#marcus lovett

[dilutedh2so4]

stand and deliver me all your 1997 king david musical clips

(14) Never Again – Judy Kuhn as Michal and Marcus Lovett as David

(16) When in Love – Alice Ripley as Bathsheba

i require some more pretty please

[meilas]

Brian Boitano and the Four Phantoms

[mthguy]

Performance of “Love Changes Everything” from Aspects of Love at the Royal Albert Hall Concert Celebrating Andrew Lloyd Webber’s 50th Birthday. 

Michael Ball is joined Antonio Banderas, Sarah Brightman, Glenn Close, Julian Lloyd Webber, Marcus Lovett, Donny Osmond, Elaine Paige, Bonnie Tyler, Dennis O’Neill and Boyzone (Keith Duffy, Stephen Gately, Mikey Graham, Ronan Keating, and Shane Lynch).

[thesarahfiles]

Happy birthday, Marcus Lovett! 🎉

[loofol]

OMG I love this so so much! It’s absolutely brilliant 😍😊❤️

[mandssisters]

[lauren11993]

Marcus Mumford

November 07, 2022 • New York, NY • Beacon Theatre

• Awake My Soul (x)

• The Cave (x)

• Dink's Song (Fare Thee Well) (x) Featuring Oscar Issac

• Hang Me, Oh Hang Me (x) Featuring Oscar Issac

• Cannibal (x)

• Grace (x)

• Prior Warning (x)

• Better Off High (x)

• Dangerous Game (x)

• Better Angels (x)

• Go In Light (x) Featuring Monica Martin

• Stonecatcher (x)

• How (x)

• I Will Wait (x) Featuring Ben Lovett (Completely Unplugged)

• Ditmas (x) Featuring Ben Lovett

• I'm On Fire (x) Featuring Ben Lovett

• When I Get My Hands On You (x) Featuring Oscar Issac, Taylor Goldsmith, Ben Lovett, Monica Martin, The A's, and the touring band.

• Kansas City (x) Featuring Oscar Issac, Taylor Goldsmith, Ben Lovett, Monica Martin, The A's, and the touring band.

Playlist (x)

[graphicpolicy]

The Triptych of Terror comes to The Last Comic Book on the Left

The Triptych of Terror comes to The Last Comic Book on the Left #comics #comicbooks #graphicnovel

The fevered minds behind The Last Podcast on the Left, Marcus Parks, Henry Zebrowski, and Ben Kissel, have once more joined unholy forces with Z2 Comics for a third tome in the The Last Comic Book on the Left series. Overflowing with stories equally heretic and hilarious, this new anthology has ensnared a new batch of writers and artists to conjure more macabre and profane sequential art inspired…

[glassprism]

What’s your opinion on Anne O’bryne’s POTO Christine? Her TOM aria sounded painful.

Yes, I always found Anna O'Byrne's actual singing (not her emoting) to be her weakest point. It's hard to explain because I don't think she's actually singing badly in the sense of, you know, hitting the wrong notes or having to lower the score or even doing stuff that's more subjective, like having too much vibrato. The best way I can explain it is that she always sounds a little strained, like she's on the verge of struggling; it constantly feels like the score is just a bit too much for her. I don't know if that's actually the case, but that's what it sounds like to me, and the result is that I feel constantly on edge when I hear her sing, because I keep thinking she's about to flub a note (though as far as I know she hasn't done so).

That said, I think she's like Earl Carpenter in that the quality of her acting and her interpretation is good enough to balance that out. She's probably one of the most Leroux-accurate Christines out there, in the sense of capturing that Christine's melodrama, her weirdness, her hidden strength, her nervous edge bordering on madness (think of how Leroux's Christine was known for seeing spirits, how she hid a pair of scissors under her pillow in case Erik should "stop acting the gentleman", how she bashed her head against a wall so hard she knocked herself unconscious). Pair her with Marcus Lovett's Phantom, who also heavily based his portrayal off the book, and you get a pairing that is fascinating to watch, if a bit hard to ship, as it becomes clear that Lovett's Phantom is basically driving O'Byrne's Christine into a breakdown. And I think that bumped her up into the second highest tier of my favorites, she has such a unique portrayal and dove into that side of Christine in a way few others have.

[operafantomet]

Hi Anea! I was searching for "antique" chinese fabrics on the web and found there were many cheap brocade/embordered fabric on TaoBao that is similar to the fabric in the mandarin coat. Would it be a good idea to remake the mandarin coat using the fabrics? (0 experience first timer)

I mean, why not? I think the main thing about the costume is that it needs texture, surface, embroidery, fringes, details. And using brocades and embroidered fabrics will add to that. But I would make sure the base is made of solid fabrics. Chinese brocades are good in this aspect. Fragile, flimsy materials can be saved for the decorations, where they are put on another surface.

Apart from rich Chinese brocades and embroideries, you can also cut out motifs from suitable fabrics and apply them on to your robe / tabard. Add trims around it, maybe some sequins, and it's a super effective and sometimes money-saving feature.

The costume itself consists of four main features:

The main robe, straight, with long wide cuffs and a standing collar. This is often made of Chinese brocades, with some additional details on the cuffs and maybe collar.

The tabard, the sleeveless overgarment reminding of a long, loose waistcoat. This one can be straight or pointed, it may or may not have a collar, it can be open + tied at the sides, or sewn together, and the back is usually richly ornamented. Many versions also do a fringe or tassel trim at the hem. Sometimes the main robe and tabard is merged into one, or at least it's hard to tell where one ends and the other starts.

The cloud collar, a pointed, rounded and decorated collar. This is not done in all versions, as for example the US costumes only tend to indicate it with trims.

The round, pointed hat (which I won't really address here).

When they built a new costume for Ben Lewis in West End the base of the robe, tabard and collar was various Chinese brocades, but then slowly adding texture to the collar and the back of the tabard, using trims, embroidery, fringes, appliquees etc. The main robe itself doesn't need much decorations apart from the pattern and colours of the fabric. With the exception of the cuffs, of course. They are usually made of different rows of fabrics and trims.

Here's the Ben Lewis costume in making:

I didn't think that costume turned out super textured on stage. I would have liked to see a dash more surface to the collar. But I do like the various blue shades, especially that reminding of peacock blue. Here it is worn by David Thaxton some time later:

A new costume they made for Scott Davies and Tim Howar around the same time also had a base of chinese brocades, and with various structured trims, appliquees, embroideries etc. Again I don't think the collar is the most textured one in West End, but it is still cool to see it in process from costume workshop to stage.

The one they made for Marcus Lovett was more textured. Especially with that embroidered dragon back, but also the ornamentation of the collar. Here it is in making:

And as it appeared on stage, here worn by Ben Lewis:

I would also say the same logic can be applied to other versions of the costume around the world: Chinese brocades as a base, and various embroideries, trims, tassels and appliquees adding structure and bling to make it rich-looking.

Here's the Danish one, as worn by Tomas Ambt Kofod and John Martin Bengtsson. I love the bold blue nerve in the collar, cuffs and lining. It's also not super visible, but there is a lot of antique embroideries in the back and inner collar.

Many versions follow this composition, though with different colours, fabrics and details. Some will have a separate cloud collar, while others indicate a collar by the use of trims. The US is a good example. They do various trims around the neck and tabard, or the trims illuded a cloud collar that is an integrated part of the tabard. Here's Laird Mackintosh on Broadway:

And the back of what I think is the same costume, as worn by Hugh Panaro on Broadway:

The cloud collar shape is even less present - or rather, not at all - in the 1990s versions of the costume. Here's Michael Lackey and John Cudia in US Tour runs. Even if we're not talking the same costume, they are both made of a black and gold Chinese brocade for the main robe, and blue Chinese brocade with large, round ornaments for the tabard. The standing collar is accentuated by trims.

Same goes for the Australian and early World Tour ones. They did the main robe and tabard, but rarely the cloud collar. They did however do amazing vintage gold embroideries and silk-painted details. Here's one worn by Jonathan Roxmouth in his South African run. I love the wing pattern coming to view in the collar and back:

Same also goes for the Japanese ones. They do a main robe with a tabard on top, and the tabard has trims and details denoting a collar rather than a separate cloud collar. They have used many types of fabrics and colours throughout the years, but this recent purple one will forever remain a favourite. The first photo is Yuta Iwaki in Tokyo. I wanna say the second photo shows Osamu Takai, but don't quote me on that...

A final version I will post is this elder German one. Again, the cloud collar shape is only indicated by trims. But they have also added frog fatening in front, which I think is a nice detail. Depicted is Thomas Schulze in Hamburg:

I hope this at least gave you some inspirations on materials used, possible shapes, colours etc. :)

[operachristine]

Phantom Broadway Gifts!

Audios:

Steve Barton, Katharine Buffaloe (alt.), Davis Gaines, Marilyn Caskey, Jeff Keller, George Lee Andrews, Leila Martin

March 19, 1990; Broadway

Steve Barton and Davis Gaines's first performances. Missing Magical Lasso, Notes/Prima Donna in the first act

https://www.mediafire.com/file/jf4ygrz65t595gt/POTO+US+Broadway+1990-03-19+SB+KB+DG.zip/file

Marcus Lovett, Tracy Shayne, Ciaran Sheehan, George Lee Andrews, Jeff Keller, Elena Jeanne Batman, Kristina Marie Guiguet, Frederic Heringes, Tener Brown

March 1994; Broadway

https://www.mediafire.com/file/uqpiwgzoib0x2nw/POTO+US+Broadway+1994-03+ML+TS+CS.zip/file

Ted Keegan (u/s The Phantom of the Opera), Adrienne McEwan (alt Christine Daaé), Gary Mauer (Raoul, Vicomte de Chagny), Wren Marie Harrington (u/s Carlotta Giudicelli), George Lee Andrews (Monsieur Firmin), Jeff Keller (Monsieur André), Leila Martin (Madame Giry), Frederic Heringes (Ubaldo Piangi), Geralyn del Corso (Meg Giry)

January 12, 1998; Broadway

https://www.mediafire.com/file/rsw644qsaxs7txq/POTO+January+12+1998+Broadway.zip/file

Greg Mills (u/s), Elizabeth Welch (u/s), Kyle Barisich

September 27, 2012; Broadway

https://www.mediafire.com/file/3znjtj2g8ymbugy/POTO+US+Broadway+2012-09-27+GM+EW+KB.mp3/file

James Barbour, Julia Udine(Act 1)/Susan Owen(u/s, Act 2), Jeremy Hays

July 18, 2015; Broadway matinee

Notes: Mid-show cast change for Christine.

https://www.mediafire.com/file/lyuzk03aj38i7bu/Phantom+of+the+opera+-+Broadway+-+July+18,+2015+(matinee).zip/file

Videos:

Michael Crawford (The Phantom of the Opera), Sarah Brightman (Christine Daaé), Steve Barton (Raoul, Vicomte de Chagny)

April, 1988; Broadway

Notes: Starts partway through 'Overture'. Color bleeding, washout, generation loss, and several unimportant scenes ('Prologue', 'Magical Lasso', etc.) are cut out, but nevertheless a video of the original cast on Broadway.

https://mega.co.nz/#F!ltAUlKYB!gJqf6DR3Vabhxl4on3j3Mg

Cris Groenendaal (The Phantom of the Opera), Rebecca Luker (Christine Daaé), Steve Barton (Raoul, Vicomte de Chagny)

1989; Broadway

Notes: Almost black-and-white video with constant flickering lines. Dark and tons of generation loss and washout

https://drive.google.com/open?id=1-TSJKYMamAUjU0noSpxnN8t_uTR42fC0

Thomas James O'Leary (The Phantom of the Opera), Tracy Shayne (Christine Daaé), Gary Mauer (Raoul, Vicomte de Chagny)

January 26, 1998; Broadway

Notes: Phantom-orientated highlights of the 10th anniversary on Broadway. Around 37 minutes long.

https://mega.nz/folder/CXJy1RBR#lzx4TYDDi9Y2pZdJBQh2DQ

[msclaritea]

Eric, by Abi Morgan is being produced by the company Sister Act, which is owned by Elizabeth Murdoch, daughter of Rupert Murdoch, Stacey Snider and Jane Featherstone.

Also, why is Benedict, again being pushed as the lead of Eric if he's in only one episode, according to the IMDB page?

March 4/23

I preface this post by saying I am not an alarmist. I do not exaggerate or fabricate. When I write about psychiatric concerns, I write as though it is a legal document and I will support and stand behind it.

I believe the following needs to be said and, most importantly, acknowledged by those concerned. It is essential, indeed crucial, to this man's welfare, life and even death, that those who have the power must intercede on his behalf immediately. I mention no names because this information is highly personal and extremely distasteful. Those to whom it is addressed will know the individual.

I have worked as a Psychiatric Nurse since 1980. In 1991 I was employed as a Nurse Counsellor with a private caseload. I had a degree in Psychology but wanted to learn about therapeutic theory and techniques. I studied through more university courses, professional reading, conferences and courses with specialists in my area of interests - PTSD, Sexual Trauma and MPD (Dissociative Identity Disorder). The majority of my caseload at any one time involved adult survivors of childhood sexual abuse, Cult survivors, and those diagnosed with DID. After over 20 years experience with these clients I believe I am competent in these areas.

I have been privy to this man's psychiatric and familial history as well as his clinical progress over the past 4 years. I have had the pleasure of working with someone who has the insight and maturity to understand this man far better than I ever could. I offer information relevant to his psychiatric condition and hope I have contributed useful insight.

As of this writing, I must express my professional apprehension about this man and his present circumstances.

I have come to understand that whenever a new project is begun for the use of his acting abilities, part of the "deal", offered by his ex-partner and possibly others, is access to the man for sexual performance, escort service, torture. Because of his extreme acting abilities and popularity, the ex-partner can charge thousands for his "services". What is of paramount importance, is that this man is UNABLE to refuse. He has been trained, abused, tortured to teach him to comply. He was then programmed as a sexual escort and taught to never refuse, complain or argue with the buyer. It is made explicitly clear that he is disposible and can be killed if the buyer sees fit. He is replaceable, not as an artist but as a sexual object.

As a therapist, with experience with this kind of trauma, I feel it is absolutely essential to rescue him. He is getting older. As an individual who has already had to endure reconstructive surgery, and knowing what these people do to him, he is at risk of tears, abdominal perforation of the bowel, fissures and cardiac arrest. The consequent blood loss internally could kill him in a few minutes. He is at risk of choking, bruising and fracture of the oropharynx as well as torn tissue.

Psychologically, thank god, he has defenses created in childhood, however he is at high risk of shock leading to catatonia, a psychotic reaction to trauma that the mind cannot tolerate. Eventually he will recall what he is forced to do and the shame will overwhelm him in spite of the fact that he didn't want to comply.

My greatest concern is that he will lose hope that anyone will save him. He will realize he is helpless and the only option is to die. His supports are long distance and TPTB have not allowed him physical access. He will commit suicide and I wouldn't blame him. He is remarkable in that he has lasted this long. I fear that his death may be made to look like suicide if they kill him. Certainly a common occurrence in these times.

I hope you will acknowledge and take action. I rarely feel this strongly about a "client" (he's not but I am involved), but I rarely am in a position to feel this helpless.

I have an abundance of images in my mind of what they are doing to this man, as well as his ex-partner who has some extremely perverted sexual needs. I could not tolerate these images without voicing my exigent concerns. Please do not allow this to continue.

[amphibifish]

Uhhh idk if you like Sweeney todd but uh BOOM Sweeney Todd: The Demon Barber of Fleet Street designs >:3

Sweeney Todd/Benjamin Barker (based off the Tim Burton design) ⬇️

Mrs. Lovett ⬇️

(BONUS OC) Marcus Lane ⬇️

Also bonus Sweeney doodle >:3

(It says "there's a hole in the world in a great black pit, and it's filled with people who are filled with shit, and the filth of the world inhabit it")

YOOO THIS IS SO COOL i love <3 i haven't seen sweeney todd but i heard it's quite good ! might have to see it some time :]

[cloudydays69]

BOOM Sweeney Tood: The Demon Barber of Fleet Street designs >:3

Sweeney Todd/Benjamin Barker (based off the Tim Burton design) ⬇️

Mrs. Lovett ⬇️

(BONUS OC) Marcus Lane ⬇️

Also bonus Sweeney doodle >:3

(It says "there's a whole in the world in a great black pit, and it's filled with people who are filled with shit, and the filth of the world inhabit it")

WOAHHH THOSE ARE SO COOLLL :0!!!

[loofol]

Source:

[mandssisters]

We stand Victorious! 27August 2023.

It was a #longday. But we weren’t the only ones having one of those. On paper I’m guessing Martha’s Vineyard USA to Portsmouth UK was just another booking but I take my hat off to all those involved in the logistics team for pulling it off. DDD to Portsmouth was bad enough!

A great line up at the festival, it was only a shame Ben Howard and The Vaccines were on “another stage”. 😝

The weather was a great British summers day, forecast was overcast all day and 17 degrees, I dressed for all seasons and woken up today with sunburn 🥵.

7 performances to enjoy before The Sons joined us. I won’t go through all the details as it will take the 9 hrs we watched for.

Summary of events:

Courting. Punk indie band great lead singer had the crowd going from the start.

Hard fi. Old skool indie rock band haven’t done a festival in 11 years. Hard Core fans came out.

The Go! Team. Sang songs across their 7 albums. 7 very talent musicians and great energy.

Dylan. hardcore set of young fans, think UK’s answer to Taylor Swift. All the moves and great performance. Dylan came down to do an impromptu meet and greet along the barrier post performance.

Sea Girls. Not what I was expecting but a very pleasant surprise. Oozed stage presence and that rock punk persona. Great skill at balancing on the barrier for 2 songs.

Sigrid. Norways Taylor Swift. Again great energy and her last festival this season. I surprised myself with knowing more of her back catalogue than I thought.

Ellie Goulding. Pop veteran. Such strong vocals and again I knew so many of her songs. Two blasts of the canon guns and everyone was happy.

Showtime:

2120hrs. We did it! OMG how can it be 4 years 2 months since my last Mumford gig. Would I still be able to bounce in all of the right places? Strong opening, Babel, LLM, Roll away. Paparazzi pleasers. The family of Rich, Nick and Dave reunited. Chris on drums, Matt on banjo.

All the feels came straight back, guiding light, below my feet. It felt like they had never been away. Not much banter, “pleased to be home doing a UK show”. “Our makers and friends all over the lineup”

A short Ditmas run down the sides of the alley and barriers. So much energy.

The new stage backdrop showing live action screen footage of the lads is excellent, really grabs you in and the laser light show during snake eyes is something else. Believe had pyros but no ticker tape as Ellie Goulding used the budget allocation. 😉.

It looked and felt like the lads were having a great time, the crowd sure were. Overjoyed to see and hear Delta again. There was much love in the audience for them. The UK have missed them. Just leaves you wanting more! The bounce was joyous.

The journey home. Take the shuttle bus they said, ease all your travel woes they said! On the way into the festival easy peasy, on the way out…. Who could have predicted a RTA in Pompey (Portsmouth) blocking all bus routes… plagiarising a fellow queuers song “we will wait, we will wait in queue”. A most pleasant 2hr wait along the seafront enjoying a stunning moonlit sea, various Isle of Wight ferry crossings, The Beach Club music providing all the vibes, the local chippy had never been so busy at 1.30am!!

Loved it. X