. This piano-vocal collection is now available on Amazon!

Head Games -- This was my first foray into writing a non-musical play, but it turned out pretty well. It's been produced here in St. Louis, in Los Angeles, in London, and at the Edinburgh Fringe Festival in Scotland. In the show, it’s Michael’s thirty-fifth birthday, and his friends are coming over to celebrate, for better or worse, as he grieves over his advancing age in a youth-obsessed culture, and also over his inability to find a smart gay comedy with nudity to fill his small theatre company’s bank account. And his late-arriving surprise birthday present will just make it all worse. Much worse. Head Games takes pot shots at pop culture at the turn of the new century and at itself, and it doubles back on itself structurally, playing the story out of chronology – so that as Act II opens, you realize that much of what you thought happened in Act I isn’t what it appeared...  The script is available now on Amazon!

A Hot Cup of Murder -- Back in 2000, Harrah's Casino asked us to create a murder mystery show to perform in their banquet hall, as an extra incentive to get groups to come to the casino. I created a political family, the Seaborns, holding their first political fundraising dinner, when the candidate drops dead in his dinner about ten minutes into the show. And hilarity ensues. We ended up doing only one performance, for complicated reasons, but the audience loved it, and now I'm finally able to share my script, which is now on Amazon! It's so cool that all this stuff has now been published. I don't know that I'll make much money on this, but I love that it's out there. And who knows, maybe it will lead to further productions of one or more of these shows. Beyond all this, there was still one more project I had been thinking about for several years, a musical theatre novelty book -- something none of the established theatre publishers was interested in. Now, as part of my adventure in self-publishing, this project is finally real.

It's a Musical!: 400 Questions to Ponder, Discuss, and Fight About -- This quiz book is filled with 400 questions designed to make the serious musical theatre fan think about musicals, on Broadway and across the country, how they operate, how they interact with each other and with the Real World, how they are related, how they have and haven't changed over the years, what they have been and what they are becoming in this new Golden Age of the American Musical Theatre. Por ejemplo...

What theatre song always puts you in a good mood? Name a strong black leading character in a musical. Quote one dialogue line from a musical that totally encapsulates that show. What's your favorite Act II opener? Name a theatre song in which the singer is lying. What musical would be hardest to explain to someone who knew nothing about it? What's your favorite Kander & Ebb vamp?

You can flip through this book, land on any page, read a question, and test yourself on your knowledge, insights, and opinions about musicals. Or you can make it a game with your similarly obsessed friends. Or you can use it to humiliate posers who only pretend to know our beloved art form. Your choice. But wield your power carefully. The primary purpose here is just for serious, hardcore, musical theatre fans to have lots of musical theatre fun with other serious, hardcore, musical theatre fans. Or with themselves. But remember -- alone is alone, not alive. It has also occurred to me that this book would be a useful teaching aid for theatre teachers, to get their students thinking more substantively about our art form. It's a Musical! is now available on Amazon too! I can't tell you how satisfying it is to know my work won't die, that my songs will have some further life. It's a real gift Amazon has given me. They've taken away the gatekeepers, and they're allowing me to tap into a fast-growing market of musical theatre freaks, in a way that most regular publishers would consider not worth the risk. I realized a long time ago that the true joy of making theatre is the act of sharing, connecting to an audience and telling them a great story. Now my sharing can expand beyond the walls of the Marcelle Theater, and beyond the local fans of New Line Theatre. Amazon has super-charged my sharing power and I am very grateful. So stop my Author Page on Amazon (remember, go to smile.Amazon.com, and New Line gets donations off your purchases!) and take a look at all my books. If you love musicals, there's lots there you'll be happy you found... Long Live the Musical! (And Amazon!) Scott from The Bad Boy of Musical Theatre http://newlinetheatre.blogspot.com/2018/07/nothings-as-amazing-as-musical.html

[frontmezzjunkies]

Caissie Levy (Elsa) and Company. Photo by Deen van Meer.

The Review: Frozen, the Musical on Broadway

By Ross

This was going to be an exciting evening at the theatre for me. Not for the reason you might first expect, but for another, because this time would be the first time I was going to the theatre with my young niece, Hazel, just the two of us. This was not her first time in a Broadway house, mind you, she had sat on my lap while watching Cinderella a few years back at the Broadway Theatre (currently the home of Rocktopia), and my guest to see Annie at the Paper Mill Playhouse last fall, so she knows the ropes and how to behave, but this was the first time that Mother Cheryl wasn’t sitting close by. This time, Hazel was dropped off and her parents watched as us enter the St. James Theatre, on our own, primed and excited to see the new Disney Broadway musical, Frozen. We sat in heightened anticipation, watching the Northern Lights dance across the curtain, with Hazel so excited she didn’t want to close her eyes, in case she might miss something.

Caissie Levy (Elsa), Patti Murin (Anna) and Company. Photo by Deen van Meer.

The musical, as I’m sure everyone is well aware, is based on the ever-so popular animated movie that is one of Hazel’s favorite sing-along stories. With music and lyrics by the fantastic team that brought you the animated movie musicals, ‘Coco‘ (Oscar Award for Best Original Song: “Remember Me“) and ‘Frozen’ (Oscar and Grammy Award for “Let It Go“) and a book by Jennifer Lee, the talented Oscar-winning writer of Walt Disney’s ‘Frozen‘, which she also directed with Chris Buck, this Broadway adaptation was the perfect show for young Hazel, it gave her everything she could have hoped for, a story line she knew, some great songs that she loves and knows by heart, but what it didn’t really give her is the idea that you can have something as wonderful as the film ‘Frozen‘ and spin it far beyond the land of serviceable, and into a new realm, one that is artistically creative, advancing, and expanding.  For that, we will have to go see Julie Taymor’s Lion King, because invention and dynamic wonderment isn’t going to be found under the standardized snowy landscapes of director Michael Grandage’s creation, Frozen, the Broadway Musical.

Caissie Levy (Elsa). Photo by Deen van Meer

All the main ingredients are present though.  The wonderfully regal Elsa, played strongly at first by the young Brooklyn Nelson (Mathilda), morphing into the impressive and very talented Caissie Levy (Broadway’s 2014 Les Misérables, Ghost, Public’s First Daughter Suite).  Her strong voice and presence add weight and beauty to the lovely new song, “Dangerous to Dream” and the one Hazel and everyone else was breathlessly waiting for “Let It Go“, which was skin-tingling in its dramatic rendition.  Bravo Caissie. And even though I’m still attached to Idina Menzel’s brilliant version, especially in the way she closes the song on that perfect last line reading, Levy doesn’t disappoint one audience member.  Hazel was awe-struck, wide-eyed and unbelieving, writing in her wonderful review: “If you blink while Elsa changes, you’ll miss it, cause it just falls and it happens really fast…She changes from her queen dress to an icy beautiful dress….I liked the play ALOT!”

Patti Murin (Anna), John Riddle (Hans). Photo by Deen van Meer

But for me, the joy of the evening lies in the hands of both the young and soon-to-be a star, Mattea Conforti (Sunday in the Park with George), and the most wonderful Patti Murin (Broadway’s Lysistrata Jones), who brings such fun and frolic to the young sister, Anna.  In Murin’s portrayal, the piece finds its connection and attachment, falling in love with her goofiness and sense of wonder just as fast as she falls in love with Hans during the wacky and wonderful number, “Love Is an Open Door“.  John Riddle (Broadway’s The Visit), who plays the handsome too-good-to-be-true Prince of the Southern Isles, convinces us at the beginning that he is her shining knight, just like we are told in the fairy tale books, even though somewhere in the back of our minds, we are well aware how this will all turn out in the end.  He’s a bit too stiff in his other moments, especially his signature song, “Hans of the Southern Isles” but together with Anna, we join in their fun, embracing each and every hilarious pun and jokie playful grimace that Murin gives us on that wonderfully expressive and elastic face of hers.

Jelani Alladin (Kristoff). Patti Murin (Anna). Photo by Deen van Meer.

It is when she finally engages with the absolutely heart-melting Jelani Alladin (Signature’s Sweetee), giving a comically gentle and engaging performance as the lowly ice merchant Kristoff, that the romantic tugging starts and the slim storyline finds its warm heart, especially in the very enjoyable added song, “What Do You Know About Love?“. That, alongside one of my favorites, “Reindeer(s) Are Better Than People“, make us glad that Kristoff, and his most amazing, trustworthy, and sadly under-used Sven, created impressively by Andrew Pirozzi (NBC’s “Hairspray Live!“), make us glad his sled has arrived into the land of Arendelle, and even more joyful that Anna runs into him on those snowy slopes.

Jelani Alladin (Kristoff), Andrew Pirozzi (Sven). Photo by Deen van Meer.

Along side these main characters, magic is the central core of this show, and some of it can be found in a few other nicely structured and appealing representations from the film. The second act opener, “Hygge“, lead by Oaken, hilariously portrayed by Kevin Del Aguila (Broadway’s Peter and the Starcatcher) is great fun and a joy to behold. The King and Queen of the Trolls are magnificently reinterpreted by the impressive Timothy

Hazel writing her review.

Hughes (Broadway’s Chaplin) and Olivia Phillip (Broadway’s Waitress) in their joyful number, “Fixer Upper“. Hazel wrote that she “loved the part when the trolls helped Anna’s frozen head“, it was one of the truly inspired magical moments of creation that lifted up the standard to the spectacular, giving us a new vantage point over the snowy slopes of Frozen.

  Olaf, created by master puppet designer, Michael Curry, (Lion King) works fairly well and totally looks the part, but is sadly just mediocre in conceptualization. The manipulations and performance by Greg Hildreth (Roundabout’s The Robber Bridegroom) as that comic sidekick snowman serves the grander structure well, is playful and fun, especially in his fun rendition of “In Summer“, but for some reason, the separation of puppeteer and puppet never really seems complete.

Patti Murin (Anna), Jelani Alladin (Kristoff), and Company. Photo by Deen van Meer.

In some way, this is very representational of the whole production. Director Grandage (West End’s Merrily We Roll Along, Broadway’s Frost/Nixon), with some help from choreographer Rob Ashford (Park Ave Armory’s Macbeth, Broadway’s Evita), set and costume designer, Christopher Oram (Broadway’s Wolf Hall Parts 1 &2) with special effects by Jeremy Chernick, lighting by Natasha Katz, sound design by Peter Hylenski, and video design by Finn Ross fail to add that extra layer of magic that would take this show from a very acceptable adaptation of an animated film into something that could stand on its own two feet. Without the memory of the better film propping it up and attracting a crowd, Frozen wouldn’t be the success it is destined to be because it rarely steps beyond the expected. As Hazel writes: “The voices and clothes were awesome” and I agree whole heartedly, but without the added layer of snowy surprise and excitement, the musical stays somewhere just above a theme park ride or stage show, barely reaching above the standard.  We needed visionary stage magic to lift us up, not a snowflake patterned curtain of crystals or some ice shards jutting out from the side in a feeble attempt to frighten. Elsa’s dangerous abilities are much more dynamic and dangerous than that, and with the rather simplistic representations, we are never transformed or dazzled into submission.

Caissie Levy (Elsa) and Company. Photo by Deen van Meer.

The story line is pretty straight forward, just as it is in the movie, which in itself is a bit messy and oddly nonsensical.   But for me the subtext of this tale is the most fascinating part: the story of a young person being seen by her parents as containing a quality that makes her different from the rest, and instead of encouraging her to embrace it and be proud, she is told, quite plainly, to “keep it inside” and hide it away.  When her secret finally comes out, literally, she has to run away and create her own kingdom where she can embrace her specialness and be herself.  Her sister follows her trying to convince her that she can and will be accepted back home, but it takes a special act of courage and true love to finally come home and be accepted by her community. Once she is, she finally feels some freedom to be herself and can rejoin the family that she almost discarded. In all honesty, and this has been said a thousand times before, it sounds like any number of coming out stories I have heard over the years from members of the LGBT community regarding their childhood and young adulthood experiences, and why big cities like New York, Chicago, Los Angeles, and San Francisco are seen as gay meccas and safe kingdoms for escape.  I will say that I think it’s a fascinating parallel and one wisely told, but a bit problematic in that Elsa has no romanic prospects or future partnership plans. She is given just a life of regal solitude basking in the loving relationship that she can watch from the sidelines of her more ‘normal’ younger sister and her partnership and romantic life.

Hazel elated.

Company of Frozen.

But I might be asking a bit too much from a Disney musical adaptation from an animated kids movie musical (or am I?). It seems this Broadway stage tale had a hard enough time finding the little magic it did in this transfer, and although the legions of adoring fans will gather and make this musical a hit, I’m not sure it will rise up to the regal levels of other Broadway royals, like The Lion King or even Aladdin. It’s definitely not a Tarzan, the disastrous 2006 adaptation directed and designed by Bob Crowley, just a purely serviceable Disney adaptation of the most successful animated movie of all time. And it will be a hit, no matter what any one says.

  Regardless, this was an awesome night for Hazel and myself, the first of, what I hope will be many when my young theatre-junkie in-the-making will accompany me to the theatre for future plays and musicals.  Soon she will be old enough to take the train in all by herself, just to meet me for pre-theatre dinner and then a Broadway show. But for now, it was with great pleasure that I was able to have her as my +1 and share with her a show that she loves and adores; “I really liked this play!!!!!!!!!” I just had to make sure she didn’t join in with the actors, and start to sing along with Elsa when that epic song, “Let It Go” concluded the first act and filled the air with anticipation and excitement.  She was not disappointed, she was elated.

Patti Murin (Anna) and Caissie Levy (Elsa) with Jacob Smith in Disney Theatrical Productions’ Frozen, the new Broadway musical, music and lyrics by Kristen Anderson-Lopez and Robert Lopez and book by Jennifer Lee, opening night March 22nd, starring Caissie Levy (Elsa), Patti Murin (Anna), Jelani Alladin (Kristoff), Greg Hildreth (Olaf), John Riddle (Hans), Robert Creighton (Weselton), Kevin Del Aguila (Oaken), Timothy Hughes (Pabbie), Andrew Pirozzi (Sven), Audrey Bennett and Mattea Conforti (Young Anna), Brooklyn Nelson and Ayla Schwartz (Young Elsa). Michael Grandage: director. Photo by Deen van Meer. 

#frontmezzjunkies reviews: @FrozenBroadway - An Elated Hazel Sees a Serviable Snowy Show. @CassieLevy @PattiMurin @JelaniAlladin @JohnRiddle @greg_hildreth @TimothyHughes44 The Review: Frozen, the Musical on Broadway By Ross This was going to be an exciting evening at the theatre for me.

[mattressmacd]

Shows #9 and #11: ANGELS IN AMERICA Don’t be fooled. If you think that just because you experienced the National Theatre’s production of Tony Kushner’s masterwork, ANGELS IN AMERICA, when it was screened via live broadcast from London, you would be WRONG. While you may have enjoyed it on the big screen, nothing could prepare you for what it’s like to see it live—in a real-life theatre breathing the same air as this magnificent ensemble of actors. So, if you saw the screening and think there’s no need to see it live, change your thinking and get yourselves a ticket while you still can. Marianne Elliott’s revival may not have the sophisticated technical design that made her Tony-winning productions of WAR HORSE and THE CURIOUS INCIDENT OF THE DOG IN THE NIGHTTIME that made them a feast for the eyes as well as the soul; but what we get is a finely-tuned ensemble richly performing some of the most complex characters created for the stage. Elliott’s work with actors was greatly evident even in WAR HORSE and CURIOUS INCIDENT, but she’s outdone herself here. The entire London cast has crossed the Atlantic for this limited Broadway engagement, with the exception of Russell Tovey whom has been replaced by an outstanding Lee Pace (it should be said that Tovey was the first Joe I’ve found so sympathetically played, and I was initially disappointed that he wouldn’t reprise his performance—but Pace is even more believable than Tovey was, and turns in an emotionally naked performance that stuns). Andrew Garfield and Nathan Lane, who were the headliners in London, are here—each turning in towering performances that have only deepened in the months they’ve inhabited these roles, and (especially in Garfield’s case) benefit from being seen onstage rather than on a giant screen. There were complaints about the broadness of Garfield’s portrayal of Prior Walter, but he is superb here—turning in one of the finest stage performances I have ever seen (and let’s not forget that less than a week ago I saw Glenda Jackson and Laurie Metcalf sublimely play THREE TALL WOMEN). Lane’s Roy Cohn is a ferocious monster. There’s no question he lands the humor perfectly (and as one of the Prior heralds he is hilarious), but those who have only experienced musical comedy Nathan Lane will be surprised at the complexity of the performance he gives. In PERESTROIKA, he is an absolute marvel. The rest of the ensemble impresses even more than they did in the screening. Denise Gough, as Harper, proves that it IS possible to be better than Mary-Louise Parker in the role. Her performance is riveting throughout, but never better than in her moments opposite Garfield and in her final monologue at the end of PERESTROIKA. Nathan Stewart-Jarrett’s Belize continues to be spectacular, and Amanda Lawrence a terrific Angel, et al (in an interesting twist, Lawrence was absent for the second part; in her place I was treated to a very different, but equally brilliant Beth Malone—the Tony-nominated star of FUN HOME). Two performers who did not impress me as much in the screening but who blew me away live were Susan Brown and James McArdle as Hannah and Louis, respectively. Brown’s track is likely the hardest in the show, back and forth between sexes and the fantastical versus realistic. She’s a force. Her Hannah is every bit as astounding as Streep’s. McArdle takes a character that comes across as ridiculously overbearing in some performances as almost endearing, and he manages to beautifully balance his performance so that even when he does awful things you still feel for him. If the spare design seems confusing, you’re not alone. If Ian McNeil’s set is meant to evoke the crumbling of America as millennium approaches, it certainly does so—but when scene locations go from sparse to fully realized with no explanation, it tends to baffle. Still, it’s wonderful to see the Angel so differently rendered than the original production. It is theatricality at its finest. But who cares? With performances as deeply transformative as the ones given by this ensemble, they need little more than the open space they’re given to deliver Kushner’s immensely complex words. Their ability to make a 25 year old play feel as fresh as it did when it first opened is a magnificent achievement.

[londontheatre]

Andrew Polec as Strat & Christina Bennington as Raven in BAT OUT OF HELL credit Specular

2017 has been a busy year with our team of reviewers attending and reviewing nearly 800 productions across London, including West End and Off-West End. These are the top picks for the year.

1. Bat Out of Hell The Musical – London Coliseum (21 June) Andrew Polec, as Strat (leader of ‘The Lost’, a collective of young rebels) leads a ridiculously talented cast with flair, energy and intensity. Polec’s vocals are outstanding, his stage presence amazing, and he was conspicuous by his absence whenever off-stage.

2. Everybody’s Talking About Jamie – Apollo Theatre (22 November) Hilarious and hard-hitting in equal measure, this is a great British musical not to be missed. I don’t like this show. I love it.

3. Barber Shop Chronicles – National Theatre, Dorfman (7 June) Filled with laugh-out-loud humour as well as food for thought, this electrifying and magnificent production is theatrical heaven from beginning to end.

4. Henry V – Southwark Cathedral (3 February) I wasn’t prepared for… quite how different and spellbinding this production was from any other Henry V I’ve seen before… Powerful and poignant.

5. Who’s Afraid of Virginia Woolf? – Harold Pinter Theatre (9 March) The narrative unfolds over just one night, and this production is so intense and absorbing I found myself willing both the ‘interval’ of 15 minutes between Act 1 and Act 2 as well as the ‘pause’ of just five minutes between Act 2 and Act 3 to end.

6. The Life – Southwark Playhouse (30 March) The whole cast are well-drilled by veteran director Michael Blakemore, and the show is clearly influenced by more than one well-known musical theatre show […] what a magnificent and sensational production this is.

7. Hamlet – Harold Pinter Theatre (15 June) These sofas, these business suits, these sliding doors. It’s all bound to annoy the purists to high heaven. No matter. This is a surprisingly warm and inviting production, and a welcome addition to the many versions of this timeless play.

31 Hours – The Cast Photo by Lidia Crisafulli

8. 31 Hours – The Bunker Theatre (6 October) An admirable play with compelling performances, this intriguing and informative production doesn’t apportion blame or offer tidy solutions to a persistent problem. The script is poetic when it wants to be, other times flowing between characters so much it requires impeccable timing and pacing, which this cast possesses in abundance.

9. The State of Things – Jack Studio Theatre (13 September) A joyous final number sends the audience out with cheerfulness, even if all the ends aren’t tied up, loosely or otherwise. The script is tasteful and imaginative.

10. Fingering A Minor on the Piano – Soho Theatre (5 April) This is a compelling and passionate show, as much of an education into what’s really going on in the healthcare sector today as it is a fun-filled hour of hysterical anecdotes.

Chris Omaweng

*******

1. Priscilla Queen of the Desert, Bridewell Theatre This story of friendship and hope took two drag queens and a trans woman from Sydney to Alice Springs, in a big pink bus. Along the way, they met new friends, and face rampant homophobia. SEDOS brought every element of the show together beautifully, and to a standard that you would expect to see in the West End. Sold out virtually as soon as it was announced, this was the ‘must-see’ production of the year.

La Cage Aux Folles – Pamela Raith Photography

2. La Cage aux Folles, New Wimbledon Theatre This is was a touring production of a show that demonstrates the importance of family and how much a parent will sacrifice to help their offspring. John Partridge put on the stiletto heels and sequined gowns as Albert/Zaza and delivered a tour de force performance. With wonderful sets, costumes and songs like the iconic “I Am What I Am” this production hit all the right notes.

3. Richard III, Cockpit The amazing Kim Hardy led the cast in the title role of this first-rate production of Shakespeare’s play in fine style. With some extremely realistic battle scenes, the entire production brought the story to life in a really fantastic way. Richard is a role that Kim was born to play and has set the standard for anyone that wants to take on the king in the future

4. Henry V, Southwark Cathedral Another touring production as Antic Disposition visited various cathedrals around the UK this year with their version of this classic Shakespeare play. I caught the production at Southwark Cathedral where, under the watchful eye of the Bard himself. Aside from the highly impressive location, the production itself – set in a World War I field hospital – adds a wonderful poignancy to the show. Rhy Bevan was excellent in the role of Henry and led a superb cast who between them made this a very memorable show.

5. Loot, Park Theatre Back to the swinging sixties with this production of Joe Orton’s farce set around the funeral of an elderly woman. Whilst most assuredly of its time in some of its attitudes, Loot still works very well at holding various parts of society up to a critical light. The cast, set and costumes all worked perfectly to bring the sixties back to North London and overall this was one of the funniest things I’ve seen in a long while.

6. The Clockwork Orange, Park Theatre Another trip back to the sixties with this all-male production of Anthony Burgess’s horrific story of a dystopian future that, at times, has too many links to the present to make comfortable viewing. Stripped back in colour and set, the sho is headed up by Jono Davies absolutely smashing the lead role of Alex. An intense production that is not easy to watch but is totally engaging.

7. Lord Dismiss Us, Above the Stag Theatre Glen Chandler’s play is partially based on genuine experiences at a public school in the sixties and as such is a very well observed study of the English upper classes at a time when the world was about to change. However , instead of focussing on the outside, the play brings us into the school where a violently homophobic new headmaster decides there will be none of that business going on in his school. One of the great elements of the play is that one of the more negative characters from the start of the play turns out ot be the hero of the story. A lovely bit of writing, excellent translated to the stage.

8. Posh, Pleasance Theatre Probably one of the real surprises of the theatrical year for me. Posh was the story of an elite male dining club from one of our red brick universities on a night out. A fairly normal story you might think, but in this production, all of the roles were played by women. Retaining their femininity, the actors really brought out the roles well to the point that their gender was totally unimportant. A brave staging choice that worked extremely well.

9, Boys in the Buff – The Musical, Stockwell Playhouse and Boys in the Buff – The Concert, King’s Head Tackling the subject of body image and how we view ourselves and each other is not an easy thing to do but in these productions – the full one and the cut down version – it is done in a wonderful way. Humour, songs, dance and great writing combined to make the Boys in the Buff shows something well worth seeing. A fine cast, willing to give their all for the show, really entertain and inform and leave everyone feeling just that bit better about themselves.

Out There On Fried Meat Ridge Rd

10. Out There on Fried Meat Ridge Road, White Bear Theatre Back in January, this show showed up at the newly refurbished White Bear Theatre and completely took my breath away. The story of the inhabitants of a run-down motel and the wonderful revelations that come out, with the wonderful twist at the end, set the bar for every show from then on. Following its time the White Bear, the play transferred for a very successful run at the Trafalgar Studios.

Terry Eastham

*******

1. Out There On Fried Meat Ridge Road by Keith Stevenson at Trafalgar Studios Small town America at its side-splittingly smallest.

2. Twelfth Night by William Shakespeare at The National Simon Godwin’s delicious production takes role reversal to the limit.

3. Everyone’s Talking About Jamie by Tom MacRae & Dan Gillespie Sells at The Apollo Theatre Funny and heart-warming – best new musical of the century.

4. We Are The Lions Mr Manager by Neil Gore @ Tara Arts Theatre

Girl From The North Country

5. The Girl From The North Country by Conor McPherson @ The Old Vic (transferring). 6. The End of History by Ian Hollingshead @ Tristram Bates Theatre 7. Happiness by Lily Lowe-Myers @ The Bridewell Theatre 8. Rules For Living by Sam Holcroft @ The Rose Theatre 9. The Comedy About A Bank Robbery by Henry Lewis, Jonathan Sayer and Henry Shields – The Criterion Theatre. 10. Reasons To Be Cheerful by Paul Sirett @ Theatre Royal, Stratford East

Peter Yates

*******

Amadeus – Royal National Theatre Hedda Gabler – Royal National Theatre Follies – National Theatre Don Juan in Soho – Wyndhams

Paddy Briggs

  Martin Freeman (David Lyons), Tamsin Greig (Jean Whittaker). Photo by Johan Persson

The Ferryman – the most superb play/production seen in London for years! Totally gripping throughout its 3 and a quarter hours – yet nothing happened! So Irish!

The Best Man – which I saw at Windsor and which has not yet opened in London: superb, a gripping play about USA presidential election: could have so easily have been trite but beautifully written and directed and co-starring Jack Shepherd as the terminally ill past president. He was superb: charismatic. I hope Bill Kenwright brings this into town in 2018. (Martin Shaw was very good too!)

Labour of Love at Noel Coward Theatre: again superbly written and acted. There have been many first-rate plays this year!

John Groves

*******

Blush at Soho Theatre The Ugly One at Park Theatre La Soiree at Aldwych Theatre

And an extra that I loved but didn’t review was The End of Hope at Soho Theatre

Roz Wyllie

*******

Rent 21st Anniversary UK Tour – this show stole my heart and reignited my love for theatre. Bruce Guthrie directed the production perfectly. It was raw, gritty and truly touching. Choreography by Lee Proud was innovative and interesting and the entire cast were outstanding. It felt like they were living their lives through the character for those 2 and a half hours each night. All cast members poured everything into each performance and everything came together to create magic on stage.

Yank at the Charing Cross Theatre, London – the story was powerful, gripping and relevant. Scott Hunter and Andy Coxon were just superb in their roles, particularly Scott Hunter who shone throughout. Staging and choreography were slick and in keeping with the story. It was also fantastic to see an audience of predominantly men, so many in fact that men were lining up for the toilet.

The Toxic Avenger at The Arts Theatre, London – the show really impressed me with its comic-timing, fantastic use of the stage and the actors were fantastic. Songs were catchy and the plot fitted well together. Certainly different from my usual favourites but I laughed my way through this show.

Amanda Reynolds

*******

Girl From The North Country: This would have been a wonderful straight play with a tremendous book from Conor McPherson but add some of Bob Dylan’s greatest songs and you have a masterpiece. It’s atmospheric and at times mesmerising. I’ve seen it twice at The Old Vic and hope to see it again when it transfers to the Noel Coward next year.

Follies: Follies has always been a difficult musical to stage due to the fact it has no real plot and a downbeat ending but the National have done Sondheim’s Magnus Opus proud. The production is wonderful and the performances from the likes of Imelda Staunton, Janie Dee and Philip Quast sublime.

Romantics Anonymous: This was the most magical piece I’ve seen on the London stage for a long time and is Emma Rice’s swansong before she leaves her post as Artistic Director at the Globe. This was a bit of surprise as being at the Sam Wanamaker Playhouse, it slipped under my radar. Let’s hope it gets a transfer to the West End as it deserves it.

Alan Fitter

*******

Alice’s Adventures Underground in the Vaults – a kooky, surprising and interactive take on the classic tale. Hedda Gabler by Euphonia Studio at the Drayton Arms – a stark, pared-down, psychologically compelling performance. When Midnight Strikes by MKEC Productions at the Drayton Arms – a funny and moving tale of a special New Year’s Eve.

Genni Trickett

http://ift.tt/2Dv0N4U London Theatre 1

[showbizchicago]

Reviewed by: Matthew Perta

Some theatergoers may cringe at hearing that yet another theatrical group is staging yet another production of Annie, a musical that first opened on Broadway back in 1977, and may cringe yet again at being reminded of yet another adorable little actress in red curls belting out “Tomorrow.”  Set during the darkest days of the Great Depression of the early 1930s, Annie is the story of an 11-year-old orphan who manages to inspire President Franklin Delano Roosevelt into launching his New Deal.  The theme is worn out, some might say.  The story is too far fetched for today’s audiences.  Well, think again.

Annie remains optimistic despite the lousy hand life has dealt her.  She grabs an opportunity and runs with it.  She refuses to give up.  In reality, she’s the perfect role model for today’s generation of girls. We need Annie and her sunny outlook on life now more than ever, given the complicated times in which we live.  And this is precisely why the Skylight Music Theatre in Milwaukee is to be commended for bringing Annie back to life with a delightful, rousing production just as 2017 –a tumultuous year in politics, weather and violence – comes to an end.

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The Skylight Music Theatre pulls out all the stops with this production of Annie, attracting some the most impressive talents in theater today – both on stage and behind the scenes.  A cast of 35 performers sing, dance and act their hearts out.  Musical numbers including “Hooverville,” “I Think I’m Gonna Like It Here,” “NYC” and the lively “Easy Street” are all great fun, with the crowd-pleasing “You’re Never Fully Dressed Without a Smile” topping them all with the imaginative choreography of Molly Rhode, who also directs the show.

At the heart of the Skylight’s Annie is KyLee Hennes (alternating in the lead with Eloise Field) who is magnificent as the feisty orphan with a heart full of optimism.  Hennes tugs at the heart strings right from the first scene with her dreamy rendition of “Maybe” as she thinks about the parents she’s never met but firmly believes will one day reclaim her.  When singing “Tomorrow” to her new dog Sandy and to FDR at the White House, Hennes fills the theater with so much hope and good cheer you can actually taste it.  Hennes can also touch an audience in a straight dramatic scene, as she does when she tells Oliver Warbucks, the billionaire who invites her to his home at Christmas, with sheer confidence that she’s find the parents that abandoned her.  Hennes, only 13, already has an impressive resume that includes roles in The Magic Flute and The Sound of Music for Lyric Opera of Chicago.

Carrie Hitchcock, a Milwaukee native, is hilariously sleazy as Miss Hannigan, head of the dumpy orphanage that imprisons Annie and her fellow orphans, and Chicago’s own Matt Crowle, brings down the house as both actor and dancer in his superb portrayal of Hannigan’s conniving brother Rooster, who poses as Annie’s real-life Pop in the hopes of nabbing a huge financial prize being offered by Warbucks.  Diane Lane gives a winning performance as the properly efficient Grace Farrell, private secretary to Warbucks.  Lane’s operatic singing voice is another highlight of this splendid production; she has played more than 50 characters for a variety of opera companies.  And Andrew Varela scores with his excellent interpretation of the hard-as-nails Warbucks, who discovers a new side of life thanks to Annie.  Varela’s distinguished career on stage includes the Broadway and National tours of Les Miserables, The Phantom of the Opera and Sunday in the Park with George, among other shows.

Serving as a backdrop to the superb cast are the visually stunning sets designed by Peter Dean Beck.  The sets range from a dingy orphanage to the stately elegance of the New York City mansion of Warbucks.  Beck has designed scenery and lighting for some 300 productions around North America, and has been the principal designer for the Hawaii Opera Theatre for 32 seasons.

Spirited and heartwarming, Annie at The Skylight Music Theatre proves that Tomorrow is better and brighter than today, so don’t lose hope.  This is the best gift we could ask for this holiday season.

The Skylight Music Theatre has extended its run of Annie through Dec. 27.  The musical is being staged in the Cabot Theatre of the Broadway Theatre Center, located Milwaukee’s Historic Third Ward, 158 N. Broadway.  For tickets call(414) 291-7800 and for directions to the Cabot Theatre in downtown Milwaukee visit www.skylightmusictheatre.org.

Skylight Music Theatre Stages A Heartwarming & Rousing “ANNIE” Reviewed by: Matthew Perta Some theatergoers may cringe at hearing that yet another theatrical group is staging yet another production of 

[hackneyallnations]

Rodolfo – Cuba

 My name is Rodolfo Herrera, I’m from Cuba. I like to do videos but most of the time I end up doing anything that puts bread on the table – gardening, building, painting. I was born in 1963, so I’m 53,54. I’ve been in Hackney around 21 years. Love brought me here – plain and simple love. I met Shona, my wife, in Cuba, she was studying Spanish there and we started going out together. We fell in love and it was very convenient because Cuba was beginning to get too small for me in a way and definitely here was a much better place. We got married fairly quickly and she got pregnant fairly quickly, that’s it, straight to Hackney. Now we have 3 kids, Anna, Robert and Eleanor. Lovely family, lovely people, astonishing people, best people ever. 

 I miss my friends and family. Roots (raizes) are love, I miss that – but less and less. You miss in a different way. I miss the space but you get used to it. You get crises (like the recent hurricane) and you’re dying to see them. You just want to jump in a plane and go, but I’m not homesick by any stretch of the imagination. God bless London. This city has been remarkably good to me – extremely good- no complaints. In Hackney everything is close. I like comfort. I come from a really hard background – you really have to hustle on the street everyday for the smallest things – toilet paper, oil, deodorant, you name it – food. Here everything is on the corner, you just get it – and now you get used to that comfort. I was far more productive and creative in Cuba, far more, here you get used to that comfort. I’m a very poor man here, life is pretty basic but when you compare it with where I come from you suddenly become rich. The richness of the state is so humungous.

 In Hackney everything is here and everything you want to do, you can do it. You can go anywhere, you have the freedom to do whatever you want to and say whatever you want to and work in whatever you want to. I got my very good education in Cuba – very very good because I have a degree from what at the time was called the Escuela Nacional de Instructores del arte- similar to a BA here, specialising in theatre. I had magnificent teachers. It was a very intense boarding school, 4 and ½ years. I spent 15 years doing theatre in Cuba and travelling around the world with some projects. My education comes from Cuba for sure. 

 I was brought up with so many prototypes and stereotypes – more than being Cuban, they were colonialists. The original population of Cuba was killed within ten years and then Cuba became a melting pot with Chinese, Spanish, Africans – you name it – and of course being a colony we got this mentality of a Caribbean country, of being colonised by the Spanish so it was a very catholic country and they have a way of behaving and telling you things that becomes part of you and in a way I guess that’s Cuba, that mixes the African, Chinese and in my case, more than anyone, in my blood you can see African, Cuban, Chinese but on the other hand they say Cubans are happy people and it’s true. We like a lot of fun and in my case, romantic – I like women to the end of the world, more than anything for me women are the only real thing, the rest are props. Cubans like women, coffee, to party. I’m a Cuban, 100% prototype. You can’t run away from that. In Hackney there’s alienation, it doesn’t matter how much you try to blend I notice there are neighbourhoods with segregation of communities with the Bangladeshis here, Jewish here, the Afro-Caribbean there, in a way the different types of neighbourhoods very clearly are different and belong to different social states. It’s a bit disappointing when you feel ‘Oh I live in a ghetto, in the poorest part of the country, where housing problems are common to poor people....it’s the best I ever had, I cannot complain but when you open your eyes and see oh wow, it’s a different world here ! You can say whatever you want to but you can’t make any difference – power is so fragmented and so structured that the ripple of what you say and do are minimal in comparison with the bigger picture. I don’t like it but it doesn’t matter how revolutionary I am, how unfair I think the city is, this is it. It makes you impotent, you feel fuck it, there’s nothing to be done, we lost. You see the power of the Empire. With your own eyes you see how effective it still is from the colonial time till now, it’s still the same. The tools of exploitation and control are just more refined and sophisticated and because they’ve got the money already it’s more easy for them to colonise, to separate, to control and Hackney has changed a lot- it’s getting posher and posher by the minute- the amount of building popping and popping and popping up. There are a lot of young people with money, from all round the world they come to London and buy a flat and Hackney is now in a boom. 

My neighbours here are magnificent, I’ve been 21 years in this building, never a problem with my neighbours. This is a council flat, we are secure tenants which doesn’t exist any more – and that’s something that I like about Hackney and England in general, there are things that you couldn’t have in Cuba – they give you a house because you don’t have one, and medicine and education, My kids go to school and they live a wonderful life – with my minimum effort – it’s good. Every country has music but Cuba and music – oh my God we do really love it. Live music, when it’s happening in front of you, it’s something that’s been around me all my life – that’s the Cuban in me. I taught myself to play guitar without having any capability or ear whatsoever, or any timing , but I chisel into my soul.

[twistofitalian]

Yesterday I had the great pleasure of attending a performance of La Boheme at Florence’s ultra modern opera house.  It was a fabulous experience!

  Soon I’ll post about the performance, but for now I want to focus on the building itself.

      Unusual for an Italian city, the new opera house complex includes green space.

  I don’t know about you, but generally speaking, when I think of opera lyrica together with Florence, I think of the Belle Epoch (or some other, older) period, with gorgeous, lush architectural interiors.  This theater is non of that.

In fact, the thoroughly modern new Teatro revitalized a section of Florence, bordering the northeast corner of the Casine park.

The rooftop amphitheater has magnificent views of historic Florence.

The location is strategic, near the Arno River and between the Leopolda Station and the Cascine Park, It was the intention of the builders to integrate the historical center of Florence with the Cascine, or the “green” section of Florence.  Indeed, the mowed lawn outside the entrance of the theater was the first manicured green grass I’ve seen in all of Italy in the past year.

The complex is marked with red in the photo above.

‘

    Florence is, of course, the city where opera was born in 1597 and where opera has been performed in numerous venues including, for many years, a functional but ungainly theater called the Teatro Comunale. When Matteo Renzi was mayor of Florence from 2009 to 2014, among his projects was this new opera house and concert hall, not far from the Teatro Comunale.

Renzi, who became prime minister of Italy at the age of 39, was an audacious and controversial leader, but there is no denying that he effectively set the national discussion on a new course.

Before Renzi became Prime Minister, some laws were passed that tried to reform arts funding and administration in Italy. These laws require, in exchange for federal money, more administrative control from Rome of some of the fondazioni—the entities that run the 14 important theaters in Italy that present opera.

  The New Florence Opera House, is  one of the most innovative in all of Europe. After years of deliberating the need to provide Florence, and its renowned opera festival Maggio Musicale Fiorentino, with a modern venue, at last this new complex took shape.

      The complex is comprised of three large and spacious halls: the opera hall, built with special walls that direct soundwaves towards the audience without echoing; the concert hall which holds 1000 seats; and the spectacular rooftop amphitheater, which offers 2000 outdoor seats with an captivating panoramic view of the city.

Finally finished and opened in May 2014, a new square in front of the theater was inaugurated at the same time.  The piazza is the largest in Florence and one of the biggest in Italy. The new large garden square is named after Vittorio Gui, the founder of the Maggio Musicale Fiorentino.

The theatre hosts not only classical music, but also pop, theatrical productions, film, meetings and conferences, making it a central place in the life of city and its inhabitants.

The exterior features a smooth surface on which images and videos can be projected, or which can simply be flooded with light to stand out against the night sky.

With its stark, modern structure and cutting-edge technologies, the new opera house is one of the most modern opera houses in the world, uniting modernity and antiquity, vision and tradition, in the city that gave birth to the first opera in the 1600s.

 The heart of the new theater is the opera hall itself, the simple and bold cavea.  The building materials stem Tuscany’s architectural tradition: marble, wood, terracotta and gold.  Cipollino marble covers the volumes of the new theatrical complex; the baked enamel of the great “urban lantern” of the tower; the gold used for the curved walls of the large and majestic foyer are all materials, textures and colours belonging to the historical tradition of Medician architecture.

The theater boasts outstanding acoustics, which were designed by the German team Müller-BBM.

Most critics agree that the streamlined auditorium is undeniably handsome.

However, those audience members who are seated in lateral boxes have little or no eye-contact with the rest of the audience, as if Paolo Desideri the architect, had wished to suppress the conviviality of the traditional Italian opera house, in which spectators interact with each other while responding to what is happening onstage.

Nevertheless, the modern and multifunctional building seems to have won over the Florentines, who have an understandable reputation of usually being very wary when it comes to the construction of modern buildings in the cradle of the Renaissance.

The theater is the official home of the Maggio Musicale Fiorentino see http://www.maggiofiorentino.com/

The New Opera House was planned from the beginning to take on all those functions of the theater as envisioned by the ancient Greeks; the opera house is thus a avant-garde cultural center for all of Europe, where music, arts, education and entertainment converge.

For this reason the opera house is open and accessible to the public during daytime hours.  The bookshop and café will be always open and families can go for a walk, wander among the fountains, or meet with friends on the grounds.

The project was undertaken by the Presidenza del Consiglio dei Ministri with funds made available (150 million Euro grant) for the celebration of the 150th anniversary  (in 2011) of the unification of Italy and with contributions from the Regione Toscana and the city of Florence.  A 255 million Euro public investment partially financed the ambitious project of the New Florence Opera House which represents.

The theater also boasts one of the most technologically advanced scene-changing mechanisms in the world that enables rapid scenography changes so as to allow even multiple and simultaneous performances in the same day, increasing the theater’s potential.

  Credits

Presidenza del Consiglio di Ministri Executive Officer Dr. Elisabetta Fabbri (Architect) Project Manager Dr. Giacomo Parenti (Engineer) Director of Works Dr. Giorgio Caselli (Architect) Contractors A.T. I : S.A.C Spa e I.G.I.T Spa Project Coordinator Dr. Angelo Reale (Engineer) Executor Co-ordinator of the project and its operative phases Dr. Angela Ranieri (Engineer)

Design Architects Studio A.B.D.R – Roma Structural Design Italingegneria – Roma Systems Design Enetec – Roma

Consultants Acoustics Müller – BBM Monaco Stagecraft Biobyte

  In Florence, I believe, one of the problems is that despite the city’s history with opera, it is not widely popular with local people and with the millions of visitors who come here for days of intensive touring of museums full of the masterpieces. And with the old and new theaters slightly out of the heart of tourist traffic, no one walks past them as part of a stay here.

Construction on the new theater (based on designs by Paolo Desderi) began in 2009 and it was inaugurated on December 21, 2011 so that it could be said to have opened in the year of the 150th anniversary of the Unification of Italy. It was quickly closed after one concert as it was nowhere near complete. It has had a couple of more “openings” and its official one was on May 10, 2014.

            Opera in Florence Yesterday I had the great pleasure of attending a performance of La Boheme at Florence's ultra modern opera house.