#perichole

[supercantaloupe]

songbird was a very funny show altogether but arguably the funniest part is when isabel leonard has to look ramin karimloo in the eye and sing to him "tu n'est pas beau"

[crackspinewornpages]

The Bridge of San Luis Rey 3/5 -Thornton Wilder

PART THREE 

ESTEBAN 

One morning twin foundlings were found in a basket at the Convent of Santa Maria Rosa de las Rosas and given names that weren't useful since no one could tell them apart. As they aged their parentage was guessed Castilion, the one closet to being a parent was the Abbess Madre Maria del Pilar, who hated all men but was fond of Esteban and Manuel. She’d have tea with them and tell them stories and grew to love them all while waiting to see them grow the ugliness of men. “All the ugliness that made hideous the world she walked in.”p.54 They stayed in the convent until they became a distraction, (like how young girls are to creepy old men) since they dedicated themselves to cleaning other sacristies in town. As they grew older, they had no desire of clerical life, instead becoming scribes and made a living with it. (this was back when literacy and mass printing wasn’t widespread) 

Because they were twins with no family brought up by women, they were silent and lived in shame by their appearance. “They had to live in a world where it was the subject of continual comment and joking.”p.55 When they learned to speak, they invented their own language for when they were alone. The Archbishop was interested in languages but trying to get them to write it down was somehow humiliating to them and he eventually let them go. Their language was a symbol of their identity with each other, “so love is inadequate to describe the tacit almost ashamed oneness of those brothers.”p.56 Side by side existed a need of each other and exchanged few words and looks this produced natural miracles. (meaning the ESP twins share) 

Growing tired of writing they went down to the sea to work at the docks, pick fruit and ferry and always they were silent. “All the world was remote and strange and hostile except one’s brother.”p.57 Finally a shadow was cast over them by a woman, they returned to the city to copy a play and didn't like it seeing poetry as futile. Perichole was on stage as Esteban returned home to finish copying Manuel stayed, years ago they saw her before, seeing they were twins guessed Esteban was the younger one. Since all of Manuel’s errands ran past the theatre beneath her dressing room the first time his imagination was overwhelmed by a woman. He lost the dissociated of love and pleasure now it was complicated with love and he lost sense of oneself and neglect of everything that wasn't Perichole, 

  Esteban’s life was enough for him, no room for new loyalty because it was simpler now, he discovered the secret. “There may be two equally good, equally gifted, equally beautiful, but there may never be two that love one another equally well.”p.59 So Esteban stayed up wondering why Manuel was so changed, why meaning went out of their life. One evening Camila called for Manuel to write a letter for her and complains how they both never come see her, is it because she’s an actress. She sees Manuel's face he doesn't like her so wants Esteban instead, he stays saying she can trust him, does he promise to keep what they are secret even from Esteban, he does. She walks around dictating her letter and pays him and will call on him again, her uncle  Pio writes her letters but there are things she doesn't want him to know. 

Esteban knew Manuel was brooding over Perichole but didn't know he was seeing her and for the next few months a messenger boy would ask which twin is which, Manuel was wanted at the theatre. Esteban assumed it was copy work then was surprised on the visit to their room when Manuel allowed a lady in to quickly write her a letter. (she’s impatient with her matador lover) Watching the two Esteban saw the new congeniality forming he’d never know and he seemed to shrink away unwanted, a shut out from the tableau of love. (it ain’t love it’s a hard crush and a woman either oblivious or stringing him along because she likes the attention) After she left Manuel worshipped her and gradually became aware of Esteban’s mood who told him, “Go and follow her, Manuel. Don’t stay here. You’ll be happy. There’s room for us all in the world.”p.65 And Manuel felt terror as the mental image of Esteban saying goodbye, understanding his misery, demanding he choose him or Perichole. Their loyalty had been diminished, understanding his suffering, Manuel removed Perichole from his heart. 

Manuel declared it would be the last letter he writes for her but Esteban still leaves saying he’s going for a walk and Manuel didn't have to say that. “You don't have to change for me.”p.67 Manuel calls him a fool for thinking he said that for him, how could he love her what chance does he even have. (absolutely none) He tells Esteban to go to bed in their secret language but Esteban still goes out knowing he’s in the way. It wasn't until Manuel cried out like Esteban was going away forever that he returned and they didn't speak of it for weeks. The next morning Perichole sent for him and he refused. 

One evening Manuel tore open his knee on a piece of metal, fairly healthy Manuel was now bewildered as his leg swelled and racked with pain. (it’s either tetanus gangrene or sepsis) One night Esteban ran to fetch the barber-surgeon (this was back when a barber could perform surgery it’s why they had that red and white pole interesting history look into it) but he wouldn’t be back until morning. In those hours they told each other after the doctor sees it all will be fine and Manuel will be walking in a few days. The doctor came and for hours they treated the wound, but the pain grew worse until nightfall, Manuel grew delirious and at two in the morning he demanded God to damn Esteban. “For coming between me and what was mine by right. She was mine, do you hear, and what right had you...”p.70 (she was never yours and never would be) These outbursts continued hourly and it was some time for Esteban to know his brother wasn't in his right mind and after some horror with being a devout believer, he returned to his brother with a bent head. 

By morning Manuel felt serener declaring he feels better and will be up and about tomorrow, (oh no) does he want Perichole, no. Esteban asks if Manuel still feels that he came between them he would have been all right if he’d gone away, no she’s nothing to him he’s glad things are the way they are. He’s not responsible for what he says his leg hurts, so he didn't damn him to hell for coming between him and Perichole, Manuel says he’s going crazy how could he damn him to hell when he’s all he has. The brothers argue whether or not to replace the dressings and this conversation would happen over and over. The noises would be so loud the other guests would complain and the innkeeper said he’d dump the brothers in the street in the morning. Esteban would go out so they’d rage at him, go inside and muffle his brother's screams, making him angrier. The third night Esteban sent for a priest and during the sacrament Manuel died. 

After Esteban refused to go near the building his brother’s body was in, drifting in the streets, eventually the innkeeper sent for the Abbess who made arrangements. She asked Esteban to help and remembered at fifteen Manuel had said he’s prevent the crucifixion of Jesus. She asks which one he is, Esteban says he’s Manuel and he won't help her, the Abbess reminds him Manuel would always help her. Does he remember what she did for him, yes, she reminds him she is also suffering loss. Esteban wouldn't respond and when the procession passed in the city he followed on parallel streets. All of Lima was interested in the separation of the brothers, Esteban would find work then disappear and reappear in another province but always return to Lima. After he lingered around the convent Madre Maria del Pilar failed to bring him inside, she’d be angry at God for not giving her the wisdom and grace then she sent for Captain Alvarado, (his reason for wandering is he had a young daughter that died) who went to Esteban who was doing copy work in Cuzco. 

The brothers had respect for Alvarado, in the short time they worked together the three made sense in the world. Alvarado found him eating and waited to introduce himself, he’s looking for workmen for a trip far from Peru. After yelling the question again Esteban agreed, he wants his brother too, no, why wouldn't he want to go and eventually Esteban told him he’s dead and Alvarado apologizes he didn't know. (seems like something the Abbess should have told him) Which one is he, Esteban, when did his brother die, a few weeks ago, how old is he, twenty-two, he’s still coming with him, yes. Esteban told him he has to go now to the city to see somebody about something, come back by supper and they’ll talk about the trip. They ate and arranged to go Lima in the morning and Alvarado got him to drink Alvarado talked about ships and Esteban asked to be kept busy and to pretend he doesn't know him, pretend he hates him, he can't write anymore and don't tell the pother men about him. (but why) 

Alrado knows he ran into a burning house to save someone, he didnt even get burned. “you’re not allowed to kill yourself; you know you’re not allowed. Everybody knows that. But if you jump into a burning house to save somebody, that wouldn't be killing yourself.”p.82 (oh Esteban) Not even animals kill themselves when they’re about to lose. Esteban wants to give Madre Maria del Pilar a present before he goes, he’ll need his payment now he won’t need the money anywhere. (oh shit bequeathing something important is sometimes a sign that person is going to kill themselves) “she had a serious loss, once. She said so. I don’t know who it was,”p.82 (it was your brother who was like a son to her same as you) He wants to give her a present, women can't bear it like men can (she’s faring better than you) and Alvarado promised they’ll look in the morning. 

The next day Esteban changed his mind about going, it’s impossible he can’t leave Peru, Alvarado asks about his present, is he going to take it away, it might mean a lot to the Abbess, Esteban agrees. Alvarado assures him it’s the ocean he wants now, go gather his things and they’ll start. Esteban tried to make a decision, it was always Manuel that decided for them and never one as great as this. Alvarado waited for Esteban to return but after a while goes up for him and hearing and rope on plaster thinks it might be for the best then after the rope snaps he runs into the room. (now you take action) Esteban cried that he’s alone making Alvarado relive his own pain. “We do what we can. We push on, Esteban, as best we can. You’ll be surprised at the way time passes.”p.85 They went for Lima at the bridge, the Captain went to the stream to supervise the passage of some merchandise as Esteban went across.  

[lookingbackatfashionhistory]

• Perichole, evening dress.

Date: 1956 {Magnet (Aimant) line, autumn-winter 1956–57} 

Designer/Maker: Christian Dior; Rébé (Embroidery house)

Medium: Nylon, silk, metallic thread, plastic (sequins), metal.

[el-jujeniodeletras]

Francisco Urondo. Nota. La Perichole. [01]

[sheilaevert]

[virtuallyinsane-dark]

"Real image video experiments & cinemagraphs" by Dumaker M, Perichole Monchole / CC BY-NC 4.0

[bitch-dragon]

Get ya a girl who can do both #eightsemestersdown #onetogo #supersenior

[rosaliezingtindezomer]

LA GRISERIE ARIETTE - LA PERICHOLE, OFFENBACH

Ah! Quel diner je viens de faire

Et quel vin extraordinaire!

J’en ai tant bu, mais tant tant tant

..que je croix bien que maintenant..

Je suis un peu grise, un peu grise mais chut!

Faut pas qu’on le dise, chut! Faut pas, faut pas..

Si ma parole est un peu vague

Si tout en marchant je zigzague

Et si mon oeil est égrillard,

il ne faut s’en étonner car.

Je suis un peu grise un peu grise mais

Chut!

Faut pas qu’on le dise chut!

Faut pas, faut pas..

————————————————————

Ah! Wat een diner heb ik zojuist gehad

En wat een buitengewone wijn

Ik heb veel te veel gedronken, maar zo zo veel..

..dat ik denk dat nu..

ik een beetje dronken ben, een beetje dronken ben maar SHHT

ik hoef het niet te zeggen, SHHT

hoeft niet, hoeft niet..

Mijn spraak is een beetje vaag

Als ik loop zigzag ik

En mijn oog is lodderig

maar dat hoeft niemand te weten!

Ik ben een beetje dronken, een beetje dronken, maar SHHT

ik hoef het niet te zeggen SHHT

hoeft niet! Hoeft niet!

[dumaker]

"Dark Hall", cinemagraph malrollero.

“Dark Hall”, cinemagraph malrollero.

Y junto con mi adorable y siempre talentosa @pericholemonchole hemos preparado este breve pero intenso cinemagraph de terror :)

[supercantaloupe]

actually i think we should be gender swapping trouble in tahiti. nothing plotwise would change and it would be funny as fuck

[taran-wanderer]

to the tune of fantasy costco

perichole stress dream! where daniel neer said fuck

[alainlesourd-14]

La Perichole Mon Cher Amant

élise caron... Un bonheur. mise en scène de savary. c était assez génial

[allmymusic]

No 22 Champagne! Operetta Arias

This album came from the collection of the old boy I'll just refer to as Oliver; not an album I'd pick up in a shop, even with Felicity Lott singing, but it is charming enough. The music is a selection of Strauss waltzes and and French operetta tunes. Apparently this was originally recorded in live in concert in 1994, but not released, for whatever reason, until 2005.

Dame herself looks fabulous in this superimposed still, but overall it's a no from me for this cover design.

In 1994 Lott was vocally at her prime; her soprano sounds rich and creamy and all that, well suited for this sort of repertoire. A bit later in her career she really distinguished herself singing the Offenbach operettas, especially La Belle Helene. Also featured here are La Grande Duchesse de Gerolstein and La Perichole, and Lott definitely sounds more interesting and engaged in French than she does in German, probably not the least because the French pieces are just, erm, that little bit better. Every melody here is beautiful, but somehow this programme still doesn't quite set the stars spinning for me.

Favourite tracks: the first, Die Fledermaus overture, and the last, Tu n'es pas riche, tu n'es pas beau from La Perichole.

Champagne! Operetta Arias Felicity Lott Orchestre de la Suisse Romande, Armin Jordan (conductor)

[thinking-of-fireflies]

Also!!!!!! The opera La Perichole was amazing!!!!!! ❤️❤️❤️❤️❤️ (at Falany Performing Arts Center)

[londontheatre]

Action To The Word’s award-winning all-male production of Anthony Burgess’ A CLOCKWORK ORANGE, directed by Alexandra Spencer-Jones, will return to London following its acclaimed premiere in Edinburgh in 2011 and an international tour. A Clockwork Orange opens at Park Theatre on 14th February and plays until 18th March, with a press night on Thursday 16th February.

An electrifying and testosterone filled physical theatre horror show that exquisitely captures and transcends the spirit of Anthony Burgess’ original literary masterpiece, A Clockwork Orange lures its audience into the glorious glass-edged nastiness of Manchester’s underworld. A playtime of orgiastic ultraviolence and sexuality, it’s the story of little Alex and the Droogs in their battle against the tedium of adolescence. An unapologetic celebration of the human condition, it remains as terrifyingly relevant today as when the book was published in 1962 and when Stanley Kubrick’s film caused a stir in 1971.

Jonno Davies will return to the production to star as ‘Alex’, having played the role previously on two international tours. Other stage credits include A Midsummer Night’s Dream (National Theatre/Latitude), Dracula (Arts Theatre/International tour) and Shakespeare in Love (Noel Coward). His screen credits include Milk and Honey, Kingsman: The Secret Service, Spotless and Hollyoaks.

He is joined on stage by Luke Baverstock as ‘Georgie/Zophar’, Sebastian Charles as ‘Dim/Pedofil/Joe’, Simon Cotton as ‘Frank Alexander/Mum/Brodsky’, Damien Hasson as ‘Deltoid/Chaplain/Rick’, Philip Honeywell as ‘Mark Alexander/Branom/Marty/Woman’, James Smoker as ‘Old Woman/Minister/Dad/Rubenstein’, Will Stokes as ‘Billy Boy/Governor/Comedian/F-Me Pumps/Dolin/Len’ and Tom Whitelock as ‘Pete/Bromine’.

A CLOCKWORK ORANGE is directed by Alexandra Spencer-Jones, Artistic Director for Action to the Word, for which she has created DRACULA (Arts Theatre/International Tour), A MIDSUMMER NIGHT’S DREAM (National Theatre/Latitude Festival) and CONSTANCE & SINESTRA AND THE CABINET OF SCREAMS (New Wimbledon Theatre/Latitude Festival). Her credits as Associate Director include STEPPING OUT (Theatre Royal Bath/UK Tour), the Olivier Nominated BEND IT LIKE BECKHAM (Sonia Friedman Productions), Andrew Lloyd Webber’s THE WIZARD OF OZ (London Palladium), Garsington Opera’s LA PERICHOLE, Grange Opera’s PETER GRIMES and OLIVER! and Scot William’s HOPE (Royal Court).

Alexandra Spencer-Jones said, “In a world where the pillars of leadership are crashing down around us, Burgess’ timeless masterpiece brought to stage is more urgent than ever. There will always be a disaffected youth who are not listened to. A Clockwork Orange is a brutal examination of the self versus the state in the age-old struggle for human freedom”

A CLOCKWORK ORANGE is presented by Glynis Henderson Productions, with lighting by James Baggaley and additional choreography by Hannah Lee.

Website: http://ift.tt/2itDsK2 @actiontotheword http://ift.tt/1NQfsF7

http://ift.tt/2itxKYN LondonTheatre1.com

[virtuallyinsane-dark]

"Real image video experiments & cinemagraphs" by Dumaker M, Perichole Monchole / CC BY-NC 4.0