#michelle mackintosh

[jpf-sydney]

Hidden Pockets in Kyoto

Book review:

A place where "Japanese people go in order to feel Japanese". At any rate, it is a statement invoking Kyoto's status as a bastion of traditional culture and connection to the heritage of old Japan. Authored by a Melbournian couple. These unabashed Japanholics have been holidaying there multiple times a year for decades and write books to share their expertise.

In the order of 150 entries are in this guide. Some major sites are listed but the majority are a variety of personal-scale attractions. These include speciality shops selling ceramics or traditional paper or antiques, perfume, incense. There are eating spots, dessert houses, gardens, temples and many, many speciality cafes. The vital statistics included are address, phone, train line, business hours, priciness, website.

A helpful feature of this book is that there are two tables of contents. One of them organises pages by "neighbourhood" while the other groups the attractions by their main function. It isn't so apparent from the TOC, which is quite balanced, but subjectively it feels like the tangible are heavily favoured. Meaning this is the guide to have for finding cafes and small shops selling specialised objects. The authors have also put together itineraries that take in several of the mentioned attractions. There are also some daytrips to nearby places such as Lake Biwa.

The cover photograph is inexplicable. It must be the least impressive, generic-seeming image in a book otherwise full of wonderful, seasonally optimised photography. Barely a few pages inside are more striking, representative scenes such as kimono clad maiko preparing to catch a taxi, a jizo statue bearing some donation of modern coinage, a riverside autumn vista. It does somewhat convey the sense of entering a quaint, small shop and this matches the prevalent kind of establishments in this book.

Shelf: 291.62 WID 2024 Hidden pockets in Kyoto : an insider's guide to the best places to eat, drink and explore. by Steve Wide and Michelle Mackintosh.

Richmond, Vic. : Hardie Grant Explore, 2024. ISBN: 9781741176988

v, 233 pages : colour illustrations, colour maps ; 24 cm. (Curious travel guides).

Text in English.

[polarpics]

Lt. Aeneas Mackintosh and Dr. Rupert Michell aboard the Nimrod, 1907

[gameofthunder66]

-watched 7/7/2023- 2 [3/4] stars- on Redbox (website)/free with Ads

CATHERINE ZETA-JONES as Chloe in BLUE JUICE (1995) dir. Carl Prechezer

[ulrichgebert]

Dann haben wir uns doch mal an Miss Saigon gewagt, das ich auch immer etwas misstrauisch beäugt habe, obwohl es für die eigentlich total begrüßenswerte Erfindung von Jonathan Pryce als Musicalstar verantwortlich war. In der Aufzeichnung der 25-Jahre-Jubiläumsaufführung, die nun auch schon wieder 9 Jahre her ist.  Misstrauisch beäugt habe ich es, weil es von den Leuten ist, die auch Les misérables geschrieben habe, und weil ich Madama Butterfly auch immer misstrauisch beäuge. Es ist dann auch wieder ein ziemliches Spektakel mit gelegentlich etwas brachialer Musik (trotz Solosaxophon), aber man kann ihnen zumindest nicht vorwerfen, daß sie sich auf ihrem Erfolgsrezept ausgeruht hätten, und eigentlich ist es tatsächlich nicht so schrecklich, wie ich immer angenommen habe. Aber kommen Sie, ein Hubschrauber?

(x)

[marybeatriceofmodena]

Think of me, think of me fondly...

In honor of the Phantom of the Opera Broadway production closing, here are a few gifts: audios and one video.

(As per usual, if you're the master of one of these and you want me to remove the link, please let me know.)

Audios

Michael Crawford, Patti Cohenour, Steve Barton, Judy Kaye, Nicholas Wyman, Cris Groenendaal, Leila Martin, Elisa Heinsohn, David Romano April 30, 1988 https://www.mediafire.com/file/aybwjye3k647bfy/POTO+Broadway+30-04-1988+-+Crawford,+Cohenour,+Barton.rar/file

Hugh Panaro, Lisa Vroman, John Cudia, Patricia Phillips, Jeff Keller, George Lee Andrews (u/s), Marilyn Caskey, Joelle Gates, Larry Wayne Morbitt May 10, 2003 https://www.mediafire.com/file/834a4sqxgjmsows/POTO+Broadway+10-05-2003+-+Panaro,+Vroman,+Cudia.rar/file

Gary Mauer, Jennifer Hope Wills, Michael Shawn Lewis, Janet Saia (u/s), George Lee Andrews, David Cryer, Marilyn Caskey, Jimmy Smagula (u/s) May 15, 2007 https://www.mediafire.com/file/70690zs3dpyb3dj/POTO+Broadway+15-05-2007+-+Mauer,+Wills,+Lewis.rar/file

Jeremy Stolle (u/s), Samantha Hill, Greg Mills (u/s), Michele McConnell, Richard Poole (u/s), Tim Jerome, Ellen Harvey, Kara Klein, Christian Sebek March 9, 2013 Matinee performance. https://www.mediafire.com/file/zfln9bh0thrg8dx/POTO+Broadway+09-03-2013+-+Stolle,+Hill,+Mills.rar/file

Norm Lewis, Mary Michael Patterson (alt.), Greg Mills (u/s) July 7, 2014 The real 11,000th performance (not the celebration, which was done the next day).  https://www.mediafire.com/file/jei306ekuy0usjj/POTO+Broadway+07-07-2014+-+Lewis,+Patterson,+Hays.rar/file

Laird Mackintosh (u/s), Mary Michael Patterson, Jeremy Hays, Michelle MConnell, Ellen Harvey, Christian Sebek December 13, 2014 Mary Michael Patterson and Ellen Harvey's last matinee performance.  https://www.mediafire.com/file/kt79nevlbc3yexn/POTO+Broadway+13-12-2014+-+Mackintosh,+Patterson,+Hays.rar/file

Ben Crawford, Meghan Picerno, John Riddle, Raquel Suarez Groen, Bradley Dean, Craig Bennett,  Maree Johnson, Sara Esty, Carlton Moe October 22, 2021 Re-opening performance on Broadway. https://www.mediafire.com/file/d4dcjwf9n40yseu/Phantom+of+The+Opera+Broadway+October+22nd+2021+Reopening.mp3/file

Jeremy Stolle (u/s), Kanisha Marie Feliciano (u/s), John Riddle September 17, 2022 https://www.mediafire.com/file/8elrbfv5bsgbfqq/POTO+Broadway+17-09-2022+-+Stolle,+Feliciano,+Riddle.rar/file

Video

Hugh Panaro, Mary Michael Patterson, Jeremy Hays May 3, 2014 Hugh Panaro's last performance, with speeches. https://mega.nz/folder/L6xDgahT#054peSCr8ADIj6aat2MNnA

[maraschinocheri]

Happy 39th birthday to the London production of Les Misérables (which officially opened on 8 October 1985 at the Barbican Theatre, though previews began at the end of September)! By way of celebrations, scans from the 1985/86 / 1986/87 Royal Shakespeare Company Yearbook, which honoured the success of the Barbican production and its transfer to the Palace Theatre by making Colm Wilkinson and Michael Ball during 'Bring Him Home' its cover stars. The annual RSC Yearbook summarised productions in all of the company's (at the time five) theatres and on tour with production photography and critical commentary from newspapers and other media. Text from the pages above is under the cut below, with bracketed extra information to clarify some references.

Not since Sondheim’s Sweeney Todd back in 1979 has there been a score which soared out of the pit with the blazing theatricality of Les Misérables, and to those of my tabloid colleagues already in print with feeble and fainthearted objections to the show, I have but this to say: remember the demon barber. Sweeney, too, we were once told; was too dark, too savage, too downbeat a theme for a musical. Six years on, that show has won more awards and been acclaimed to more opera houses than any other in the entire history of the American musical. Les Misérables, in a brilliantly intelligent staging by Trevor Nunn and John Caird, will achieve a similar kind of long-term success …

[The Times’/Punch’s Sheridan] Morley went on. ‘… The greatness of Les Misérables is that it starts out, like Sweeney and Peter Grimes, to redefine the limits of music theatre. Like them it is through sung, and like them it tackles universal themes of social and domestic happiness in terms of individual despair.’

[The Financial Times’ Michael] Coveney talked of the allying of ‘Nickleby*-style qualities of ensemble presentation to a piece that really does deserve the label ‘rock opera’, occupying brand new ground somewhere between Verdi and Andrew Lloyd Webber. It was not, he thought, a company celebration like Nickleby, ‘but an appreciation of those values along with the musical experience gathered by the team (Trevor Nunn, John Caird and David Hersey) on Cats and Starlight Express.’ To that extent, he went on, the show was an important one, ‘bridging gaps between musical and opera, and subjecting rock musicians to RSC tutelage while last year’s Clarence [in the RSC 1984 production of Richard III], Roger Allam, is unveiled in the role of Javert as an outstanding performer in the musical idiom.’

[*The RSC's landmark 1980 production of an adaption of Charles Dickens’ The Life and Adventures of Nicholas Nickleby]

[The Guardian’s Michael] Billington posited that if you fillet any great nineteenth-century novel, ‘you are left with melodrama.’ Les Misérables, he said, jointly produced by the RSC and Cameron Mackintosh at the Barbican, becomes exactly ‘high class melodrama.’ It was staged ‘with breathtaking panache by Trevor Nunn and John Caird. It is impeccably designed by John Napier. It has a lively score by Claude-Michel Schönberg. But it is three-and-a-half hours of fine middlebrow entertainment rather than great art.’ Billington claimed to have ‘conned’ the novel sufficiently ‘to realise that it is a towering masterpiece about social injustice, redemption through love and the power of Providence.’ What the musical offered, he went on, ‘is the hurtling story of Jean Valjean, the paroled prisoner who becomes a provincial mayor, who is relentlessly pursued by the policeman Javert and who achieves heroic feats of self-sacrifice at the 1832 Paris uprising. What you don’t get is the background of moral conflict that makes this more than a classy adventure story.’ In this he thought, Hugo’s novel was infinitely more dramatic than the musical.

[The Times’ Irving] Wardle spoke of the temptation in such circumstances for anyone who has read the novel ‘to quarrel with any adaptation for its omissions and liberties instead of judging the adaptation on its own merits.’ In this instance, he maintained, Alain Boublil and Claude-Michel Schönberg had done a capable gutting job. ‘They present a clear outline of the epic contest between Jean Valjean, the saintly ex-convict, and his implacable pursuer Javert: including Valjean’s defeated attempt to save the wretched Fantine, and his life-long devotion to her daughter, Cosette, only to lose her to a young love, Marius, amid the Paris barricades of 1832.’

The adapters had cut corners with boldness and ingenuity, Wardle believed, and had found fresh situations where Hugo’s are theatrically unworkable. They had also preserved the essential sense that Valjean and Javert are two of a kind, belonging, as Hugo puts it, to the ‘two classes of men whom society keeps at arms length: those who prey on it and those who protect it.’

Coveney maintained that the organization and placement of the continuously revolving stage was ‘beyond praise’, with John Napier’s design doing as much honour to Hugo’s Paris as he lavished on Dickens’s London [in Nickleby]: ‘Two huge trucks rumble on and form a barricaded wall which, just as Hugo describes, seems to contain a city in itself, a fantastic jumble of chairs, barrels, planks and people, a teeming segment of a revolutionary catacomb.’

This alternative society, Coveney said, was presented without sentiment ‘as indeed are its urchin sentinels, the daughter of Thenardier (a devastating waif performance by Frances Ruffelle) and Gavroche … sweetly and surely sung by an admirable child actor and just when you feel the production is slipping by allowing a [writer of Oliver] Lionel Bart-ish point number, he is shot full of bullets and left to sing plaintively on the wrong side of the barricade.’

The music, [The Sunday Times’ John] Peter though, ‘has a fresh, astringent lyricism and a powerful, ballad-like drive: number after number makes robust contributions to character and drama.’ The best performances, in Peter’s opinion, came from Alun Armstrong and Susan Jane Tanner as the ‘horrible Thenardiers', Patti LuPone (Fantine) and Frances Ruffelle (Eponine). But this was, he pointed out, ‘essentially a company musical rather than a star vehicle. If it transfers to the West End where its masterful theatricality would outshine almost anything else on offer, it might show people that success in this genre doesn’t depend solely on expensive star turns.’ The transfer to the Palace, of course, came swiftly after the Barbican opening.

[The Observer’s Michael] Ratcliffe described Schönberg’s score as ‘all tinselly arpeggios, stabbing staccato, pile-driving trumpets and thinly-disguised hymns.’ In polite terms he said, it was ‘electric, trailing a range of references from high-tech Bizet and Massenet to the air-time acceptable, and Celtic Fringe Folk.’

Some scenes, said Coveney, go straight into operatic form, ‘for example the apprehension by Javert of Valjean at Fantine’s deathbed, or a beautiful garden trio for young lovers in Valjean’s garden hideaway.’ There was also a ‘startling thematic echo of Rigoletto as Valjean ponders the son he might have had.’ Colm Wilkinson’s Valjean was in Coveney’s opinion ‘a remarkable study in impassive acquisition of self-knowledge … He [has] particularly fine and lyrical use of his upper register. Above all he transmits palpable goodness without sounding like a prig or a boar [bore?].’ [The Sunday’s Telegraph’s Francis] King thought Wilkinson not only sang the role with eloquence ‘but – far more difficult – brings out the essential goodness of a much-wronged man.’ The outstanding voice of the evening in King’s opinion, was that of Patti LuPone as Fantine.

The band under the stage and the musical direction of Martin Koch include some rumbling brass premonitions of disaster as well as some very fine work on synthesizers, brass and strings. The score also underpins such exciting production movements as the arrival of the barricade, the suicidal leap (done by the bridge flying up as Mr Allam free falls on the spot) and the descent to the sewers with lots of dry ice and naked banks of light not equalled in impact since Mr Hersey did something similar in Evita.

In short, this is an intriguing and most enjoyable musical, fully justifying the mixing of commercial resources with RSC talent and personnel, even if not all that many RSC actors are involved.* Being now acquainted with the demands of the score, I see why that should be so. [Morley]

[* The RSC members who appeared in the Barbican production were Roger Allam, Alun Armstrong, and Susan Jane Tanner. Other RSC members at this time joined Les Mis in later companies, among them David Delve, who would replace Alun Armstrong as Thenardier.]

[darkwing-ramblings]

@stellavesperis it remains I, darkwinganimus by another name, for my own sorting purposes I changed blog, to clarify before I reply properly.

Phantom is a great show, I agree! I rather unusually adore the love song present it has, All I Ask of You. Because it actually feels distinctly individual in declarations, the verses play off of each other and the tune is gorgeous with the slow melody. But my favourite remains Wishing You Were Somehow Here Again because I find much of the sentiments on grieving poignantly pleasing and also treating the topic with the grace it deserves. The way it encapsulates Christine and the Phantom's relationship in the end segment transition of her grief being the opening he needs that they almost genuinely connect through but never quite equally is great too! My favourite lines from the musical have got to be

"Wishing you were somehow here again Knowing we must say goodbye Try to forgive, teach me to live Give me the strength to try"

Les Miserables has such good use of leitmotifs and recurring notes yes! The reprises and parallel tunes and characters drawing on each other's earlier sounds and words is perfection. Javert and Valjean alike despairing to the same beats because of the same justice system case is absolutely brilliant storytelling and interlinking their stories in a way that still gives space for them to react differently characterisation wise but oh so similarly (Valjean throws away Valjean and picks up aliases etc for ages and Javert, well).

The finale is so good! It ending, despite it all, ultimately hopefully is exactly what I want from stories because nihilism is useless. If one writes of life and caring about other people and facing adversity but pushing through by faith/whatever else a character finds meaningful then to conclude in any style but one that says "It was worth it, no matter how hard or how bad it got just trying meant something and there is always hope that eventual change will come even if it is after you are gone" just misses the point of exploring characters and what they make of their lives entirely, I think. Also it gradually getting louder from ghostly quiet is neat like you do too it appears!

From Les Miserables my favourite lines have got to be the realisation Javert and Valjean's interaction in The First Attack yields:

You are wrong, and always have been wrong I'm a man, no worse than any man You are free, and there are no conditions No bargains or petitions There's nothing that I blame you for You've done your duty, nothing more If I come out of this alive, you'll find me At number fifty-five Rue Plumet No doubt our paths will cross again

Because it feels like the perfect culmination of proof that Javert has been truly beaten and it's so unapologetically anti-dehumanisation and compassionate and indicative of how at peace with himself and what he chose to become from years of hard effort from Valjean that it hits rather hard.

Javert has some pretty cool bits, such as from Fantine's Arrest:

I have heard such protestations Every day for twenty years Let's have no more explanations Save your breath and save your tears Honest work, just reward That's the way to please the Lord

Which are lines obviously horrible but they're really sung with conviction and show why he's a brilliant paragon of a character!

The verse I find funniest is Enjolras' utterly ruthless disregard for Marius' air-headed daydreaming infatuation in Red&Black:

Marius, you're no longer a child I do not doubt you mean it well But now there is a higher call Who cares about your lonely soul? We strive towards a larger goal Our little lives don't count at all

Because who could hear that and not be entertained? it brings the song back on track so effectively back to the important things like dying a martyr in a violent rebellion, honestly Marius, how could you get distracted from such an alluring goal? For shame!

Grantaire being supportive and also still calling Marius delusional is second place:

Is Marius in love at last? I've never heard him `ooh' and `aah' You talk of battles to be won And here he comes like Don Ju-an It's better than an o-per-a!

They really don't spare each other's feelings one whit in their group! The verses are from the same song and I love them for it!

Also, as is hopefully apparent, you need not apologise for having rambled! Why you were positively restrained I'd say and at worst hardly more rambling than I was!

Which is your favourite Phantom of the Opera song?

And to accompany it with is your favourite song from Les Miserables?

Plus any amount of why you might choose to expand on it with would be interesting to read I'm sure!

Oooooooh!!!!!! Thanks for the ask! :D This is a hard one. Here it goes:

Phantom of the Opera This is like picking my favorite child. All of this music is so good in its own way!!!!! However, I don't think there is actually a moment where I transcended this plane of existence more than the moment of when the Overture begins for Phantom of the Opera. The ostinato under the main theme is just FANTASTIC. The Overture (and the title track as well) captures the haunting, the drama, the chills of the whole show so well!!! (Angel of Music is up there for me as well, it's a little different vibes, but I love the 6/8 meter and the violin in the beginning :) and also Music of the Night... and well, all of it. I guess that makes the final track my favorite, because Andrew Lloyd Webber just does such an amazing job of weaving all these little themes together.) Les Miserables Oh, who am I kidding, this is also like picking my favorite child!!!! All of these songs are so good!! For me singing, I enjoy On My Own quite a bit, because it fits my range much better than most of the songs. But ultimately I think One Day More is unparalleled!!!!!!! (I guess I love the songs where they weave all the other leitmotifs together. It makes me so happy :) But Les Mis has SO many gorgeous moments in all the songs; it's hard to say that I like any of them less than the others. I still think my favorite line and moment is when "To love another person is to see the face of God" is sung and transitions into "Do You Hear the People Sing" in the Epilogue, even if One Day More is ultimately my favorite. That moment has fully altered my brain chemistry. Thanks for the ask!! Sorry I rambled a little bit XD I hope I answered coherently enough!

[everythingne]

i NEED to know who you would cast as who in a live action cars movie

okay buckle the FUCK in. this is just some of the first movie cast bc im gonna need help to cast everyone. this is purely f1 drivers/driver adjacent people bc i think it would be funny to make them act and i dont know much about indy or rally or motorcross ok...

also please note this is for funsies, I wrote this down in like thirty minutes, and not very serious. so be nice to me >:( also feel free to reply with/send an ask of your ideas for casting to me :D!

Lightning McQueen: Logan Sargeant.

I'm not even apologizing for this. I know he's not a NASCAR driver but I feel like that's funnier bc his brother was and that's just LORE bro. American, Floridian, what more can you need? I've seen people cast him for this before, and I think it would work so well.

Tow Mater: Pato O'Ward.

MY BOY. He's just a silly guy and tbh. I don't think I need to explain myself on this one? I would love to just let Pato loose on a film set and see what happens. He embodies Mater in a 'oh fuck i accidentally solved the mystery??' kinda way and everyone loves Mater just like everyone love Pato (and if you don't love Mater you're wrong.)

Fun bonus casting here: Pato's sister Elba as Mater's sister Mato

Doc Hudson: Jenson Button/Sebastian Vettel/Nico Rosberg

Jenson because he would have great chemistry with Logan (and hey, actors need to have chemistry together for scenes to work!!) aside from him being a retired driver and current reporter. Seb/Nico are in here purely for the fact they're F1 legends!! Bonus points for both Logan and Nico having driven for Williams!

It would feel fitting to have the driver Logan's character would look up to be another F1 driver, so hey, this works.

Chick Hicks: Dale Earnhardt Jr./Jeff Gordon/Dalton Sargeant

It has to be a NASCAR driver. I don't make the rules. Honestly, take your pick too, I feel like any NASCAR driver could embody Chick Hicks. He is Southern America. Also Dalton's there because its funny, and his photo is from 2018 bc i couldn't find any recent ones online.

Flo: Naomi Schiff (F1 Presenter)

She's not a driver but just LOOK AT HER INSTAGRAM. That's Flo. I don't make the rules y'all. Also bonus, she would already know Logan and Jenson coming into set, so it would make on-set interactions a lot easier ! (she helped with Lap of Legends)

Lizzie: Michele Mouton

MOTHER. I just think it would be so fucking funny to have THE Michele Mouton play this like. Decrepit, really funny old lady. Also, who wouldn't want Michele Mouton in their film?

Honorable mention casting,

Sally Carrera: Lissie Mackintosh

Not a super strong casting opinion here tbh, I just love Lissie and think she would be a great casting option.

(Bonus idea: if you go the route of casting Charles Leclerc as Lightning McQueen, Alexandra would be a PERFECT Sally Carrera.)

[apileofpans]

Birthday audio/video gifts!

It is my hecking birthday this month, y’all! To celebrate I am giving away videos and audios from Phantom of the Opera that positively ruined me (AKA some of my faves) !

NOTE: the links will work until November 6th, 10 AM CEST! After that they won’t work anymore :) If any of the masters want me to remove their master, let me know and I will!

Everything, including cast info, is under the cut!

Video

US Tour - Dallas, April 6, 2006 Evening Gary Mauer, Elizabeth Southard, Jim Weitzer, Kim Stengel, John Jellison, DC Anderson, Patti Davidson-Gorbea, John Whitney, Kate Wray https://ln5.sync.com/dl/b833dd740/gvnusjtv-a7wywsjy-98mvkiid-nsa6ksqp

Las Vegas Spectacular - August 8, 2008 (SunsetBlvd79) Anthony Crivello, Kristi Holden, Andrew Ragone, Geena Jeffries Mattox, John Leslie Wolfe, Lawson Skala, Tina Walsh, Larry Wayne Morbitt, Brianne Kelly Morgan https://ln5.sync.com/dl/f4b151790/79fc7xe8-emk99ug5-va2ndite-vrapb47x

Broadway - May 12, 2014 (inallyorufantasies, turnofthescorpion) Norm Lewis, Sierra Boggess, Jeremy Hays, Michele McConnell, Tim Jerome, Laird Mackintosh, Ellen Harvey, Christian Šebek https://ln5.sync.com/dl/9dbe75640/89h6694u-db6i4y53-ker76kab-xtm9qbj3

Boadway - May 20, 2003 Hugh Panaro, Lisa Vroman, John Cudia, Julie Schmidt (u/s), Jeff Keller, George Lee Andrews , Marilyn Caskey, Larry Wayne Morbitt, Joelle Gates https://ln5.sync.com/dl/04cef73f0/watx9j5t-s2amh9zy-hmxqchav-2h2sf3ra

West End - August, 2018 Ben Lewis, Amy Manford, Jeremy Taylor https://ln5.sync.com/dl/8a1ae4700/ys5mbar9-yas2ewaq-rrnk4sye-wt5pgdtb

Trieste, Italy - July 15, 2023 (Filthybonnet) Ramin Karimloo, Amelia Milo, Bradley Jaden, Earl Carpenter, Ian Mowat, Anna Corvino, Gian Luca Pasolini, Alice Mistroni, Zoe Nochi https://ln5.sync.com/dl/f916fe200/6dw52cqj-usu7pimm-zbgk2gdg-9qixj3d4

Audios

Broadway - September 26, 1990 Steve Barton, Rebecca Luker, Gary Lindemenn (u/s), Marilyn Caskey, Jeff Keller, George Lee Andrews, Leila Martin https://ln5.sync.com/dl/21e8e2db0/wsqmti8i-4d4vukku-xs8fvh3y-85kjak3h

Broadway - May 10, 2003 Hugh Panaro, Lisa Vroman, John Cudia, Patricia Phillips, Jeff Keller, George Lee Andrews (u/s), Marilyn Caskey, Joelle Gates, Larry Wayne Morbitt https://ln5.sync.com/dl/5640398d0/3d5axeix-ie6cpr3t-4j7fbew7-5q8mjcqq

Broadway - August 19, 2014 (Oogie Boogie) Norm Lewis, Sierra Boggess, Jeremy Hays https://ln5.sync.com/dl/59b8c8720/hzpmzgq7-5hx5xqx9-4e6h4qt2-ynn5dmw6

Broadway - April 6, 2023 (phantomygoodness) Jeremy Stolle (u/s), Julia Udine (alt.), John Riddle, Nehal Joshi, Craig Bennett, Raquel Suarez Groen, Maree Johnson, Carlton Moe, Sara Etsy https://ln5.sync.com/dl/dfa420090/i2m495z9-zwdgyka9-r2k9njdn-tu9hwt9m

Las Vegas Spectacular - September 2, 2012 Anthony Crivello, Kristi Holden, Andrew Ragone, Joan Sobel, Lawson Skala, John Leslie Wolfe, Tina Walsh, Larry Wayne Morbitt, Brianne Kelly Morgan https://ln5.sync.com/dl/882621a90/2kz2ajn8-nkre4uhw-5y7vesm6-gmk3pv7v

West End- October 27, 2017 Ben Lewis, Amy Manford (alt), Jeremy Taylor, Una Reynolds (u/s), Siôn Lloyd, Mark Oxtoby, Jacinta Mulcahy, Paul Ettore Tabone, Lily Howes (u/s) https://ln5.sync.com/dl/d6fa41cb0/axfwkn8z-66dpfim8-7uekxefw-aahsqs8x

West End - September 1, 2018 Evening (Winschi) Ben Lewis, Kelly Mathieson, Jeremy Taylor, Lara Martins, Siôn Lloyd, Mark Oxtoby, Jacinta Mulcahy, Paul Ettore Tabone, Georgia Ware https://ln5.sync.com/dl/99b982430/9dpb2hez-rex5y3nn-z9e963m3-wm57qfu2

West End - November 13, 2021 Evening (starprincess) Killian Donnelly, Lucy St Louis, Rhys Whitfield, Saori Oda, Tim Morgan, Adam Linstead, Francesca Ellis, Greg Castiglioni, Ellie Young https://ln5.sync.com/dl/fcffc67e0/7362xu65-tefiqt8x-9z3njksk-353iuqjk

West End -March 4, 2023 (verytheatricaltrades) Earl Carpenter (t/r), Holly-Anne Hull, Matt Blaker, Matt Harrop, Adam Linstead, Kelly Glyptis, Greg Castiglioni, Francesca Ellis, Ellie Young https://ln5.sync.com/dl/f142d9230/5ngjfdrx-fhjmc9wf-x2yhme8h-z4exy8cf

[cantsayidont]

Haterating and hollerating through the '90s:

POSTCARDS FROM THE EDGE (1990): Carrie Fisher scripted this witty adaptation of her novel about coked-up, pill-popping actress Suzanne Yale (Meryl Streep), who overdoses in the bed of a strange man (Dennis Quaid), ends up in rehab, and learns that the only way the production insurance company will let her keep working is if she stays with her mother, an aging singer-actress-diva (Shirley MacLaine) whose love for her daughter is equaled only by her tireless determination to upstage her. (No, it's not autobiographical at all, why do you ask?) Fisher's deftly paced, funny script weaves in various serious mother-daughter moments without ever becoming mawkish, and offers a fabulous part for MacLaine, who has a ball poking fun at herself as well as Debbie Reynolds, Fisher's real-life mother and the obvious basis for the film's lightly fictionalized "Doris Mann." Curiously, the weakest link is Streep, who never quite sheds her customary air of prim affectation and always seems ill at ease with Fisher's layers of self-deprecating, sarcastic humor. CONTAINS LESBIANS? Apparently not, although I had questions about Suzanne's rehab friend Aretha (Robin Barlett). VERDICT: MacLaine's finest hour, but Streep's primness keeps it "good" rather than "great."

TERESA'S TATTOO (1993): Painfully unfunny crime comedy, directed by Melissa Etheridge's then-GF Julie Cypher and costarring Cypher's ex, Lou Diamond Phillips, along with an array of incongruously high-profile actors like Joe Pantoliano, Tippi Hedren, Mare Winningham, Diedrich Bader, k.d. lang (!), Sean Astin, Emilio Estevez, and Kiefer Sutherland, most in bit parts (some of them unbilled). The headache-inducing plot concerns a couple of brain-dead thugs whose elaborate hostage scheme hits a snag when their hostage (Adrienne Shelly) accidentally dies. Their solution is to kidnap lookalike Teresa (also Adrienne Shelly), a brainy Ph.D. candidate, and disguise her to look like the dead girl — including giving her a matching tattoo on her chest — in the hopes that the dead girl's idiot brother (C. Thomas Howell) won't notice the switch until it's too late. This truly bad grade-Z effort, barely released theatrically, feels like either a vanity project or a practical joke that got out of hand, and is interesting mostly as a curiosity for Melissa Etheridge fans: The soundtrack is M.E.-heavy, and Etheridge herself has a brief nonspeaking role. CONTAINS LESBIANS? Technically? (Etheridge has no lines and lang plays a Jesus freak.) VERDICT: May erode your affection for M.E.

BLUE JUICE (1995): Tiresome comedy-drama about an aging surfer (a terribly miscast, painfully uncomfortable-looking Sean Pertwee) who's still determined to continue living like a 20-year-old surf bum with his obnoxious mates, even though his back is giving out and he's perilously close to driving away his girlfriend (a disconcertingly hot 25-year-old Catherine Zeta Jones), who is keen for him to finally cut the shit. Meanwhile, the scummiest of his mates (Ewan McGregor) doses their pal Terry (Peter Gunn) and gets him to chase after an actress from his childhood favorite TV show (Jenny Agutter) in hopes of dissuading from marrying his actual girlfriend (Michelle Chadwick), and their mate Josh (Steven Mackintosh), a successful techno producer, flirts with an attractive DJ (Colette Brown) who's actually furious at him for building a vapid techno hit around a sample of her soul singer dad's biggest hit. The latter storyline probably had the most potential (although a weird scene where Josh is castigated by a group of outraged soul fans seems like a lesser TWILIGHT ZONE plot), but none of the script's various threads ever amounts to much. CONTAINS LESBIANS? It doesn't even pass the Bechdel test. VERDICT: If you happen upon it, you may be tempted just for Zeta Jones (and/or Brown), but the rest wears out its welcome with alacrity.

HIGHER LEARNING (1995): Potent story of simmering racial tensions on the campus of a university that definitely isn't USC (writer-director John Singleton's alma mater, and where most of the film was obviously shot), let down by incredibly heavy-handed execution. (The film's final shot is of the word "UNLEARN" superimposed over a giant American flag!) A capable cast (including Omar Epps, Kristy Swanson, Michael Rapaport, Jennifer Connelly, Ice Cube, Tyra Banks, Cole Hauser, Laurence Fishburne, and Regina King) tries to maintain a sense of emotional reality through Singleton's frequent excursions into overpowering melodrama, but there are so many competing plot threads that few characters have any depth; curiously, the script's most complex characterization is in the scenes between budding white supremacist Remy (Rapaport) and Aryan Brotherhood organizer Scott (Hauser). Singleton made this film when he was 25, and there's no shame in its sense of breathless ambition (even if it inevitably bites off more than it can chew), but the overwrought stridency undercuts its intended impact. For a more effective treatment of similar themes in roughly the same period, try Gilbert Hernandez's graphic novel X, originally serialized in LOVE & ROCKETS #31–39 and first collected in 1993. CONTAINS LESBIANS? Jennifer Connelly gives Kristy Swanson a bisexual awakening. VERDICT: The '90s through a bullhorn.

CRASH (1996): Divisive David Cronenberg adaptation of the J.G. Ballard novel, about a movie producer called James Ballard (James Spader) and his desperately horny wife (Deborah Kara Unger), drawn into a loose-knit group of car-crash fetishists organized around a man called Vaughan (Elias Koteas at his creepiest), who stages recreations of famous celebrity crashes like the 1955 accident that killed James Dean. Despite some pretentious dialogue about "the reshaping of the human body by modern technology," the controlling idea might be better summarized as "anything can be a paraphilia if you get weird enough about it." Part of what offends people about the film is that Cronenberg deliberately treats the entire story with the same frosty clinical detachment, rendering the "normal" sex scenes just as remote and perverse as the characters' fixation on the grisly aftermath of car wrecks; the point is that there is no line, just different facets of the same erotic longing, which each of the (admittedly unsympathetic) principal characters embodies in different ways. Spader, Kara Unger, and Koteas are very good, as is Holly Hunter, in perhaps the bravest role of her career, but Rosanna Arquette is underutilized. A worthwhile companion piece would be Steven Soderbergh's 1989 SEX, LIES, AND VIDEOTAPE, also with Spader, which is much more highly regarded (though almost as contrived and scarcely less perverse), perhaps because it seeks to titillate where Cronenberg does not. CONTAINS LESBIANS? Briefly. (See previous note in re: underutilization of Rosanna Arquette.) VERDICT: Icy but interesting.

[searidings]

reading wrap up 2022 GO

ok so my goal this year was to read 100 books and then i went ahead and read 109. and if i read the locked tomb series three times through that's no one's business but mine <3

italics are queer, bold are amazing, bold italics are queer and amazing

jan:

middlesex - jeffrey eugenides

the mountains sing - nguyên phan qué mai

the vegetarian - han kang

the galaxy and the ground within - becky chambers

to be taught, if fortunate - becky chambers

when we were orphans - kazuo ishiguro

americanah - chimamanda ngozi adichie

h of h playbook - anne carson

klara and the sun - kazuo ishiguro

the space between worlds - micaiah johnson

feb:

normal people - sally rooney

circe - madeline miller

blood of elves - andrzej sapkowski

gideon the ninth - tamsyn muir

time of contempt - andrzej sapkowski

baptism of fire - andrzej sapkowski

march:

the tower of the swallow - andrzej sapkowski

lady of the lake - andrzej sapkowski

harrow the ninth - tamsyn muir

the last wish - andrzej sapkowski

we should all be feminists - chimamanda ngozi adichie

a memory called empire - arkady martine

burnt sugar - avni doshi

a psalm for the wild built - becky chambers

april:

the alchemist - paul coelho

sword of destiny - andrzej sapkowski

oranges are not the only fruit - jeanette winterson

the colour purple - alice walker

the midnight library - matt haig

where the crawdads sing - delia owens

10 minutes 38 seconds in this strange world - elif shafak

the discomfort of evening - marieke lucas rijneveld

crying in h mart - michelle zauner

my year of rest and relaxation - ottessa moshfegh

the shadow king - maaza mengiste

the virgin suicides - jeffrey eugenides

sapiens - yuval noah harari

the manningtree witches - a. k. blakemore

may:

parable of the sower - octavia butler

hot milk - deborah levy

an unkindness of ghosts - rivers solomon

the water dancer - ta-nehisi coates

pure colour - sheila heti

this is how you lose the time war - amal el-mohtar & max gladstone

five little indians - michelle good

june:

indian horse - richard wagamese

ducks, newburyport - lucy ellmann

the vanishing half - brit bennett

medicine walk - richard wagamese

crier's war - nina varela

a quality of light - richard wagamese

after the quake - haruki murakami

death in her hands - ottessa moshfegh

the school for good mothers - jessamine chan

bluets - maggie nelson

of women and salt - gabriela garcia

lapvona - ottessa moshfegh

mcglue - ottessa moshfegh

songbirds - christy lefteri

july:

to paradise - hanya yanagihara

sankofa - chibundu onuzo

the argonauts - maggie nelson

jane: a murder - maggie nelson

eileen - ottessa moshfegh

iron widow - xiran jay zhao

homesick for another world - ottessa moshfegh

a desolation called peace - arkady martine

the art of cruelty: a reckoning - maggie nelson

the witch's heart - genevieve gornichec

dune - frank herbert

aug:

never let me go - kazuo ishiguro

the island of missing trees - elif shafak

the marriage plot - jeffrey eugenides

almond - won-pyung sohn

all over creation - ruth ozeki

the water cure - sophie mackintosh

drive your plow over the bones of the dead - olga tokarczuk

sep:

the remains of the day - kazuo ishiguro

the blind assassin - margaret atwood

go set a watchman - harper lee

a pale view of hills - kazuo ishiguro

seven fallen feathers - tanya talaga

an artist of the floating world - kazuo ishiguro

the atlas six - olivie blake

the inconvenient indian - thomas king

a tale for the time being - ruth ozeki

ru - kim thuy

split tooth - tanya tagaq

wintering - katherine may

nomad century - gaia vince

dune messiah - frank herbert

the unbearable lightness of being - milan kundera

oct:

nona the ninth - tamsyn muir

indians on vacation - thomas king

severance - ling ma

nocturnes - kazuo ishiguro

nona the ninth - tamsyn muir

a prayer for the crown-shy - becky chambers

nov:

gideon the ninth - tamsyn muir

harrow the ninth - tamsyn muir

nona the ninth - tamsyn muir

embers - richard wagamese

dec:

starlight - richard wagamese

the buried giant - kazuo ishiguro

autobiography of red - anne carson

notes on grief - chimamanda ngozi adichie

cloud cuckoo land - anthony doerr

on fire: the burning case for a green new deal - naomi klein

sufferance - thomas king

[eddieredmayneargentinablog]

Les Miserables (2012) - Behind the scenes.

🎥 Video posted by Cinema Scope on YouTube

Les Misérables is a 2012 epic period musical film directed by Tom Hooper from a screenplay by William Nicholson, Alain Boublil, Claude-Michel Schönberg, and Herbert Kretzmer, based on the stage musical of the same name by Schönberg, Boublil, and Jean-Marc Natel, which in turn is based on the 1862 novel Les Misérables by Victor Hugo. The film stars an ensemble cast led by Hugh Jackman, Russell Crowe, Anne Hathaway, Eddie Redmayne, Amanda Seyfried, Helena Bonham Carter, and Sacha Baron Cohen.

Set in France during the early nineteenth century, the film tells the story of Jean Valjean who, while being hunted for decades by the ruthless policeman Javert after breaking parole, agrees to care for a factory worker's daughter. The story reaches a resolution against the background of the June Rebellion of 1832.

Following the release of the stage musical, a film adaptation was mired in development hell for over ten years, as the rights were passed on to several major studios, and various directors and actors were considered. In 2011, producer Cameron Mackintosh sold the film rights to Eric Fellner, who financed the film with Tim Bevan through their production company Working Title Films. In June 2011, production of the film officially began, with Hooper hired as director. The main characters were cast later that year. Principal photography began in March 2012 and ended in June. Filming took place on locations in Greenwich, London, Chatham, Winchester, Bath, and Portsmouth, England; in Gourdon, France; and on soundstages in Pinewood Studios.

Les Misérables premiered at the Odeon Luxe Leicester Square in London on 5 December 2012 and was released on 25 December in the United States and on 11 January 2013 in the United Kingdom, by Universal Pictures. The film received generally positive reviews from critics, with many praising the direction, production values, musical numbers, and ensemble cast, with Jackman, Hathaway, Redmayne, Seyfried, Aaron Tveit, and Samantha Barks being the most often singled out for praise. However, Crowe's performance as Javert and singing were met with criticism. It grossed over $442 million worldwide against a production budget of $61 million. The film was nominated for eight categories at the 85th Academy Awards, winning three, and received numerous other accolades. Since its release, it has been considered by many to be one of the most famous adaptations of the novel and one of the best musical films of the 2010s and the 21st century.

#my screenshots

[polarpics]

Nimrod ship's party, 1907-9

[guyteera]

Artist from the book

Josep Puig

Willem Kromhout

Karl Moser

Otto Wagner

Charles Rennie Mackintosh

Charles Francis Ainsley

John Pollard Seddon

Cass Gilberd

Armas Lindgren

Alexandre Marcel

Daniel Hudson Burnham

Eliel Saarinen

Gerald Calloott Horsley

Bernard Maybeck

Michel De Klerk

Peder Nilhelm Jensen-klint

J Li Mathieu Lauweriks

Sigurd Lewerentz

Erich Mendelsohn

Ragnar Ostberg

Adolf Eibink

Poelzig

Ivar Tengbom

Joseph Vago

Gunnar Asplund

Joseph Marrast

Paul Groesch

Tony Garnier

[wildishmazz]

Tim Rice's "Get Onto My Cloud", Starmania

Since there isn't a transcript available for this podcast yet, I sat down and typed it out myself.

This is Tim Rice. Welcome to my podcast, Get Onto My Cloud.

[70s style theme music]

I thought for this podcast, I would tell you something about the only foreign musical I’ve ever translated.

I remember Cameron Mackintosh, in around 1983, sending me a copy of the Les Miserables French album, which I’m not sure I even played. Which was not the most astute move of my career. I think I must’ve been getting going on Chess at the time. However, Cameron and the French authors could not have been more brilliantly served than by Herbert Krezmer’s English lyrics in 1985, and of course Les Mis is a worldwide phenomenon still running all over the world(pandemics permitting). So, when I received another French musical album in 1989, a year after Chess had flopped ignominiously on Broadway, I actually inserted the recording into my CD player.

My career was going through - how can I put it? - a quiet patch, and I felt I had the time to listen to a French show with what had the rather uninspiring title, Starmania. Or, in French, Starmania.

Starmania is a cyberpunk rock opera. It was written in 1976, in French, by Michel Berger(music) and Luc Plamondon(lyrics).

Michel was a major player in France in popular music culture, both as a songwriter and performer. He wrote and produced records for French superstars including Johnny Hallyday, Françoise Hardy, and his wife, France Gall. Who, incidentally, won Eurovision in 1965 with “Poupée De Cire, Poupée De Son”, representing(for some reason) Luxembourg. But Michel was not involved in that. It was he who had sent me the album.

Luc Plamondon was a French Canadian lyricist, who was responsible for many of Celine Dion’s French language hits in the early part of her career.

On first hearing, I was intrigued and impressed by the record. I speak tolerable French, especially after a few glasses of red wine, and had managed to pick up the drift of some of the plot which, to say the least, seemed fairly convoluted. It was much more rock influenced than the score of, say, Les Mis or Phantom. As a frustrated, failed rocker from way back, this appealed to me more quickly than a traditional theatrical score might have done.

Starmania started off as an album in France, and made it onto stage in Paris in 1979. It was a massive hit; and indeed, still is, with yet another major revival scheduled in Paris for 2020(or as soon as is possible). Its success is quite an achievement as the French don’t seem to like any musicals, with none of the English-speaking mega-hits doing particularly well when translated and presented in France. Jesus Christ Superstar, despite having its French premiere attended by both Salvador Dali and Frankie Howard, only ran for a few months.

Anyway, I went over to Paris to see the show and to meet Michel and Luc. The show was great, and I was even beginning to come to grips with the story - as this is only a 20 minute podcast, I don’t think I’ll go into all the subtleties of the plot. Suffice it to say, it was set in the near future, which then was the year 2000, in Metropolis(sic), the capital of the recently created Occident Nation. As it was already the late 80s, we were in for a pretty turbulent 11 years, if Luc’s story was to be an accurate prophecy.

The leading characters in Starmania were Johnny Rockfort, a cross-dressing student agitator(sic); Zero Janvier, a billionaire businessman planning to run for the presidency of the country(so Luc was right on the money there); his girlfriend, former sex symbol movie star Stella Spotlight; a waitress/narrator called Marie-Jeanne; hopelessly in love with Ziggy, an androgynous fantasist record dealer; Cristal, the host of the TV show Starmania, who becomes involved with Johnny; and then there was Johnny’s gang of street rebels, the Black Stars.

You probably don’t need to remember all of this.

Marie-Jeanne has one of the score’s most powerful moments, at the climax of the show, a song called “Le Monde est Stone”. In the English version, which after a lot of thought I entitled “The World is Stone”, it was sung on the album we recorded eventually by the fabulous Cyndi Lauper and was a medium-sized hit single for Cyndi in the UK in 1992. Here it is.

[musical interlude, “The World is Stone”]

Cyndi Lauper, and “The World is Stone”.

Not having a particularly full dance card at the beginning of the 90s, I happily agreed to translate or adapt the songs into English, for an English release album, particularly as Michel had done a deal with CBS in the UK where the delightful Muff Winward, formerly of the Spencer Davis Group, was the executive overseeing this particular project.

Muff was an all-round good egg, if eggs can be round. An all-oval good egg, perhaps. Muff and Michel managed to assemble a very distinguished international lineup of artistes to perform on the English-language album. It was recorded eventually in London, Paris, and Los Angeles. I also translated the book of the show, i.e. the dialogue between songs, and took the decision to rename Starmania “Tycoon” as the Zero Janvier tycoon character was pretty central and “Starmania” sounded a little bit too like Opportunity Knocks or, in today’s TV terms, Britain’s Got Talent. This was probably a mistake. “Starmania” today sounds like a great retro title for a show.

Muff and I had been over to New York with the aim of roping Cyndi Lauper into the project. She’d heard two songs that she’d been sent, “The World is Stone”, and another number called “You Have To Learn To Live Alone”, which is actually one of my favourite lyrics. And Cyndi seemed moderately intrigued. It was soon clear that she hadn’t a clue who I was, so I managed to subtly inform her that I’d written the words for “One Night in Bangkok”, which had been a massive radio and chart hit in the States. And by the time I’d flung Superstar and Evita into the mix, Cyndi’s enthusiasm had perked up a bit. Funnily enough I met Cyndi in a restaurant in Barnes, about 25 years later, and on that occasion she thought I was Robert Stigwood. Since her great success as a writer of the musical Kinky Boots, I’m hoping for recognition, instant recognition, as a fellow theatrical next time we meet.

Back to Starmania/Tycoon. On the album in addition to Cyndi Lauper we had Tom Jones, Bros, Celine Dion, Kim Carnes, Willy DeVille(who as Mink DeVille made that superb 1977 album Spanish Stroll), German punk superstar Nina Hagen, and - particularly exciting for me - the wonderful former Ronette, Ronnie Spector(whom I last saw in 1964 on the set of TV’s Ready, Steady, Go, when I failed to win a Billy-Jay Kramer miming competition). By any standards, that’s a pretty impressive list of artists, and it was a great thrill for me to meet and work with them. Obviously, the album would do well in the UK, and we hoped also in America. Why not? Which in turn could lead to an English language stage version of France’s biggest ever rock musical.

Obviously, this did not happen.

But I’m still glad I got involved, if only because it led to one of the best recordings of my lyrics I’d be lucky enough to have experienced. In French, the song was titled “S.O.S. d'un Terrien en Detresse”, which translated is “S.O.S. of an Earthling in Distress”. In the show it’s sung by Johnny Rockfort, mourning the death of his lover Cristal. I decided not to go with “S.O.S. of an Earthling in Distress” as the title, and called the song “Only the Very Best”. And it was sung magnificently by the leader of the US rock band Cockrobin, Peter Kingsbury.

[musical interlude, “Only the Very Best”]

Peter Kingsbury, what a vocal, with “Only the Very Best” from Tycoon, my English version of the French megamusical Starmania. I was particularly pleased that the distinguished composer of Les Mis, Claude-Michel Schonberg, chose that track as one of his Desert Island Discs.

So, my attempt to bring France’s greatest musical to the English stage was a total failure. The English language album and two or three singles did very well in France, and sold a few copies in French Canada, but that probably wasn’t because of my brilliant English lyrics. Nothing really happened record-wise in the UK after Cyndi’s initial success with “The World is Stone”.

The whole enterprise received a terrible blow when Michel Berger, aged only 44, suffered a fatal heart attack after playing tennis in August 1992. In France, his death led to a massive outpouring of sincere and shocked tributes to one of the nation’s best and most popular musicians. I remember him as a warm and civilised fellow, with whom it was always a pleasure both to work and to have dinner with, with him, France, and their family. I’m sure his work would have made an even greater international impact, had he lived a little longer.

All the same, Starmania lives on in its home country, and I hope to see it again before too long. I wouldn’t put any money on that English version ever emerging, but Luc is still happily with us(admittedly in Quebec a lot of the time), so if an insanely optimistic producer wanted to give it a go, I don’t think it would be too hard to get Luc’s permission. And mine.

The biggest star involved in the project was the legendary Tom Jones, who recorded my translation of the evil Zero Janvier’s big number, “Le Blues du Businessman”. For someone like Tom to sing a lyric one has written is as much an honour as a pleasure. I remember the recording session in Los Angeles as a great music memory for me, as was the session with the wise and wonderful Ronnie Spector in Paris.

So thank you, Michel, thank you Luc, thank you France, and thank you, Muff.

To end this Starmania podcast, here is Tom Jones, with “Le Blues du Businessman”, aka “I Would Love to Change the World”.

Remember, when this was written, I had not heard of Donald Trump.

[musical interlude, “I Would Love to Change the World”]

[eahostudiogallery]

May Flowers

Coline Marotta - Painting to Say Sorry

::

Gordon Mortensen

::

Michelle Morin

::

unknown

::

Charles Rennie Mackintosh - Yellow Tulips

::

Chris Maggio

::

Lowell Nesbitt - Gold & Violet Iris

::

Jan Zdzisław Włodek -- Tulips and hyacinths

::

Reynier Llanes

::

Lisa Noonis

::

 Lars Swane - Window sill, 1983

::

Andy Rementer - In Bloom

::

 Noah Verrier - McDonald’s Filet-O-Fish w Strawberry Shake & Fries

::

André Brasilier

::

Yuta Okuda

::

Sunday: a crowd in the face eahostudio gallery