#sister tatjana nichols

[shadowworldwanderers]

Shake It Out - Sister Tatjana Nichols/Madison 'Sugar' Fuller

A/N: Another fic for @jmathesonandsiblings Spooky Season In The Barrens.

“Sugar…” “Don’t… call me that.” Madison turns from where she’s been examining the skeletons on display, her eyes bright with pain. She knows she is different, her body and life broken in many ways, but the name, the reminder of what she’s been through is too much. “Sorry…” She moves away from the skeletons, taking in the woman’s bent posture, her touch soft against delicate cheekbones, her eyes locking onto Tatjana’s before she moves to run a soft hand over the woman’s arm, feeling the woman’s skeleton shift under her touch, seeming to heal with her touch, she moves around her then, running soft fingers over a bent and broken spine, her lips touching the base of Tatjana’s neck. “My poor, sweet Tati.” The words are soft even as she comes around the woman again, watching Tatjana’s eyes flicker with emotions, moving to kiss her strange demonic lover softly. “My precious Madi.” Tatjana murmurs. “You always did make me feel… better.” “I hope I always will.” Madison murmurs, her smile soft as she kisses Tatjana again. “I love you.”

[erpsoftwarsolution]

Dark clouds andfluffyfeathers

The last operetta of the Weimar Republic opened in January 1933 at Berlin’s Admiralspalast, just 10 days before Hitler came to power. It was closed by the Nazis after star tenor Richard Tauber was beaten up by brownshirts, and it wasneverstagedagain.Untilnow.Inthe turbulent years that followed, the full orchestralscoreofJaromírWeinberger’s Frühlingsstürme (“Spring Storms”) was lost; now Norbert Biermann has painstakingly reconstructed it for the KomischeOper’snewproduction. Was it worth the effort? For all the shadows that lie over the work — Weinberger, who was Jewish, fled to the US and eventually took his own life — Barrie Kosky has turned the lengthy, opulent work into an evening of confetti, ostrich feathers and hysterical slapstick, after the formula he has applied to transform the Komische Oper into a funhouseoftheformerlydyinggenre. Gustav Beer’s libretto is an orgy of absurdity, with the beautiful young widow Lydia Pawlowska throwing a ball at the Russian headquarters in northern Manchuria during the Sino-Soviet conflict. Her admirer, the Japanese general Ito, disguised as a Chinese servant (of course), is also there. He is a spy, as is German war correspondent Roderich, who disguises himself first as a cook, then as a Chinese magician, along the way falling in love with Tatjana, the daughter of General Katschalow, who is also in love with Lydia (of course). Weinberger’s score makes liberal use of national clichés, with pentatonic scales and soupy waltzes bringing cheesy orientalismandRussianromanticism. Was this a piece of escapism at an unbearable time? Or are there dark shadows that Kosky and his team have missed or ignored? Three hours is a long time to shriek and tap-dance your way throughaseriesofgags,andtheopeningnightaudiencethinnedafterinterval. That is not the fault of the musical team. Jordan de Souza conducts with swing and polish, and the Komische Oper orchestra plays well for him. VeraLotte Boecker sings with voluptuous sheen as the seductive widow; Tansel Akzeybek’s yearning tenor is the perfect lover-who-gets-away as Ito. Stefan Kurt, as the successful suitor Katschalow, has a purely speaking role, which is one of the work’s problems — so much dialogue is hard to pull off on any opera stage,thoughheismarvellous. Frühlingsstürme seems a historically worthy undertaking, but it is hard to escape the suspicion that it needs less forcedjollityandmoredirectionaldepth.

“I didn’t really know anything about contemporary dance [and] I hadn’t created a performance before,” says Kibwe Tavares. A fresh eye is one thing, but picking an experimental short filmmaker to create a major hour-long work for the 94-year-old Rambert dance companyseemsperverse. The result,Aisha and Abhaya, made in collaboration with the Royal Ballet and BBC Films, began its three-week run at the Royal Opera House’s Linbury Theatre last week. The visuals are often strong — so one would hope, given the vast number of creatives and technicians involved — but the uneasy mix of film and live action is an incoherent and expensivemess. The brief, given by Rambert’s chief executive Helen Shute, was to make a version of a fairy tale and Tavares selected Hans Christian Andersen’s The Little Match Girl, which he has reworked as the story of two sisters caught up in the 21st-century refugee crisis. The opening film, in which the two girls are washed up on an alien shore, involved a shootonthecoastofNorthernIreland. Filmed in and out of focus in unsteadicam, the footage is not an easy watch and it is a relief — at first — when the live action begins, with movement material supplied by Sharon Eyal to the usual earmelting soundtrack by OriLichtik. Eyal’s strictly limited choreographic palette — basically strutting on the spot on three-quarter pointe — soon palls, but the tedium is offset by some undeniably mesmerising projections by Gillian Tan, Paul Nicholls and Tavares’s own creative agency Factory Fifteen. The dancers are backed by a curved screen which immerses them and the viewer in a series of nightmarish environments: an endless corridor; a rainy back alley; a cityscape made from vertiginous shards of light like a slo-mo fall from askyscraper. These visuals, while atmospheric, add little to the narrative. Tavares is not a naturalstorytellerandheseemsataloss to marry the real and virtual material. There is a second chunk of film, Before, in which the two sisters hide in a cupboard while masked men beat their granny to death, but these episodes are inserted at intervals like a sudden change of channel whenever the dancers’ tarsals need a break. The final film shows grandmother and girls morphing magically into stardust but this nod to Andersenfeelslikeanafterthought. The most memorable moments occur during the last live sequence in which the seven dancers are encircled by a seething mass of a thousand pulsating CGI clones who twitch and twerk amid the dystopian cityscape. Metropolis? Maybe.LittleMatch Girl?Ithinknot

Once renowned for its brash traders, Goldman Sachs is increasingly reliant on retail bankers and tech specialists. Having overhauled its operations, David Solomon must reverse years of below-par returns. By Laura Noonan

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[shadowworldwanderers]

Madison/Tatjana Moodboard 2

[shadowworldwanderers]

Madison/Tatjana Moodboard 1

[shadowworldwanderers]

Sister Tatjana Nichols

Name: Tatjana Nichols Nickname: Tati, Jan, Nic. Love Interest: Madison 'Sugar' Fuller Appearance: Tatjana is a pale young woman with dark hair that curls almost to her lower back, although she had cut it before 'the incident' it seems to have reverted, continuing to grow. Bright yellow eyes show how demonic she is and she tends towards simple black clothing, mourning the person she used to be. Her skin is often pale white, her eyes circled by black, fading only when she is alone with her precious Madison, the only one to treat her normally. Height: 5′7 History: Tatjana used to be a gentle, sweet, outgoing woman. A native of the local area but she's become much more than that. A Demon who still lives. Tatjana had once had a man she was about to marry. Someone that she loved and trusted entirely too much. He started by breaking her down mentally, crippling her with fears she still hasn't shaken off completely, then physically, breaking her bones in many places, bones that to this day ache. His final, almost merciful act, was to break her soul, tearing it from her in the most vicious act a man can use on a woman, leaving her for dead, not knowing his final, brutal, assault on her had caused her to not die, merely slip into un-being. Now she wanders alone, seeking the final, truest love, the one chance she has of freedom and regaining her humanity, but who would ever love such a broken person? Much less a demon? Can it really be that the 'fallen woman' dragged to the same convent she had been left to die on the doorstep of is her chosen one, her beloved, the means for her salvation? Why is she so drawn to kill to protect her broken innocent?

[shadowworldwanderers]

Madison Fuller

Name: Madison Fuller Nickname: Sugar, Madi, Little Sinner Love Interest: Sister Tatjana Nichols Appearance: Long Blonde hair, Blue eyes, pale skin. Madison has many small cuts, bruises and scars, often hidden under long shirts and jeans when she's not working. Height: 5′8 History: Madison had always been a working girl from the age of barely 16, too young to say no and too old to get away with it if she had tried. So she gives up, lets her father sell her for money for his drug habit.... Then she's attacked, left for dead on her father's porch, bundled into his car and left for dead all over again on the steps of the convent. All she remembers since is a pale, ghostly, nun and silence. She doesn't mind the silence... but she does want to know her strange, violent, protector.... Can she face the truth? She doesn't know, but she's willing to try...