#where the musical plays much more into the idea that jekyll does not want to become hyde | Explore Tumblr posts and blogs

maleyanderecafe · 3 years ago

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Hey there was a mobile game I wanted to recommend you check out! It’s called MazM: The Phantom of the Opera. Obviously the phantom himself is a well-known character and prime example of a yandere, and this version’s Raoul also takes on that trait a little (although it’s mostly because Christine is in a life or death situation and this he’s protective over her), he’s very sweet and doesn’t wait a moment to shower her with praise. Anyway it’s a pretty faithful retelling of the original book and was extra fun for me as a yandere-lover as you play as Christine caught in between the yandere and the actual boyfriend. I think it’s coming to the switch soon as well if you want to wait for that.

...Are you sure that Raoul just takes on this trait a bit...?

Joking aside, sorry it took me so long to answer this ask. I was originally going to watch a walkthrough on youtube, but then I realized that you said it would be on switch and since I just got my switch emulator, I ended up playing with a friend. I will say that there is a lot for me to say about this game, so this will be a long read.

First things first, I'll admit that I've never actually read or watched the Phantom of the Opera before, so I genuinely have no idea what happens in the story. This is where my friend who I was streaming for comes in because she has read the story so she helped fill me in on what happens (she's also making a yandere vn in the future which I will be spamming the heck out of because yandere vn). I think from what she told me, most of the story is relatively accurate, though some parts are changed for one reason or another (for instance, The Persian has a name in this game, but in the original, he doesn't), which has some pros and cons for some characters. Overall though, the story was pretty good for a first timer like me since it really let me experience what the Phantom of the Opera is truly about. I think the creator Mazm did a good job for historical detail, which makes sense considering their platform is about creating games that reinterpret famous stories (they've also done one for Wizard of Oz and Jekyll and Hyde which I sort of want to play), and there are a lot of different notes the player can collect in the game that give more historical insight into what is going on.

The story for the most part is pretty linear. There are some choices you can choose, but except for two, they don't really affect the story. For the most part, the game plays as a visual novel, though you do have to walk around to talk or interact with things to proceed the story. There are cats and notes that lie around the game too, with the notes giving more historical insight and the cats being used as hints in case you don't know where to go. The story is about a detective trying to find out the truth of the Phantom of the Opera at a request of a client whos husband was a victim of him, but most of the story is played through a flashback.

There are also small minigames as well that aren't too difficult, though I honestly felt like some of the minigames got to be tedious at times, specifically the one minigame where you have to press the order of the mirror combo which I found really annoying because besides the fact that I'm bad at those games, you had to do it every time you wanted to enter under the Opera house, which was just... ugh. The game itself seems much more optimized for mobile than it was for switch considering how slow the characters move (and its really slow walking to different places sometimes) as well as the fact that it takes forever to load between different scenes and there's no touch screen option for switch (that I know of). Plus the buttons for moving and pressing hints were annoying to deal with (though this could just be because I'm using an emulator). I also kept getting confused when I was playing, since sometimes I would walk around the entire opera house trying to figure out what to do next, only to learn that I was suppose to talk to someone that was literally five steps from where I spawned. The last thing I found annoying was the fact that there's no option to skip dialogue which is really annoying when I wanted to replay a specific part of the story to take some screenshots. If you play this game, it's probably better to play it on mobile than on switch.

In terms of artwork, Mazm's Phantom of the Opera is really gorgeous, from the overworld sprites to the dialogue sprites to the background and CGs. I love how cute the overworld sprites are (I think Jammes and Raoul's are my favorite, they're both so cute) and every background is really nice to walk through and gives a good atmosphere of what it's trying to show. The character sprites for each characters are nice and varied. I can always appreciate characters that have recognizable faces and shapes, since a lot of times I have face blindness when it comes to characters that look way too similar. The CGs of course are super well done and I love all of them. Overall, the artstyle of this game is very solid and I love the way it looks.

The main character of the story was Christine, who looks really good ( I really love her hair), was for the most part alright initially. While I found her to be a bit naive (because she believed that there was an actual Angel of Music when it was just... the Phantom), she was for the most part alright, and even ended up saving another character from the phantom. However, I found her actions annoying after she met the phantom, specifically the part where she agreed to stay underground with the phantom for two days and would be released as long as she didn't touch his mask, and guess what. Right as she was literally about to leave, SHE TAKES OFF HIS MASK, AND FOR WHAT? YOU WERE JUST ABOUT TO LEAVE?? The other thing that bothered me was the after being trapped with the Phantom for about a month, she is given free reign to go back above ground, under the conditions that she only goes to the opera house and at home. During this time, she's expected to break it off with Raoul, so she fakes a honeymoon with him before he leaves for the artic. However, during this time, she doesn't tell anyone, not even Raoul about what the Phantom is up to. She has an entire month, an ENTIRE MONTH to tell someone that the Phantom is likely to hurt people (as previously he had dropped a chandelier on top of the audience) and she just... didn't. Understandably, she might have been afraid that the Phantom might have heard her, but still, what is he going to do to the possible 100 people that Christine could have told about him. She could have saved people from death if something like that were to happen. Near the end, she does get proper character development and learns to choose things for her sake and not others, which was pretty nice and does stand up to the Phantom after all the trauma (and doesn't get stockholm sydrome, thank goodness), but I still think that a lot of her actions could have probably been written better to make her less naive (since apparently in the original she was about 16ish while in this remake she's about 20 so it's less awkward between her and the phantom).

Raoul is the next character I'll be talking about, because even though he is very adorable, he also has one braincell and talks about Christine way too much. My friend and I actually decided to make a counter on how many times Erik and Raoul say "Christine." Erik says Christines name 128 times and Raoul... says it 340 times. This isn't even counting his introduction and only starts up to when Erik is introduced as a formal character and also doesn't count any time he says it in the overworld. 340! My friend kept on joking around that because Raoul says Christine so much, his brother Phillipe became an alcoholic because he's so tired of Raoul talking about Christine. Raoul only really has like three things going for him: the fact that he was in the military, the fact that he's part of the Chagny household and Christine, and that's it. Throughout the story, his goals are pretty much always related to Christine, whether it be to give gifts to Christine, being worried about her or trying to protect Christine from the Phantom. When the chandelier drops on half the crowd during one of the performances, instead of being worried for them or trying to get out of the Opera House, he instead looks for Christine, who is on stage and quite literally in the safest location within the theater. I would consider him a redeemed/protective yandere though, considering his priority is always Christine (he even gives up his own family name to be with her) and he's always trying to protect her. There's a part of the story where Raoul becomes really unhinged when it comes to protecting Christine, lashing out her her friends and other members of the Opera house. He does some really dumb stuff because of the Phantom, specifically throwing away Christine's ring that she got from the Phantom (that she also literally told him before that as long as she's wearing the ring she wouldn't be harmed by the phantom and he just...?? okay??). When he's tortured in the mirror room, he hallucinates Christine blaming him for her capture, and he even cries while hallucinating that Christine friendzones him (which I though was actually really funny, even if it was a tad bit stupid). His redemption comes near the end of the story where he apologizes for being so emotional and realizing that he was a bit of an obsessive beast, and in one ending he lets Christine go to travel the world. To be honest, I don't know if Raoul would continue to be as protective and obsessed with her even after the Phantom's death, but I guess there's not really any way to know.

The Phantom, or Erik (which I know is his cannon name but it makes me laugh because he really doesn't look like an Erik) is the main villain of the story. Unfortunately, in this version, I don't think I can call him a yandere, for one simple character: Melek. Melek, as far as I know isn't in the original story, is a prisoner that Erik has after she refused to marry her. As a character, I do actually like Melek since she's the one of the more sensible characters in the story and she's the more rational one between her and Christine, but her role in the story basically deconfirms Erik as a yandere, at least in this version. For one, Melek is a blind maid of Erik that he did fall in love with and trap, similar to how Christine was, which kind of comes off as Erik being the kind of person who would trap any girl that he likes. Even if this is the case, I don't understand why Erik would keep her alive even after she fell for Christine. Supposedly the reason is that Erik wanted to make Christine feel despair and he did attempt to kill her, but Melek survives and he just... doesn't do anything with her. Honestly, if Melek were straight up not in the story, I would have put him as a yandere because pretty much all of his other actions point to a more possessive/worship type of yandere, but because of Melek it's just not possible in my eyes. Besides that Erik sort of reminds me of a chunni in this version (he's like this absolute darkness is my curse! Like people with 7th grade syndrom seem to have), it was kind of hard for me to take him seriously in certain times. He is very intimidating when he threatens Christine, but his overdramatic nature (which I know is something he's always known for, just this version is uh...) really makes him seem like a child. Erik is for sure suppose to be more antagonistic in this version, considering the addition of Melek and his general actions of possession towards Christine and his disdain for Raoul, but near the end we do see more of his story and we see just how devastating his life is from the moment of birth. I did feel really bad for him when Hatim/The Persian keeps on mentioning the prince he used to work with because its really obvious that he still has trauma from it (and he keeps begging him to not talk about his past and the Persian just... keeps traumatizing him I guess) and the fact that he was treated so badly because of his appearance, but this doesn't excuse his actions in the story. Christine does try to sympathize with him using her own tragic backstory, which Erik kind of pushes away (like bro, we're not trying to see whose parents are worse, she's just trying to sympathize with you, dang) as not being tragic. I think that Mazm did present him pretty well in this story, not showing just his antagonistic side but also his more tragic side. Sadly, like I said, I can't consider him a yandere because of the addition of Melek, at least not in this version.

In terms of other characters, I really like the trio of Meg Giry, Sorelli and Jammes- the friends of Christine. From what I can tell, they're all a bit more aged up in this version, with Sorelli being the oldest and Jammes being the youngest and I feel like they gave more character to them than in the original version. Sorelli is the head of the dancers and the dating partner of Phillip de Chagny, Raoul's older brother and she's the mature and strong willed one of the group, wielding a blade that she uses to protect her friends. I like the fact that they made her a bit more protective and in one of the overworld sprites its mentioned via rumor that Phillip fell in love with her after he saw Sorelli swing her dagger, which I thought was pretty cute. At the end though, after Phillips death, she realizes that she was struggling too hard to climb up the social ladder and decides to forge her own path. In the beginning she attempts to protect her and her friends from the Phantom, declaring that she'll stab him if she sees him. Next is Meg Giry, and from what my friend told me, she was very young in the original books and kind of scardy cat. In this version, she's a bit older but maintains the scardy cat position, and is very terrified of the Phantom. She does gain more character development during the story, standing up to her mother and the managers and overall being a more assertive and confident person, which I thought was a nice touch. Last but certainly not least is my best girl Jammes. In the original story, she barely makes an appearance, but in Mazm they made her quite literally the best character. For one, the canonical reason why there are so many cats hanging out in the opera house is that Jammes keeps on feeding them and letting them in and she has named all of them after the Opera House staff. Jammes loves to spin and has a cute animation and while she can be loud and a bit strange sometimes, she can be smart and assertive when she needs to. Jammes always pushes the other three into being better and protects them when needed (for instance, when Phillip lashes out at Sorelli, she steps in and demands that he apologize for his actions) and can be really smart at times (she's the only character that attempts to at least cover her mouth when the Phantom's fragrance, a hallucinogenic gas, starts to fill up the box seat, despite others who have been in there not even trying) and is the one who stands up for Christine's abuse as well as for the dancers at the opera house being treated unfairly by the manager as she organizes a strike against them. She also becomes part of the women's suffrage after the events of the story. I could go on and on about Jammes, but instead I'll leave a cute picture of her at the end of this entire analysis. Besides those three, I did like Carlotta, the original singing lead of the opera house. Originally, she became an antagonist towards Christine after she became the lead singer, however, she did apologize to her afterwards and befriended her once more before traveling the world. I love her interactions with Raoul because she basically said that Raoul only has Christine and military training and when he gets angry and lashes out, Carlotta glares and him, causing him to cower (this actually does happen multiple times), and I just found that really, really funny. Mifoid, though useless in the story is actually pretty cute as well, I love his bouncing animation. The last character I'll talk about is Phillip because he became meme material for me and my friend considering he probably is so tired of Raoul talking about Christine (we joked that the reason he was sent to military was so that he didn't have to hear her name again) and while he is mostly a decent but strict character in the story, his last appearance really makes him out as a jerk. I did think it was kind of weird that Phillip was so willing to let Raoul go to the Artic mission considering nobody that has gone there has ever returned, and he was rather elitest towards him, not letting him marry Christine because she's of lower

class but during his last chapter before he dies, he goes on a frenzy after he and Raoul have a fight, revealing to Sorelli that he only dated her for fun and not to actually settle down with her, which is just horrible. It's a bit sad though that Raoul only saw him as someone who tried to get rid of him considering that Phillip did raise Raoul and that his last actions were an attempt to save Phillip from the phantom, and yet Raoul barely has a reaction after seeing his body and doesn't even go to his funeral. It's really sad that Raoul didn't even really cry after seeing Phillip's body, considering that he was basically his father figure.

Overall, it's a good game to play and a good retelling of the Phantom of the Opera. I wouldn't consider the Phantom to be a yandere in this game, but I do think that Raoul is one. Thank you for this recommendation!

#asks #male yandere #yandere boy #yandere #recommendation

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neroushalvaus · 3 years ago

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Top 5 things you'd change in Frank Wildhorn's beloved musical spectacle Jekyll & Hyde, go

I'm pretty sure you know this but when I reblogged this I was silently chanting "please somebody ask me about jekyll & hyde" in my head

So even though all the points I'm going to list have probably been discussed several times, I am really really grateful

5. Make the father thing make sense. In the musical Jekyll's want to create his potion is rooted in him wanting to cure his father's Mental Health Problems Disorder™ and I am not saying I am completely against that. However, after he has transformed for the first time, he seems to forget all about curing his father. At most we get him saying "forgive me father" or something during the wedding scene (if I'm missing a version of the script where this is explored better, I'm sorry). Jekyll's wish to cure his father ends up feeling like a flimsy excuse to try his potion. I would either remove the whole thing and let Jekyll just play around with science and morality because it interests him, or have them have like one scene together after the one scene in the beginning. So we could see Jekyll didn't just forget about his father after he started having way too much fun murder-murdering.

4. This will be elaborated below so it is kind of a filler point but: Please someone do something about the portrayal of women in this musical, dear God please. The whole Madonna-whore thing Emma and Lucy have going on is. Bad. The Bring on the Men/Good and Evil scene is, in most versions I've seen, bad. Whether it's changing the characters of Lucy and Emma or gender-bending Jekyll or something, if I truly had a magic wand I could use to change this show, this is a thing I would tinker with.

3. Give Emma something to do. Or at least make her relationship with Jekyll more interesting. As things are, she's supposed to be one of the most important relationships in Jekyll's life but she's in the dark about her boyfriend's problems until the very end. Both Lucy and Utterson see the both sides of Jekyll during the musical and that makes their relationships with Jekyll feel more captivating, at least in my opinion. Whereas when Emma never gets to know anything about Hyde or why Jekyll does the things he does, it feels random when she's so prepared to talk Jekyll back to himself in their wedding and it feels kind of undeserved when he poetically dies in her arms. I still like the idea you once had about combining Emma and Utterson into one character. If there was a character who was somehow a combination of Jekyll's best friend who is concerned about his dealings with this mysterious Mr Hyde and his fiancée who loves him enough to instantly gently cradle him in her arms as he dies (after he has violently killed her ex, no less!), that would be a truly interesting character. So. Emma Utterson when??

2. I want to make the board of governors sympathetic. I know it is super convenient for Jekyll that the people Hyde must murder are all classists, ableists and sex offenders, but it is so so so boring. I'm not saying they all have to be saints, but it is kind of silly that the first person Hyde kills is someone some people would say "i do not support death penalty but" about. The board is full of cartoonishly evil and selfish people and I get that if they weren't, it wouldn't be so fun to watch Hyde murder-murder them in whimsical ways, but it's bad and goofy writing. If I were to write them, I would make them people with reasonable concerns about Jekyll's potion (because, you know, they are right actually!). And maybe during Murder, Murder! they could say horrible things, because sometimes people do that. And Hyde would see and kill them at their worst moments. Then Jekyll could feel perfectly justified in his actions but I maybe wouldn't die laughing every time because of how eeeviiill the board is.

1. Lucy's death. You knew it would be this one. It couldn't be anything else. And how would I change it? Make it make sense. Somehow. Give Hyde a motive for killing her, any motive at all. At the moment my favourite version of this is the one we discussed once, about it being Jekyll killing Lucy and not Hyde. So maybe I would change it to that. Let's have Jekyll thinking that actually Lucy is the reason he can not control Hyde. Because you know, Lucy has the gall to exist as a woman Jekyll is attracted to, and because of her doing that Jekyll simply must turn into murdery monster man every once in a while so he can fuck her. As one does. So to make Hyde disappear Jekyll must remove the thing that awakens him. So he kills Lucy. Maybe have the Sympathy, Tenderness reprise be genuine instead of mocking, or something? It could be kind of cool actually. Anyway I like this version because it would show how desperate Jekyll is and how utterly selfish he can be. Also how well would it go with Hyde's lyrics in The Confrontation? "Can't you see? You are me", literally. So yeah, I wouldn't just let Hyde kill Lucy so Jekyll can be horrified about it. I would write an actual reason for her to be killed.

Send me a show/book/fandom/anything and I'll say the top 5 things I would change about it

#there are so many plotholes i am pretty sure i missed many #i. won't be as chatty about other fandoms. jekyll&hyde just is something very special when it comes to stuff i'd like to change #starlene #jekyll & hyde #ask memes

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dinosaurtsukki · 4 years ago

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BSD x university au hc’s | pt. 2

part 2 of the university au hc’s !! i am obviously a slut for chuuya and fyodor so don’t mind me. i hope you guys like this !!

check out pt. 1 here

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Akutagawa Ryuunosuke:

i love akutagawa ryuunosuke my angst child but i’m just like ‘hmmmmmmm’ when it comes to what his course would probably be

after extensive research aka reading his character page on wiki i feel like maybe he’d be a history major because,,,, he likes antiques?

well his clothes do seem very dark academia-esque and i can see him liking something as cool as history

akutagawa’s probably into something like war history but he’s not weird about it he just finds it really cool how different strategies work or analyzing what exactly makes the winners win

he absolutely HATES the fact that he keeps having to read the Iliad for class

he’s also that classmate who INTENSIVELY DEFENDS achilles for being a bit of a little bitch (but he fully agrees that patroclus and achilles were gay af ok this was random moving on)

akutagawa has practically no social life. he doesn’t go to parties, he doesn’t talk to his roommate, he doesn’t even like to eat in the dining hall

BUT he absolutely loves being in debate team because WINNING

he’s such a nightmare to work with though but he just delivers so well when it’s time for him to speak. like, if he’s on a negative and it’s time to hash out rebuttals, just prepare to get MURDERED

other debaters: “esteemed scholars and adjudicators...”

akutagawa: “you, sir, have no idea how wrong you are.”

that is until dazai decided to randomly show up at a debate tournament all ‘la di da da’ like and completely crushed akutagawa along with his ego

from then on he started stalking dazai and just SOMEHOW managed to end up in his circle of friends

even though he’s antisocial in real life, akutagawa 100% runs a dark academia aesthetic blog on tumblr i’m right and i don’t accept criticism

it’s actually really good he has a ton of followers and even does requests for moodboards if someone asks nicely

atsushi was the one who actually found out about it but he’s nice so he didn’t tell akutagawa about it

kunikida probably follows that blog

Chuuya Nakahara:

if this part sounds like i’m just thirsting for chuuya then you’re absolutely right i love wine man

don’t get mad at me but i can ABSOLUTELY SEE HIM MAJORING IN FASHION DESIGN I MEAN LOOK AT HIM

he’s just always had such a good eye for fashion and he’s veryyy meticulous when it comes to snipping and putting together clothes

chuuya also carries a sketchbook full of designs and his drawings look amazing and he isn’t afraid to just show them off

that said he doesn’t dress like a tired uni student at all, like he just always looks so on-point and unbothered by his five million deadlines

dazai: chuuya, i said this was a CASUAL LUNCH

chuuya, dressed in what looks like silk pajamas: THIS IS CASUAL

tbh if he just wore a white t-shirt and jeans i would die maybe he’s actually saving us from this ordeal

he has so much talent though as a designer he’s probably had several internships with design companies all throughout his years at uni

i feel like chuuya’s also really active in extracurriculars and has been in leadership positions in some of them (he probably runs the student org for fashion design)

chuuya in a student band though oh my gosh i can’t breathe i can’t breathe him as a VOCALIST?? and wearing torn jeans and eyeliner and that same hat in concerts ican’t brEATHE

okay in all honesty he would thrive being in a band chuuya loves the attention and the creativity of being able to design their whole look and write songs

tbh i don’t know if he’d have a roommate chuuya’s probably the type who’d rather have one of those single rooms or just rent a flat for him to stay in even after graduation

because his social life is super vibrant, he does have a lot of friends and he does make an effort to get to know all of them individually

but he’s more open around those who he’s been friends with for a really long time and as much as he’d like to say dazai isn’t one of them, he is

also chuuya is definitely the type to party hard during the weekends and has more than once crashed in someone’s house after drinking too much (dazai drew on his face on more than one occasion)

Oda Sakunosuke:

i love this man SO MUCH you guys have no idea i would literally die for him

100% this guy majors in creative writing because this is supported by FACTS and not just me wanting to be coursemates with him in this fictional world

super serious and diligent with his work especially since he’s passionate about writing. he loves to read in his spare time and is such a fan of classic novels about social realism or philosophy

oda spends 99% of his time in second-hand bookshops that the owner probably knows him by name at this point

he’s super old school when it comes to writing though, like he still keeps and writes in a notebook before typing it up on a laptop and no matter how many times dazai tells him its impractical, oda just keeps doing it

lmao whenever workshops come around he’s super nice with his critique. i bet a lot of his fellow classmates like sending their writing drafts to him

he draws smiley faces and always adds ‘nice work’ on people’s drafts omg i love odasaku

he’s such an old soul, he probably doesn’t do a whole lot of partying but he likes more quiet, private social events like drinking with close friends or just hanging out and talking at other people’s houses

he and dazai probably met when dazai decided to take an intro to creative writing class and wrote a long poem about double suicide on his first day that kind of put off everyone in the class from wanting to sit with him

odasaku was the only one who wasn’t exactly bothered but he did give dazai some comments to help him with his poetry and dazai instantly wanted to be his friend

in terms of extracurricular life, i can definitely see odasaku joining a writing organization and even the campus newspaper. he does find joy in interviewing students for newspaper articles

he’s also pretty into photography and uses a really old, second-hand camera that he bought at an antique store and fixed himself. at one point he won a prize in a contest

odasaku would be the best roommate. he’s super sensitive to when you have a bad day and will invite you to sit on his bed and hug his pillow and talk about your problems

scratch that, everyone talks to odasaku about their problems and now your room is like a therapist’s office

Edgar Allan Poe:

i swear this was the only gif i could find other than actual edgar allan poe

ANOTHER CREATIVE WRITING BUDDY AHHH I WOULD LOVE TO BE BESTIES WITH HIM AHHH

well actually i feel like since he’s super ambitious and already has a fixed idea on the stuff he likes to write, he’d probably double major in something like forensic science because he’d use it to write his mystery novels

omg that’s where he meets ranpo and now pretty much every main character poe writes is slightly based on on ranpo

it’s a problem. his professor brings it up more than once during his classes but it’s poe’s Thing now

he also has such an unending passion for gothic literature and he wears those white, long-sleeved blouses and waistcoats on a REGULAR BASIS

chuuya probably saw him once and was like ‘hmm, i could pull that off’

poe’s daily route is just going to the library and to class and then go home and that’s about it

he ended up working as a student assistant at the library because he’s just super familiar with the book collections and it’s a job that’s peaceful and quiet

more than once though, he’d just be really in-deep with his writing to the point that he doesn’t even notice that the library has closed or that he hasn’t eaten the entire day

that’s alright though because ranpo always passes by the library at night to check on his friend and (reluctantly) give him some snacks

also since poe’s pretty much a recluse, he doesn’t go to any social event UNLESS it’s a halloween-themed one

he loves going all out with his costumes because he’s a Drama Queen like that but the problem is he keeps dressing up as gothic novel characters and nobody gets it

dazai, trying to guess his costume: umm,, Two-Face from Batman?

poe: IT’S DR. JEKYLL AND MR. HYDE

there was this one time when poe took it upon himself to host the halloween party and it was EPIC

he basically designed it as a murder mystery night wherein everyone who came pretended to be guests at a house and then a murder happened

the only problem was that ranpo was conspiring with poe and it was pretty much unfair

except for the fact that ranpo was frustrated at how bad everyone was at deducing that he ended up solving the mystery for them

Fyodor Dostoevsky:

one of my favorite scenes of him in s3 was of fyodor playing the cello because god damn that is beautiful and therefore i am hc-ing him as a music major and you can’t tell me otherwise

fyodor is an absolute music genius and he was definitely scouted by the university’s music program and then he was granted a scholarship (because in this ideal university, the arts are valued)

he purposely decided to go to a university rather than a music conservatory because he’s also interested in learning a bunch of other things

aside from his music classes, he ventures into comparative literature and philosophy, even a bit of computer science at some point

people always assume that since he’s a music major he probably wouldn’t do well in other subjects but SURPRISE BITCH

anyway, fyodor’s a genius because god clearly has favorites

aside from attending class, he’s even part of an official orchestra and has even landed a few solos

that said, he’s quite busy and very preoccupied in his own work to actually have a social life either

you’ll often find him rehearsing by himself in an empty classroom for hours and hours on end (someone pls bring him food he’s also the type to forget to eat or even drink water)

if you are able to catch him perform at an orchestra or just practice by himself, it’s quite a mesmerizing sight. his eyes are often closed so he could focus on the sound alone and his fingers move so elegantly along the neck of the cello

(sorry i just love people who play any form of stringed instrument)

fyodor also takes such good care of his cello. also he would probably kill you on the spot if you touched his bow

he has a fairly small group of friends and they like playing chess together (even though fyodor is better than all of them) and just talk about um,, idk philosophy and stuff (whatever it is smart people do idk i’m not one of them)

i have a feeling he actually follows akutagawa’s dark academia blog and loves his content, even to the point of requesting ‘cello player moodboards’

also because he’s a cello player he needs to take care of his fingers so he wears gloves a lot (idk why i find this hot)

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taglist (check out my post for details on being part of my taglist): @waitforitillwritemywayout @tpwkatsumu @laure-chan

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margridarnauds · 4 years ago

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I know you prefer a-cast, but what are some pros to buying m-cast instead? There's a bit of a war going on abt which is better. I heard m-cast is better bc the cast is more senior and experienced, but I don't know what to believe. Is a-cast or m-cast just a taste thing, or is it abt smthing else? Would you mind making a chart or smthing for the pros and cons of both versions? Maybe ratings per category? I know you have a preference, but I just think you are quite nuanced. Thanks in advance!

I am very honored that you would think of me as someone who’s fair and nuanced!

Before I begin, I’m going to say one thing that might or might not be considered....well. Very American of me, from the perspective of Japanese fandom: I do not believe, when it comes to spending the amount of money that these cost, on holding back information in order to appear diplomatic. I’ll try to be diplomatic, for the sake of people who might like anyone I criticize, but, also, if I dislike an aspect, I will try to find SOME way of making said displeasure known, because, again: The amount of money required to buy one DVD, let alone two, is quite a lot. I personally like to buy both, since it lets me compare and contrast, but my God, is it a bit of money (and this year, with the exception of the 2016 Elisabeth, I’ve had to cut down quite a bit while I’ve been abroad: I haven’t touched Frankenstein or Phantom...at least not yet.)

Also, I am always willing to arrange streams of either/both casts, since this musical is my baby, so that anyone reading this now can see whether what I say is true or not, as well as in order to determine your own preferences.

Alright, so that disclaimer out of the way, let’s start off:

I kind of disagree that M cast is more experienced, as a whole. Let’s compare:

Marie

Rena Sasamato (A Cast) - Had her debut when she was ten years old, in 1995. She is a Toho veteran with many, many musicals under her belt, including The Woman in White, Love Never Dies, Jekyll and Hyde, Les Miserables, West Side Story, Rudolf, Fiddler on the Roof, and, of course, the original 2006 production of Marie Antoinette, where she played Margrid Arnaud.

Hanafusa Mari (M Cast) - Almost needs no introduction, such is the fame that she has. And I say this as a detractor. My personal feelings about her personality, acting, and singing aside, I can admit that Hanafusa Mari is a living legend in the Japanese musical industry. She certainly lives up to her title of “Empress”, in all senses of the term. She had her debut in 1991 (after, admittedly, undergoing the training of the Takarazuka Revue, so I will give her that she had experience beforehand, just not in acting and singing on stage), and remained there until 2006, when she retired in conjunction with her fellow top star, Yoka Wao. From 2010 onward, she appeared in non-Takarazuka roles, including my very first exposure to Japanese theatre, Dracula, in 2011.

Now, of the two of them, I won’t deny that Hanafusa has more experience, however I also feel like saying that Rena has less experience is making it sound almost like she was some starving waif that Toho picked off the side of the streets in order to star in their new musical, as opposed to a seasoned actress in her own right who, on top of having an impressive number of musicals under her belt, also has experience in the musical itself. Hanafusa, when it comes down to it, only has four years’ more experience than Rena, though she is almost a decade older and undoubtedly, when she premiered, had more polish than 10 year old Rena. But, on the other hand, she DID remain with the Revue an impressively long time, which is very intense as far as how many musicals they perform on a yearly basis (most Top Musumeyaku only last about...2-3 years or so), she was the original Elisabeth in Takarazuka (a legendary role in its own right), and, my snark about her having the best career money can buy aside, I am willing to say that, for the most part, she’s earned her status as a legend.

And I want to say that I’m not ripping YOU apart when I say this, I want to make that absolutely clear. You’re asking me a very good question, but it is something I tend to find quite a bit of when I talk Japanese musicals, in the sense that there is often this...assumption that actresses who started off in non-Takarazuka musicals (also a moment of silence for the Shiki actresses, who I almost never talk about but who are kicking ass as Disney Princesses) are somehow...lesser, or that they have less training. Takarazuka is and remains very prestigious, but it’s hardly the be-all, end-all of all musical theatre, and, in many ways, I would argue that Rena has more experience than Hanafusa, in terms of the world of Toho musicals, which require a different style of acting and singing: Less stylized, less affected, more what you would expect from a Broadway or West End show. It’s actually something that I find quite a few Takarazuka actresses struggle with when they come to Toho, as they have to adjust how they’ve done things for a new audience.

Now, what does this have to do with the overall point? Well, a lot of people bought Marie Antoinette FOR Hanafusa to begin with, since she does have a huge following. I have seen plenty of people admit that they only bought it for her in the first place and didn’t bother with the other cast. I have even seen, in the past, people argue with me on the idea of a musical that DOESN’T have Hanafusa in it getting a proshot, simply because, for them, she IS the world of Japanese musical theatre. Coming from that perspective, of course Rena is less experienced, because she, simply put, isn’t Hanafusa.

In terms of their overall presentation of the characters, I found that their respective training really impacted how they portrayed the characters: Rena played Antoinette as being very elegant, with a pride that could turn to haughtiness. It made for an Antoinette that is interesting in her own right to watch, which is tricky, since I find that Antoinettes tend to be overshadowed by the other characters, especially Margrid, Fersen, and Orléans. She did include certain aspects of a Takarazuka performance in her performance, since her mother was a Takarazuka star in her own right, such as how to properly use an 18th century fan, but, for the most part, I’m willing to say that she played it much more naturalistically.

Hanafusa, meanwhile, emphasized the tragedy of Marie’s life. Throughout a decent portion of the musical, she can be seen crying, especially during the trial (which Rena played straightfaced, playing a Marie that is totally numbed by grief), and expresses her happy, joyful moments in a very exaggerated, almost forceful way, more what I would expect from a Zuka actress given that Zuka performances tend to emphasize extremes of sadness and happiness. (Keeping in mind, of course, that traditionally, it’s expected for musical/opera singers to act in an exaggerated way in order to be seen from the back.) If you are used to Hanafusa, then you’ll LOVE it, because she is very much there, and it’s very much what you’ve been accustomed to. She does show her training; she doesn’t miss a single note in the entire production, but I do find that, in this one area, her added age over Rena might be to her detriment, as I find that her voice has thinned somewhat with age, comparing her now to where she was in Dracula or during her Takarazuka days. Her vibrato also isn’t quite to my taste. Not BAD, but not for me. She isn’t UNPLEASANT to listen to, and again, if you are buying it to hear Hanafusa Mari’s voice, that is exactly what you’ll get, but I also do think the luster of it has faded.

So, in terms of overall ratings, here is what I would put them:

Rena:

Year of Debut: 1995

Acting: 9/10

Singing: 10/10

Hanafusa:

Year of Debut: 1991

Acting: 4/10

Singing: 6/10

Margrid

Sonim (A Cast) - Sonim’s history has been gone into detail here by my friend, @chibimyumi who, unlike me, has a native speaker’s understanding of Japanese (as opposed to getting lucky with Google Translate), so I’ll leave it to her. But, suffice it to say, Sonim had her musical debut about...2007 or so (she was involved in other stage projects, but for sanity’s sake I’m marking her appearance as Johanna in Sweeney Todd as her musical debut) after the idol industry decided to be cowards and kicked her out because she didn’t conform to their pretty pink princess dreams, was offered the title of Ogosho IMMEDIATELY upon her joining up with Toho, and, since then, has distinguished herself as one of their undisputed leading ladies. She has appeared, to my knowledge, on three proshots, two of which I own: Mozart, 1789, and Marie Antoinette, and has also appeared in Kinky Boots, Tanz der Vampire, FACTORY GIRLS, and Rent.

Natsumi Kon (M Cast) - Natsumi Kon is, admittedly, also no slouch in the world of Japanese musical theatre: She had her debut in 2011, with the coveted role of Juliette Capulet in Romeo and Juliet, and has since been in Les Miserables, Grand Hotel, the Addams Family, The Fiddler on the Roof, and The Secret Garden, as well as being the voice actress for Belle in the 2017 Beauty and the Beast. She has been praised as essentially being “the next generation of the musical world”.

By the same standard I’ve set re: Hanafusa and Rena, there isn’t THAT much in terms of their ages, since they have the same difference in debut time (though in this case, it’s in Sonim’s favor, and I also think that it’s much more dramatic in terms of younger musical performers as opposed to older ones.)

I feel like, of the two of them, more people would have come for Sonim, since she is an Ogosho herself, being at the same level of ranking as Furukawa and Hanafusa. What I suspect, in fact, is that Toho, in a CLASSIC Toho move, split the cast that most people would have wanted, with Hanafusa, Furukawa, and Sonim, but I can’t confirm and, honestly, I feel like Hanafusa’s very expressive Antoinette would have clashed with Furukawa’s more aloof Fersen, but that will be dealt with down the line. As it is, M cast has Hanafusa, and A cast has two Ogosho-level performers for the price of one with Sonim and Furukawa. (Meaning that, on a purely technical level, it has the most starpower behind it.)

Sonim has a strong belt and has a reputation for playing scrappy girls, possibly because she herself easily qualifies as a bit of a “scrappy girl” herself. Her Margrid is bitter and cynical, not necessarily kind. The years on the streets have warped her into someone who is primarily motivated by herself and her own personal revenge. She uses “the people” as a self-justification to pursue her own vendetta, only realizing by the end what it’s done and cost her. She doesn’t care for social norms AT ALL, and would be the exact type of person that you would see on a tabletop counter at 2 AM, legs spread out, trying to stuff an entire pizza down her mouth. She’s distrustful, especially towards men and, even for those that she trusts, she has a low level of tolerance for. She is, frankly, a bit of a bitch. And I adore her for it, because it’s more realistic to what I think someone would be like after undergoing what she has. She’s a kind of female character we get relatively little of, really. I do think that, on a few occasions, Sonim perhaps outbelts herself here but, in general, I feel like it suits Margrid’s personality more.

Natsumi Kon took a more tragic bent to the character. Her Margrid IS a good person, at heart, but she lets her desire for justice, along with her own revenge, steer her towards a course that just causes more suffering. She is more like an 18th century Eponine from Les Miserables, the street girl who, if she’d JUST had the upbringing that Antoinette had, could have been a great lady like her. She seems to play up the love triangle with Fersen more, getting a little closer to him at different times, giving him more longing looks, while also seeming to have...some sort of dynamic with Orléans, with the two of them often touching and laughing with one another. She does have a very smooth, strong voice, though I feel like, on some level, she has never quite escaped playing ingenues, and, rewatching it with a critical eye, I think that, as the musical continues, her voice starts getting a little breathy and strained. I don’t really know whether this is by intent or simply because of the musical being very vocally demanding for the Margrids, but I do think that, if Sonim overbelts at times at the beginning, Natsumi has some issues by the end; the notes aren’t coming out quite as clear or as strong as they should be. Her Margrid has a little bit more of a polish to her and, in general, seems a little younger and more naive compared to Sonim’s. I do give her credit for really being willing to go UP CLOSE to her fellow actors in stand-offs, giving her Margrid the sense of being a little bit of a bull in a China shop; during the duet that Marie and Margrid share, there’s one point where it seems like Natsumi is only INCHES away from her face. I know that it’s out of style to make Harry Potter analogies, but Sonim plays Margrid as a Slytherin; Natsumi as a Gryffindor. She didn’t do a BAD job as an actress, and in fact adds some nice touches to Margrid that I do like, but she doesn’t really do anything too new with the character.

Now, why does THIS matter? Well, for one, I think that, if you go in expecting the best of everyone, Sonim’s Margrid can be like a dose of cold water. Natsumi is more...palatable. Less conflict, less difficult questions, especially since it becomes that much easier to separate Orléans-As-Villain from Margrid-As-Heroine.

Overall:

Sonim:

Year of Debut: 2007

Acting: 10/10

Singing: 9/10.

Natsumi:

Year of Debut: 2011

Acting: 8/10

Singing: 8/10

Fersen

Furukawa Yuta (A Cast) - Probably one of Toho’s most bankable male leads at the moment. His presence in a musical is generally a VERY good sign to me that Toho is planning on a proshot, since they know that fans will buy anything he’s in. (To illustrate: I wasn’t PLANNING on buying Marie Antoinette, I had more than my fair share of doubts after the disastrous German run, but then I saw Furukawa Yuta and Sonim were signed on and I promptly got both casts. Best insanely rash move I’ve ever made in my life.) He had his stage debut in 2007 with The Prince of Tennis series, and since then he’s played in the Black Butler (Kuroshitsuji) musicals, Elisabeth, 1789, Romeo and Juliet, and Mozart. Though he initially made his name with his dancing and acting abilities, along with his personal charisma, he has since worked on his singing, putting himself through Hell and back to earn his spot as Ogosho. While Mozart was his official debut, I would argue that, in some ways, it was as Fersen and then, later, Romeo that he REALLY got to demonstrate what made him star material.

Mario Tashiro (M Cast) - Mario Tashiro, like Natsumi Kon, is absolutely no slouch either. He has a full, operatic voice that he uses to excellent effect, making him very recognizable even if you don’t know who exactly he is. Plenty of times, I’ll be listening to a trailer on Youtube and hear this BOOMING voice and go “MARIO TASHIRO?” He has been very prolific on the Toho scene, taking roles in Sunset Boulevard, Chess, Love Never Dies, Elisabeth (marking the first time in known history that Fersen is locked in a love triangle with Fersen for Marie Antoinette and then seduces Fersen’s son, Fersen), The Great Gatsby, Jekyll and Hyde, and Sweeney Todd, among others.

In terms of approach, both men took very different approaches to their role. Furukawa played Fersen as much more aloof and distant, which makes for a contrast with Marie’s sunny, naive personality. He has a dry sense of humor and has a long-running cat and mouse game with Orléans where both understand, on some level, that they’re on equal ground. His love of Marie, while definitely a real, true love, is also very idealistic: Marie represents a world that, for Fersen, is slowly dying out, she represents the best part of humanity for him, especially after being gone during the war. I do not believe, looking at Furukawa’s Fersen, that he and Antoinette ever actually slept together, rather that it was very much a courtly love. He cares for Margrid, entreating her to have compassion, but there’s just enough wiggle room to wonder how MUCH of it is genuine VS him needing something from her at the time, and he’s very aware of his status as an aristocrat and makes use of it. It’s really unlike any other take on Fersen I’ve seen, in any media, and it’s part of why I ended up leaning towards this production, since it’s generally a MASSIVE feat to make me like Fersen. Furukawa’s voice in the role is softer, lacking the strength of Tashiro’s but still making for some very impressive low notes.

Mario Tashiro, on the other hand, focuses more on Fersen as a romantic hero, full of dash and daring. He has a notably dramatic take on Fersen, with flourishes and exaggerated movements, which, as an opera singer, are probably part and parcel of his acting training. If he’s aware of Orléans’ general presence, he doesn’t seem bothered by him, with their being really little sign that Orléans has any respect for him at all. He loves Marie as well, but it is much more of a sort of fairytale, Rose of Versailles love. There’s not as much moral gray areas to his Fersen, even though he makes the exact same decisions as Furukawa’s and, like Hanafusa Mari’s Marie, tends to go through extreme emotions. His voice was, as always, phenomenal, I give him full and complete credit for it, however, unfortunately, when put up against Hanafusa Mari, I found that the two of them had the tendency of trying to outbelt one another, leading to a distinct lack of chemistry during romantic scenes. (And you’ll notice that, despite generally being weighted against Hanafusa, I am NOT giving her the full blame for this one.)

Furukawa Yuta (A Cast)

Year of Debut: 2007

Acting - 10/10

Singing - 9/10

Mario Tashiro (M Cast)

Year of Debut: 2009 (He had his singing debut in 2007, but his overall musical debut was 2009)

Acting - 7/10

Singing - 10/10

Louis

Takanori Sato (A Cast) - Probably the baby of the group, in the sense that he had his own debut a little while after the others, in 2015. In his case, and his case alone, would I say that there was a REALLY strong case for him not having as much experience compared to his counterpart. He has played in Titanic, Elisabeth, the Scarlet Pimpernel (the one with Kazutaka Ishi), Mata Hari, Legally Blonde, and Chess, the latter possibly most impressively since he did the entire thing in English.

Yuichi Harada (M Cast) - I’ll be honest, I’ve never in my life been tempted to look up his biography before, but when I did, I was impressed to find that he’s actually been working in the world of musicals since 1992, when he was in Anne of Green Gables and then again in Les Miserables as Gavroche. He has had a long career with Toho, too, being in musicals such as Les Miserables, The Sound of Music, Titanic, the Beggar’s Opera, and La Cage Aux Folles, none of which I literally had any idea about until today, but that is very impressive. Massive props to him, honestly, as well as working as a director for Bare: The Musical, which...well. Props to him for branching out. I will never understand the love for Bare worldwide, but you know what? Almost all musicals deserved to be loved by SOMEONE. He has an impressive track record, I’ll give him that. One of these days, I’ll probably have to dig deeper, since I suspect that there’s a lot more to him than meets the eye.

Takanori has a very smooth, strong voice, without the projection of Mario Tashiro. I found that his take on Louis was quite charming, tender to his wife, a normal man who Marie respects even if she doesn’t love him in the same way as she loves Fersen. (Honestly, can I just say: While we all know that Orléans has my entire heart....if Takanori’s Louis asked me to marry him....#PhilippeWho.) He’s a steady man, not really dumb, but well-intentioned and occasionally oblivious to the real danger, and it’s that that kills him, in the end.

Yuichi’s Louis is much more...confused throughout the thing and, while I think Antoinette has some compassion for him, I don’t really feel like it’s love so much as...affection, mixed with a certain amount of pity. He does show moments where it looks like he knows a lot more than he lets on, but in general, I think he did play it as much more humorous, a lot more...well, dumb, at least until the second act. He does have a solid voice, I give him that, but in general, it felt like there was a little less subtlety in how he interpreted the role. There’s something almost childish about the way that he grasps Orléans’ hands when he’s asking him to intercede for them, whereas in Takanori’s case, it’s more him realizing that his cousin is...well. Orléans, but knowing that he has to do a little bit of crawling if he’s going to survive.

Yuichi’s Louis DOES still get sympathy from me, but it’s in a way that is kind of insulting to him as a character, mainly because it’s less about HIM and more like “......god. Killing him is a bit like kicking a puppy. Like, you could do it, but my God, why would you?” Like, I do kind of want to write a fanfic where he can just......be safe........far, far away from everything, because I’m not sure if he would notice if they took him any place else, but it does kind of...take away his complexity? I will say, in his defense, looking over his entire performance, that seeing him constantly trying to smile as he’s being led while Marie panics, trying to let her know this is all going to be alright, is a tearjerker, though I still feel like his Louis is played a bit too much like the caricature of Louis that, at this point, I’m kind of used to seeing. That being said, while I don’t necessarily like all of the DIRECTION he took Louis, I can see that he put genuine thought into constructing the role, so I’m not going to nuke him too much in the acting category.

This one, more than any of the others, is probably YMMV, because I know people who were genuinely shocked to realize Louis is double-cast at all. Mainly because it isn’t like the role leaves THAT much of an impact, overall, having only one major song. I honestly think that the 2021 cast is making the right call in splitting Orléans and giving Louis one role, all things considered.

Takanori Sato

Year of Debut: 2015

Acting - 10/10

Singing - 10/10

Yuichi Harada

Year of Debut: 1992

Acting - 8/10

Singing - 8/10

The Case for M Cast

Now that we’ve gone through the rankings, it’s time for the original question: What are the pros of M Cast? And, if you just listened to me laying all this out, you would think that I wouldn’t have much positive to say. That being said, when I was back in the States and could spend an hour or two watching musicals every day, a LOT of the time, I would watch M Cast. There has never really been a point where I said “You know? I regret getting that cast, I wish I’d just had A the entire time.” If I was dangling off a cliff and I could only save one cast recording, I would HAVE to choose A (and then promptly sob), but I do, genuinely, like M on its own and would recommend getting both simply to compare.

- Mitsuo Yoshihara. Now, this is going to be odd for anyone reading, because I can hear it now: “But he wasn’t double cast! Wouldn’t you get him on A too?” Yes, you definitely would. But he is a very unique type of Toho actor in the sense that he changed up his performance for EACH cast he was in. If you look at M cast, he has a much warmer dynamic with Natsumi’s Margrid, either as a paternal substitute (making up for her own aristocratic father) or as a prospective love interest. He is MUCH more hurt in the final court scene, very clearly viewing Margrid’s decision as a personal betrayal. As the admitted and confessed Morléans shipper, I have to eat the angst up like it’s candy. The two of them have a nice amount of familiarity and chemistry with one another, presumably due to having worked with one another on other projects before.

- Mario Tashiro’s voice. This deserves its own section because it is REALLY, REALLY phenomenal. You know whenever you’re seeing Mario Tashiro in something simply because that voice is VERY distinctive and is totally overwhelming each time you hear it. I noted my misgivings in his section, but overall? It is very much worth the price of admission just to hear him.

- Different shots. I’m still figuring out exactly WHAT shots dramatically change from each cast, but M cast does contain some shots that A doesn’t have and vice versa. M cast doesn’t have this shot of Margrid and Antoinette, and A cast doesn’t have the one here of Antoinette and Fersen’s hands touching, which is a wonderful little bit of cinematography. I do think that, depending on the shot, you can get more or less of a character’s motivations in that moment. A personal favorite is Hébert trying to get Margrid alone during the scene just before the ball and Margrid shoving him off, which foreshadows what happens near the end of the second act.

-Hanafusa and Natsumi’s voices actually do go quite nicely together at the end.

-Mario Tashiro does make for a very splashy Fersen; yeah, you might not spend too long dissecting what he’s doing when he’s on stage, but he is fun to watch swish around in his 18th century officer’s outfit.

-My griping on Natsumi’s Margrid aside, I do think she has a lot of charm. No, it isn’t my FAVORITE take on the role, but I do actually like what she does, she adds quite a few nice touches to it, and she does make the song “Enough is Enough”, near the end of the first act, her actual bitch, adding her own riffs onto it to give it a sense of individuality. The parts where she’s smiling, hanging onto Orléans’ arm, make even my wrinkled, shriveled heart grow three sizes. I’ll be genuinely excited to see her return to the role in 2021 to see if there’s anything she changes, though I doubt I’ll be able to see any part of it in person.

-If you’re a Hanafusa Mari fan, you get to see the kind of performance from her that you’ve grown to expect and appreciate. If you’re not, you get to see her get splashed in the face with champagne. Win, win, win.

Overall, I think that it will depend on what you’re looking for. I really enjoyed the realism and the grit of the A cast, but not everyone WANTS grit, and in that case...I suppose M cast would appeal more, since M cast relies on everyone involved being much better human beings than A cast, though I do want to emphasize that everyone in A cast is still redeemable. (Except Hébert. Because fuck Hébert.) M cast is....easier to digest, in many ways. There’s a good queen, a stupid-yet-sweet king, a dashing hero, and a misunderstood-yet-angry-poor girl, manipulated by the siren’s song of the Revolution and her unrequited love for Fersen, who bullies the poor, downtrodden queen when she gets a chance before realizing the error of her ways. I think that, for many people, that’s perfectly fine, and that’s what they wanted, especially if they’re already used to Rose of Versailles. I do still LIKE it, because it’s a production of one of my top 2 favorite musicals, but I do think that, if it was the ONLY version of the musical available, I wouldn’t have spent so much time picking it apart. (Though I still would have thought it a MASSIVE improvement on the German.)

I do put a lot of it on Hanafusa Mari’s influence, though, because of the prevalence of her fanbase and the general belief that no one could ever come close to their star, so why bother getting another cast. Especially given how....devoted the Takarazuka fanbase is in comparison to the Toho fanbase, and the Thing I’ve noticed where fans try to argue that there is some sort of empirical reason for their bias as opposed to simply liking one more than the other.

#Anonymous #long post #toho stage #jmusicals

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emixion · 5 years ago

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if we’re dropping eah AUs I'm gonna bring back my Raven x Jackson AU real quick if that’s cool

High Key inspired by this fic by Spina where Raven accidentally gets transported to New Salem while using a mirror portal and Jackson finds her. Except I ship the hell out of them and liked the idea of her staying at MH too much. -so raven uses a mirror portal to visit home (as she usually does) but it malfunctions and sends her to MH before completely crapping out. -she ends up in the attic (the 13 wishes attic, even though this is the webisode!school) and is like ???? -so she goes to investigate and the first person she happens to run into is Jackson -he asks where she is and he’s like “New Salem??” and she’s like “oH SHIT” -she explains that there’s been a mistake and she’s not supposed to be here (she knows she’s in the “modern” world where she reaaalllyy shouldn’t be for the sake of the stories) and Jackson offers to take her to the headmistress -since she planning on visiting home she has a small trunk with some of her things in it and her guitar so she’s not completely screwed -bloodgood is like “oh wow wtf yeah that's weird” and offers her a spot in the dorms while they figure this out -she doesn’t really have a choice and they’re being really nice so she’s like “yeah okay” -bloodgood has some idea about ever after but no one else does and raven doesn’t say a thing -for once people don’t know her as the evil queen’s daughter. she can just be raven -she and Jackson grow pretty close. he was the first person there who showed her kindness and they have this sort of underlying understanding of each other -Jackson also doesn’t tell her about him and holt because he’s afraid of her backing away or treating him differently since like most people blame him for shit that he can’t control -She relents information to him little by little before completely breaking down one day and telling him the whole story -he has a newfound respect for her after hearing everything that she’s been through and realizes that he trusts her enough to tell her about Holt -Raven’s like,,, not fazed at all she’s literally like aight, much to Jackson’s relief -they grow even closer after that, becoming best friends -raven’s super chill about Holt. like if Jackson he can’t make something or their conversations get interrupted because of him she’s very understanding. she and holt end up becoming friends as well -her magic actually has a special sort of sense for music since she loves it so much and she can feel a song’s tempo and decibel, so she can easily keep her music at an appropriate level around him and warn him if he’s in a situation where music is escalating -Raven also strikes up friendships with Venus, Operetta, Rochelle, Robecca, Billy, Clawd, Heath and Deuce. -Venus and Robecca are dating btw -Raven, Op, Venus, Deuce, Heath and Holt all come to the conclusion that they should start a band because they are all friends who love music so let’s do it yes -Billy, Rochelle, Clawd, Robecca and Jackson all help out and end up becoming their crew -The band is named Rebel Cause (ba dum tiss) -Raven’s magic is very foreign to the MH world and a lot more powerful then they are used to -it’s so powerful, in fact, that she plays a big part in splitting Jackson and Holt for good -now separated, Jackson and holt actually get along really well and regard themselves as twin brothers -eventually, once holidays start rolling around and Raven has no family to back to, Jackson’s mom invites her to come live with them. -she’s practically family at this point and it’s such a waste to have her held up in the dorm when they have the room right there. -she gets a little emotionally -so Raven moves in with the Jekyll’s and is very happy -the band is doing pretty well locally and even starts putting their songs on social media -the band members themselves are at the point of considering all of them family, including the crew. -also holt and billy start dating -the actual musicians rarely refer to the band without also including the crew -they nickname themselves “the cause” and “RB and Co.” -meanwhile Jackson is having an absolute crisis because Raven now lives with him and he can now actually go to the band’s gigs and he realized that she is very very pretty and he doesn’t know what to do -Holt laughs at him -little does he know that Raven is also freaking out because she lives in a normal household for once in her life and her closest friend being domestic is very very cute and she doesn’t know what to do about that -venus laughs at her -shenanigans ensue but eventually somebody get their shit together and confesses and they get together yaaaay -the band is so fucking relieved -at some point the eah kids, who have trying to figure out where raven is for months, figure out her location and go find her -so she has to make a big dramatic decision if she wants to go back or stay here -she ultimately ends up staying but the eah kids visit often -fin

#ever after high #monster high #eah #mh #mh x eah #hhhhHHHH #this is 4 years in the making #jackven #raven queen #jackson jekyll #au #rebel cause au

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oneletteredwondered · 6 years ago

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You know that AU where the sides are actually real and ‘play’ their own characters but exaggerated? Yeah that but “Can Lying be Good”.

“Are you sure this is a bad idea?” Deceit looks up from the script he’s been reading over Patton’s shoulders to look at the others. There’s a few smiles given his way and Roman’s boisterous laughter.

“Of course Sir-Lies-a-Lot! It’s the best time to introduce a new character to the scene!” Roman laments dramatically, tossing an arm over Deceit’s shoulder which Deceit promptly shrugs off. He catches sight of Thomas smiling fondly at them all, clearly used to these antics.

“As ironic as it is for me to say this,” Virgil starts to say, putting his phone down for just a moment. He catches Deceit’s eyes to make sure the other is listening.

“Don’t worry about it,” He says. Deceit twists up his nose slightly. When the others told him they wanted to introduce him to the video series, he laughed. A laugh that quickly died out as he realized they were serious. He’s not sure if he’s honored or annoyed that Virgil suggested him to be the first of the “darker” aspects introduced.

“The fans are going to-” Virgil cuts off his statement, a look of sudden clarity comes over him. Deceit raises an eyebrow to his silence.

“Oh god the fans are going to love you it’s going to be annoying how much they love you ugh,” And with that, Virgil flicks up his hood and resumes playing on his phone. Deceit merely pinches the bridge of his nose. He’s not sure what the fans will really do. He’s a far sight different than the others and though he’s not the nicest of sides, this script does paint him more.. less nice.

When Roman originally talked him through the script and maybe even potential plot lines, he couldn’t deny, or try to in any case, that playing the more villain role seemed fun. He may not always be the bad guy, but there’s a certain thrill with watching the others squirm. Still there’s only so much fans can take.

“Virgil has a point. Even when he played a more antagonistic role there were a select number of fans dedicated to his character,” Logan informs him. It doesn’t make him feel better. He doesn’t want to be hated necessarily, even if he might enjoy playing the antagonist. He lets out a sigh and glances down at his feet, well, he would if he could see his feet.

Patton looks up at him. He’s wrapped himself around Deceit’s legs happily, practically sitting on his feet and hiding them from sight. If Deceit were to try and walk he’d surely fall over. Patton lets out a soft giggle and nuzzles his leg comfortingly. That also doesn’t make Deceit feel better, but he does give a small smile in return.

“Don’t worry,” Patton whispers conspiratorially as he holds up an old cardigan. Deceit dutifully wraps it over his shoulders, a wave of his hand changing the rest of his outfit to match the puffball padre in almost exact likeness.

“I’ll help you not be me from right here.” To prove his point, Patton hugs Deceit’s legs almost making him fall over more than he was already prone to. Patton apologizes and laughs, and to make it worse, Deceit copies his laugh almost perfectly, which prompts Patton to keep giggling, so Deceit keeps copying him.

“Are you finished?” Thomas asks but he’s laughing too.

“Sorry Thoma-llama, guess I got caught in a giggle fit there,” Deceit says in a scary mockery of Patton’s voice, complete with an exaggerated shrug. Virgil has to smack a hand to his mouth to stop his snort but Patton lets himself keep giggling for a little while longer.

Eventually they calm down enough and begin to run through the script together. Thomas records his lines first, though Not Patton interjects to give Thomas the proper scare. Then Roman goes next, being even more dramatic than he usually is to play up his character even more.

When it’s finally Patton’s turn, Roman is there with the script as well, talking on and on about feeling the emotions and really getting in character.

“Well heck Kiddo I think I’m already in character don’t ya think?” Not Patton interrupts after a small tirade. Roman blinks at him a little dumbly at first, looking up and down between Actual Patton hugging Not Patton’s legs and trying to figure out exactly who said it. Deceit can’t help the curl of a smirk that crawls on his face at the confusion he’s caused.

“Anyway!” Roman says loudly. The show must go on.

“We wrote this with Patton in mind, so if you have an ideas on how to make it more.. not Patton..?” Roman leaves his statement like question open and hanging in the air. Not Patton huffs and takes the script, looking over the first few lines and stage directions. He glares down at it, then looks at Roman with a deadpan look on his face as he takes a bold red pen from out of no where and begins to scribble on the script, all without taking his eyes off Roman who looks mildly offended.

“First of all, we do not ‘pop in’ instead of rise up.” Roman opens his mouth to contradict but he’s unsure of Dee is saying the truth or twisting it.

“And Patton, darling, how exactly would you feel if Thomas called you any variant of father?” Not Patton looks down at Actual Patton, and Actual Patton breaks into an ear slitting grin at the mention of being referred to as father. So Not Patton makes a note in the script to not be excited by being told ‘papa’s in the house’.

It goes on for a bit, going back and forth and re-writing without changing too much, till eventually Not Patton is desperately trying to convince Thomas that lying isn’t always a bad thing. Truth be told, Dee himself doesn’t always think lying is the best thing, and there’s Patton, rubbing his leg reassuringly from below, to remind him that it’s okay.

Of course Deceit loves his true entrance, the dark chuckle, the dim lights, oh he feels every bit villainous and it’s glorious. He almost breaks character calling Thomas a ‘foolish dummy’ but manages to push through.

Then comes the worst scene of Deceit’s life.

He hadn’t questioned it before, just accepted, and now he regrets that as Patton does ‘rise up’, right underneath him, and causes them both to fall on their butts.

Virgil is the first to break, sputtering into laughter that he tries to muffle in his hoodie sleeves. Patton is a very close second, doubled over on the ground and trying to breathe but he can’t. Deceit is doing his best to not be embarrassed at the blunder.

“That was amazing!” Roman cheers and wipes a tear from his eye. It takes far too long in Deceit’s opinion to get everyone back under control to finish the line but the momentum is ruined. Every time they even get close to the point where Patton is supposed to rise up, someone breaks into giggle. The first time it’s Thomas.

“Sorry sorry, I can’t do it seriously anymore,” He stops his laughter by covering his mouth.

The second time it’s Patton, unable to full stand because he’s just losing it. Deceit can’t help it either, snickering into his cape. They take a small break after that one.

They get so close the next time but Roman snorts at the last second, which makes Virgil laugh again.

The time after that is the worst, because Patton actually manages to hold it together, long enough to rise up, directly under Deceit in such a way, that Deceit ends up sitting very unstable on Patton’s shoulders.

“Beware the combined powers of Skewed Morality!” Patton shouts and this time it’s Logan who ends up stuffing his tie into his mouth to keep from bursting into giggles. Deceit blinks down at Patton with scared wide eyes but Patton only looks up at him with sparks of joy. Getting down is the hard part and Deceit will not admit that Roman really did need to help him down with hurting either of them.

It takes two more tries before they get it right. Deceit can see the strain of Patton trying not to laugh as he tells Deceit that he’s “in his spot”. To be fair, Deceit has to stuff his own cape into his mouth after Patton tells him a cheerful and plain “bye!” when he sinks out from his own debut.

Patton says the rest of his lines with a smile, Dee curled around his legs an exact mirror of their positions from the morning portion of filming. Virgil goes next and then the end credit scene is thought of and Deceit well, he’s not all that apposed, especially not for a little improve.

“Well since I’m here, I might as well present to you a couple musical puns based all around Deceit,” and if those words and the action he does with it doesn’t make Patton or Roman light up with excitement he doesn’t know what will. He rattles a few off the top of his head, just having a little fun.

“Lies and Dolls, Lying King, Fibber on the roof,” Oh he’s not even sure if the camera is still recording, but he’s having too much fun seeing Patton and Virgil try not to laugh, Roman and Thomas smiling proudly, and that disgruntled look on Logan’s face as the word play keeps coming.

“Jekyll and Lied, totally not partial to that one, Willy Wonka and the Alternative Factory,” He’s being too much, too dramatic, but it’s worth it. He rattles off a few more before he’s at his wits end.

“The Un-Truthers,” Based on the other’s looks, that one might need to be explained.

“The Producers,” he clarifies.

“I think that was my strongest one. That was fun, this was a fun video, I’m so glad I did this,” And Deceit has just enough time to walk off camera before cackling his heart out. He’s only saved by someone else laughing with him. He’s huddled a little, some patting his back and someone else hugging him from the side. There’s also Thomas smiling at him fondly still. He had his reservations before, but maybe, if they wanted, he wouldn’t mind joining them for this experience again.

#deceit sanders #patton sanders #roman sanders #virgil sanders #logan sanders #polyamsanders #fic #my post #what is editing #who is she never heard of her #TAKE MY GARBAGE

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astraphobe · 5 years ago

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[ LAWRENCE “LARS” MALKIN. 40. CISMALE. HE/HIM ] is here! They’ve lived in Silver Lake for [ 20 YEARS ] and are originally from [ OREGON ]. They are a [ MECHANIC ] and in their downtime love [ PLAYING HIS ELECTRIC GUITAR ] and [ WRITING MUSIC ]. They look a lot like [ CHRIS PRATT ] and live [ IN OASIS APTS ]. (ooc: otto, 19, he/him, cst)

hello !! i’m otto and this is my first muse here. he’s garbage but, like, good garbage ?? compost ?? idk. anyway. i hope you guys like your man-children middle aged and with two kids because if you expected anything else you’re gonna be dissapointed.

BASICS.

Name: Lawrence Malkin. Nickname: Everyone calls him Lars, but his mom and dad used to call him Larry. He hated it. Gender: Cis-male. Sexuality: Gay (homosexual, homoromantic). Race: Caucasian. Age: 40 ( 01/10/1980 ). Zodiac: Capricorn. Hometown: Grants Pass, Oregon. Current residence: Oasis Apartments. Career: Mechanic.

Astra inclinant, sed non obligant !

this is the background bit. i didn’t want it to be long but it ended up being long, so if you don’t wanna read it you don’t have to. i did spend a lot of time on it, though. hopefully it isn’t shit. enjoy ( but only if you want ) !

world, meet lars. lars, meet world. he’s ... going through it right now. not a lot of things have gone right for him.

he’s the youngest of five in a strictly evangelical household. everything was about rules and if he didn’t abide by them, he’d be punished. he remembers getting hit with switches and belts and wires. he’d be locked in prayer closets and forced to confess his sinful thoughts. he recited every word of scripture, was slain in the spirit, proselytized to all of his friends, and he got nothing but fear and anger out of it --- it was all very ... carrie, but without the promises of superpowers.

when he started going to a secular public high school his entire viewpoint shifted. he made friends who snuck him into rated r movies to watch him squirm at things he’d never heard of before. he started smoking cigarettes, smoking grass, failing classes, and playing sinner’s music on his guitar. strict parents make sneaky kids, he used to be able to all of this in his church clothes.

after high school lars stopped talking to the rest of his family. he rented an apartment with his friends for a two year stint at community college ( he was an automotive specialist major ) and started a band with them in silver lake once he graduated. he never really wanted to talk about girls or stare at nudie magazines like the rest of them, no. he just wanted to make music. until he met margo and his life fell apart.

he only started to date her because it felt right and she promised to take care of him. no one else has ever made the effort to take care of him --- he’d been locked in closets and hit with willow tree branches for the duration of his adolescence. he just wanted comfort.

after he met her, she was the only thing on his mind outside of his band. it wasn’t love, though, even if that was what he thought it was. everything seemed perfect. it all seemed like a normal he could get used to. until she got pregnant and they weren’t ready. she was 24, he was 25, they were both fucked. this was the beginning of the end of them.

click ... click ... click ... boom ! shotgun wedding. as soon as he signed that paper he felt that straight man ball and chain around his ankle. he felt regret, he felt guilty, and, at first, an eighteen year weight stacked atop his shoulders. what more could he do other than ... grin and bear it.

he stopped talking to his friends, who were all busy having fun and playing music and doing everything he wanted to do and more. separating himself from the men he loved most, even if he didn’t want to say it, made him bitter. he stopped doing gigs to make more mechanic money. after the birth of his first daughter, yael, his life was boring and monotonous. five years down the line, margo threw out her birth control pills without letting him know. this was how his second kid, ruth, was brought into the world. it was also the straw that broke the camel's back.

the divorce was long and messy --- he’s glad his kids don’t really remember it too much. margo and lars ended up splitting custody with yael but because of the bullshit that came with ruth, she’s all his. he started meeting up with his friends for gigs again, rediscovering his passion for music. and also drugs. he’s reclaiming the youth he lost when he started dating margo, even though it’s a little weird. he’s happy but he’s not fulfilled, and his kids could see that, too.

the process ruined him financially, enough for the bank to foreclose his home only a few months after the split. he filed for bankruptcy, destroyed his credit score, and moved into a seedy two bedroom apartment ( which isn’t cheap in the city of angels ) that managed to be just a few blocks down from where one of his old friend lived. he came out while lars was married and he didn’t know until he saw the flag hanging in the window. he was curious about it, but we all know what that did to the cat.

lars doesn’t want to be gay, but everything he does makes him feel like he is. the way he talks, the way he sits, the way he cries while watching the notebook --- he knows these are all stereotypes now, but what would his younger self think ?? two kids, no money, AND he’s queer ?? he wants to push this all down, and he does, but he knows that it won’t do him any good either. he knows that everything will all implode, but that day isn’t today, and with any luck, it won’t be tomorrow. he’ll sit in his idea of normalcy until he can’t anymore.

Per angusta ad augusta !

bulletpoints and headcanons, baby !

lars loves his kids. like, a lot. when he was with margo he regretted them entirely but he doesn’t feel that way anymore. he wants what’s best for him, and he wants to give them everything his parents couldn’t give him. namely: love. he doesn’t want more kids, though. he’s saving up for a vasectomy.

he’s not a perfect parent, though. i wouldn’t even call him a great one because of how often he has to be away from them and how much he drinks his feelings. at least once a year he’ll go on a bender and he’ll have to pay a babysitter more than he can afford because of how long he’d be out for. now that his kids are old enough to pick up on these things, they’re becoming more and more concerned with his behavior. he can tell, it’s just another thing he’s trying to avoid bringing up. it’s just another thing that pushes him back to drink.

speaking of his kids. i love them. i love them just as much as i love lars. yael is fifteen and she’s a mini version of her father. when lars has the time, he teaches her to play the guitar on his old acoustic. she manages to make a’s and b’s and he could never be prouder, especially because he barely graduated high school himself. ruth, on the other hand, is an enigma and he doesn’t really understand her but he tries her best. she says a lot of things that ten year olds probably shouldn’t say, but he lets it slide because it’s funny. he’s had to raise her mostly by himself which has been a gigantic struggle for him, but it’s proving to be successful thus far. she really wants to be a teenager and she emulates teenagers to the best of her ability, but it’s what a ten year old thinks a teenager should act like, so it’s far from accurate. loves cleaning her room, though. it’s the most pristine part of their house and he has no clue why.

margo was jewish, so both of his kids are being raised jewish. he doesn’t really believe any of it himself, but his kids seem pretty happy. yael had a bat mitzvah and ruth is coming up on hers, but he has no idea how that’s going to work out because margo did 99% of the planning for yael and he doesn’t know how any of that shit works. ruth also decided that she wants to eat kosher now. she’s been like this for, like, a year and lars thought it would be a phase but at this point she’s in it for the long haul and there’s a pretty good chance she’s not going back on it.

when it comes to his sexuality ,,,, he has a lot of feelings. he acknowledges that being gay is a possibility but he’s definitely never thought enough about it to make a decision. at the same time, he’s hyper aware of anything that might make him seem gay so he dresses like a slightly grunge dad redneck and makes sure to never cross his legs when he sits down. despite all of this. he has had sex with men before. especially after margo. he fucked his gay friend, too. he doesn’t think they count because he was desperate. they count. don’t tell him.

he has five different guitars. the bulk of them sit in his closet, but he has names for all of them. they were his babies before his real babies. his first two were dr. jekyll and mr. hyde, an acoustic and an electric that took about six paychecks for him to finally buy. yael plays on dr. jekyll and he’s spent a lot of time thinking about how he wants to make it a family heirloom if she doesn’t smash it first. he got a white strat in college that he named angel because of how gorgeous she sounds. i'm gonna stop here because this bullet would be so fuckin long if i didn’t. i like guitars. he likes guitars. maybe i’m projecting. who knows ! not me.

it’s easy to assume that his band never really went anywhere. cause it didn’t. they play heavy, heavy, heavy rock and that’s incredibly out of the mainstream right now. their band, shit and sugar, did get a little bit of recognition in the local underground scene during the early 2000s. now they’re just older dudes that play in diy venues and bars sometimes. lars is pretty sure he’s been called a geezer a few times by teens yael’s age.

despite never really getting off of the ground in the music industry, he’s very good at what he does. there’s not a lot left for him to learn in terms of technique and his style of playing is very uniquely his. big inspirations for him include the likes of rivers cuomo, jimi hendrix, kirk hammett, and dimebag darrell.

all in all, he’s an extroverted ball of energy most of the time. he’s got a lot of ideas and he’s very goal oriented, even if he doesn’t end up achieving them. not the smartest tool in the shed, either. he’s childlike and playful in the best way possible. again, most of the time. this ends up biting him in the ass a lot. especially because of how impulsive he is.

Ars longa, vita brevis !

wanted connections ! i’m definitely going to put one or two up on the main but here are a few that i think would work nicely.

people he met through music ---- even though people don’t know about shit and sugar you’d definitely recognize him if your character frequents local bars and DIY venues in sketchy basements. from friends to enemies, i think this one has a lot of breathing room for ~ creativity ~ and all that.

neighbors ---- he’s a guitarist. it’s a loud hobby. he’s nice to everyone in the complex, but god, that’s gotta get annoying.

men he fucked that “don’t count” ---- some of these could’ve ended seamlessly. maybe they get beers now. maybe your character hates him. maybe your character pities him for being in so much denial about his own sexuality. maybe your character is trying to help him. this connection has, like, no limit and all of the plots can be different and unique i’m so excited for it. he’s a bottom, if anyone was curious.

unlikely pals ---- this character is probably the exact opposite of a fuckup. god knows why they even associate with lars. but they do, and they want the best for him. hey !! maybe lars can break them out of their shell a bit.

potential romance ??? owo ??? ---- i really want this to happen because i want lars to eventually come to terms with his sexuality. all he wants is mutual love and good sex. safety, stability, all that good stuff. shouldn’t come without hardship, though. if you have a good idea make sure to make it angsty because i live off of that shit.

someone he doesn’t like ---- i thought of this one because it’s incredibly hard for lars to not like someone. he finds amazing qualities in most people, but he’s prone to holding grudges. i want a character who he just can’t see any good in filling this connection. how fun would that be, right ??

a jewish friend that helps him out with his jewish kids ---- i’m the knowledgeable jewish friend in 99.9% of my friend groups. most people don’t have a knowledgeable jewish friend out of necessity, but he definitely needs one because he doesn’t know shit about some of the things his kids talk about. i swear, ruth mentioned how eggs are pareve and he short circuited please help this poor dude out.

ok that’s. that’s it. i’m done running my mouth on main, but if you wanna plot or just hear me run my mouth about dumb and unimportant shit hit me up here or on discord ( deus ex machina #2294 ) !!! i’m more active on discord because i don’t have this acc always up on my phone. i’m so excited to write with you all !!!!

#slintro #‛ ———— 𝐋𝐀𝐑𝐒 𝐌𝐀𝐋𝐊𝐈𝐍 ／ ABOUT．#oh this is. so long #i am so sorry #abuse tw

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pubtheatres1 · 5 years ago

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ONE GIANT LEAP Brockley Jack Theatre 2 – 27 July 2019 “That’s one small step for man…” Neil Armstrong INTERVIEW WITH WRITER & DIRECTOR OF ARROWS AND TRAPS THEATRE, ROSS MCGREGOR LPT: Hello Ross, We’re rather pleased to have another chat with you about your company, the award nominated Arrows & Traps but also wanted to grill you a little bit on your new writing, ONE GIANT LEAP. How long did it take you to write it? Hi there, how lovely to be asked. I have a somewhat unusual process in that I pitch the idea to the Jack, book the slot, design the artwork / poster, get the show on sale, start selling tickets and only then start writing the script. This is partly due to the quick turnaround of shows and my lack of time between, and also that we have to book these things quite far in advance as the Jack is a popular and sought-after space, but also because I have an issue with self-discipline, and so if I didn’t have a concrete deadline, I think I’d still be tinkering with Frankenstein, a show I wrote and produced in 2017. One Giant Leap is the first completely original piece that I’ve written without a source material, and it took me about two weeks to get onto paper. ONE GIANT LEAP is celebrating the fiftieth Anniversary of the Apollo 11 Moon Landing but it seems you have got your own spin on it. Could you tell us the story in nutshell? Yes absolutely. It’s a comic take on the greatest conspiracy in history. It centres on Edward Price, a producer of a failing 60’s sci-fi show called Moonsaber – which is basically a poor man’s Star Trek. Edward’s life has fallen into a rut, his wife has left him, he’s lost his house to the IRS, and Moonsaber has just been cancelled in its first season. All looks grim, until a representative to President Nixon comes to his door with a suitcase of money and a proposition. The Apollo 11 Moon Landing is four days away, but due to the moon being about a hundred degrees too hot for photographic film; they can get there, they just can’t film it. And what is a massive propaganda exercise without proof that you actually did it? So they ask Edward to fake the footage by any means possible, if he can do it, he can bring Moonsaber back to life for another season, if he fails – he loses everything. Where does the comedy come from? Mainly from the people that Edward employs in Moonsaber. They’re a ragtag bunch of actors, stage managers and technicians, and due to the show being cancelled – they’re falling apart at the seams – it’s down to Edward to keep it all together, to pull off the greatest lie in history, whilst trying to save his marriage, salvage his career, and keep the lies he’s telling intact. It’s a study of the creative industry, a satirical and loving homage to theatre. We’re not trying to say anything serious about whether the moon landing was or wasn’t real, but more provide a raucous night out at the theatre, and keep you laughing about it on the Overground home. Why is it important to offer a lighter comedy in theatre right now? I think, at times, theatre can take itself too seriously, and become too myopic about tackling the dark and dreadful issues that are affecting society – I’ve lost count of how many shows there are about Brexit playing right now – and whilst that’s great, and admirable - speaking for myself, after the last year I’m sick of the darkness, I’m bored by the constant stream of depressive updates about the rise of the Right, I can’t engage with it, the European elections gave a victory to nationalists, we gave a state visit to a racist, homelessness is at an all-time high, and we’re literally cooking the planet to death. There are sometimes when I just want a great night out and forget how scary the world seems right now – laughter is the best medicine – not as a retreat, but a reminder of the good in us, of the joy, of the light. As the company is repertory, you’ll be working with some actors you know very well. Did you have any of them in mind when you were writing the script? I certainly wrote two of the eight roles with long time company members Will Pinchin and Lucy Loannou in mind. And whilst yes, the roles are tailored to suit both of them - I did write the roles of Howard and Alchamy to stretch and challenge Will and Lucy, because I’d never seen them play characters like that. Will is nothing like Howard, and Lucy isn’t at all like Alchamy, but in way, they’re made for those roles, and for me, they’re perfect choices. I do like working with the same actors repeatedly, it is true, because you build up a short hand of technique and approach, but also you build up a trust. The actors in the company come in on day one, sort of knowing what to bring me, and what kind of vision I’ll probably have, since my style is something of a constant, but also I’m able to, as their director, cast them in roles that perhaps play against type, or test their flexibility and skillsets. I’m not an actor, but if I were, I’d hate to play the same roles every time, to only get the “intense one” or the “dopey one” or the “awkward one” – I’d want to think I could play anything that was thrown at me, and I think our rep system allows for experimentation and exploration. What has been the hardest part of the whole process to date? We’re only in the first week of rehearsal, so nothing too taxing thus far. Hands down, the hardest part of a comedy is when you’ve rehearsed it so much you no longer find it funny, at which point we need an audience. One Giant Leap hasn’t hit that point yet, obviously, but I think most comic work benefits from the response and energy an audience gives. Theatre can be electric when you have that to play off, but in terms of where we are – One Giant Leap’s greatest challenge is the analysing of why something is funny, and making sure it’s that way every time. It’s all about timing. For many years I laboured under the misapprehension that stand up comedy was just a funny person being funny with a microphone, that was until I saw Dylan Moran do the same set twice in the space of three weeks. He has a very casual, off the cuff, almost improvised way of performing, and I assumed that it was just his natural charisma and quick wit, until I saw the set the second time, only to find it was identical to the first. All the pauses, the stresses, the tangents, the quips, all of which was honed, polished and a work of precision. It was funny because he’d worked out the best way to get the laugh, every time, and that’s beyond art, it’s science, it’s music. Traditionally Arrows and Traps have produced a selection of brilliantly adapted classics, including Dracula, Frankenstein, Crime & Punishment and Anna Karenina. Have you got a soft spot for one of them? I loved the breathlessness and breadth of Anna Karenina, the precision and murk of Crime & Punishment, the thrill and gothicism of Dracula, and the humanity and pang of loss in Frankenstein. I think my favourite adaptation, if I had to pick one, is probably Frankenstein – but that’s purely subjective, and there was something about the biography of Mary Shelley, which we incorporated into the show, that really spoke to me – in the sense of a creator and a creation, a parent and child, a sinner and the terrible revenge. You’ve also got THE STRANGE CASE OF JEKYLL & HYDE coming up at Jack Studio in September. Your adaptations of the classics have been Arrows and Traps main focus, so does ONE GIANT LEAP herald a shift away from this? No, in fact because I know the next season of shows, One Giant Leap is perhaps the anomaly. Our work normally has a dark bent, we favour drama with funny lines as opposed to an out-and-out comedy. We’ve only ever done one full comedy before, The Gospel According To Philip back in 2016, so this is something of a return to that. I knew that the company was changing, and wanted to make a swansong to the current phase of work, I had originally planned for it to be TARO but that story ended so sadly, I wanted the last one to be lighter, more celebratory – there’s something inherently amusing about the various tropes you usually get in the theatre world, and so I thought a comedy would be a fitting homage to where we’ve come from, and a clean break to where we want to go next. The company has been going from strength to strength, what are the things of which you are most proud? Mainly, that we’re still going. Most theatre companies on the fringe don’t make it to their third show, we’re on our seventeenth. Part of that is sheer stubbornness, there have been points where any rational person would have thrown in the towel, but there was always something in me that would never bend, never break, never give up. It’s part ambition, part not wanting to fail, part wanting to make my father proud of me, part bloody-mindedness, part theatre-addiction. I think production-wise I’m most proud of The White Rose, to what that achieved, all the five star reviews and the Best Production Offie-nom, but of course I’m also very proud of the other twelve times we’ve been nominated for Off West End Awards, the relationship we’ve built with the Jack, the bond I have with my creative team and my casts, and just the fact that people seem to like the work. It’s still always funny to me when a reviewer calls us “critically-acclaimed” or “renowned rep company” – to me it’s just me, telling the stories I want to tell, with people I want to work with, you don’t always think about how it looks from the outside. I’m just producing the theatre I’d like to go and see. It was rumoured that you would be leaving fringe theatre for other careers, partly because of problems with funding. Was there are truth in that? Absolutely! And in a sense, this is still completely true. I am indeed done with fringe. I think I got to The White Rose in 2018 – where we got the Offie-Nom for Production, we had eight 5-star reviews, four 4 star reviews, we’d completely sold out, and done it the cheapest way possible, and we still didn’t break even. Which was very hard to take, and forced me to face the truth – you cannot hope to attain best practice ITC rates for your casts / creatives / yourself if you only do 15 shows in a 50 seater and you don’t have subsidising support from an arts grant scheme. It just isn’t possible. So I made the decision to stop producing work. Now obviously, with the shows being booked so far in advance, there were still three productions upcoming in the diary that I had to honour. But knowing I was quitting, and that this was the end for me, was too hard to bear - ultimately I had to face the fact that theatre is my life, and I could never leave it – so I had to find a way to make it work financially, not just for myself but for everyone else in the company, particularly the actors who are so often completely screwed over in fringe, and often end up working for nothing. Which is where the idea to change the model came from. Shrink the casts and sets to a more tourable model – 14 people down to 4 – and engage a tour booker to take the productions out of London to larger spaces that could widen the potential revenue. The Jack is our home, and we will always premiere all our shows there, but then we will take them into the provinces. The vision is still the same, adaptations of literary work, and biopics of iconic figures of history, but the remit and scale of the endeavour has changed. I don’t see it as an ending, just a moving from one phase into another. But yes, absolutely, the 8-10 handers, movement-heavy, ensemble, big music, huge shows – this stage in our trajectory is ending with One Giant Leap, and whilst I see why it has to end, a part of me is sad to see it go, because there was something so wonderful about doing a massive 15-hander like Three Sisters. Are you one of those people who is meticulously planning the future? Yes indeed, because really we have to plan ahead in order to book the shows with the venues. We’re doing One Giant Leap next month, and then move to Jeykll & Hyde in September, both at the Jack – and then Hyde goes on tour for about six months, with an opening of our next biopic Chaplin coming about halfway through the run in February. Because I’m overseeing contracts, and touring plans, and writing the scripts as well as casting each show and most likely directing each one, I need to know where we’ll be and when we’re doing it – I’m trying to build a book of shows, a repertoire that is constantly touring, moving forward, and ever-evolving – reaching more audiences, and engaging with new communities. In the meantime, we can’t wait to see ONE GIANT LEAP. Could you give us a little flavour of what’s to come? In terms of shows after One Giant Leap, we have Jekyll & Hyde - a dark, political thriller set in a post-Trump America – a gritty examination of the corruption of power, then Chaplin – which tells the story of the 20th Century’s most famous clown, documenting his path to becoming the iconic Little Tramp – and his meteoric rise from Victorian poverty to Hollywood fame. After that, we’re bringing back one of our most successful productions of 2017, Frankenstein, revisited and rewritten for a more tourable model, and then a biopic of Marilyn Monroe, called Making Marilyn, which covers the Norma Jean origin portion of the star’s life. After that – who knows? I’ve always wanted to tackle Madame Bovary – and I’d like to bring back TARO as it was one that I was particularly proud of in terms of its style and poetry. Finally, your shows at Brockley Jack are becoming legendary, it’s a great partnership. What are the things you’ve learnt about theatre whilst working at Brockley Jack? So much. The Jack has been a great place to develop my approach to stagecraft, and how to tell stories as clearly and engagingly as possible. Since we joined the Jack, we’ve built a vision of the style we want to have, and how we approach each difficulty, or tricky moment to stage, how our work with movement and text interconnect, and what we look for in our ensemble for each show. And, I guess, ultimately, I’ve being able to return to my training as a writer, and I’ve been so lucky to have so many opportunities to experiment with my writing, and get to think about how to tell a story and how to build each character. Playwriting is not something I’ve tried before, and I’ve loved delving into each of the worlds that the Jack has opened the door to. But I think most of all, I’ve been honoured by the patronage and support of Kate and Karl – and they’ve shown me the power of hard work, diligence, and care – if I ended up with anything like the talent and acumen they have, I’d be very happy. @June 2019 London Pub Theatres Magazine Ltd All Rights Reserved THIS SHOW HAS ENDED ONE GIANT LEAP Brockley Jack Theatre 2 – 27 July 2019 directed by Ross McGregor produced by Arrows & Traps Theatre Productions Box Office > Below: Rehearsals at Brockley Jack Studio "We’re not trying to say anything serious about whether the moon landing was or wasn’t real, but more provide a raucous night out at the theatre, and keep you laughing about it on the Overground home." "... speaking for myself, after the last year I’m sick of the darkness, I’m bored by the constant stream of depressive updates about the rise of the Right, I can’t engage with it, the European elections gave a victory to nationalists, we gave a state visit to a racist, homelessness is at an all-time high, and we’re literally cooking the planet to death." "Most theatre companies on the fringe don’t make it to their third show, we’re on our seventeenth. Part of that is sheer stubbornness, there have been points where any rational person would have thrown in the towel, but there was always something in me that would never bend, never break, never give up. It’s part ambition, part not wanting to fail, part wanting to make my father proud of me, part bloody-mindedness, part theatre-addiction." "... knowing I was quitting, and that this was the end for me, was too hard to bear - ultimately I had to face the fact that theatre is my life, and I could never leave it – so I had to find a way to make it work financially, not just for myself but for everyone else in the company, particularly the actors who are so often completely screwed over in fringe, and often end up working for nothing. Which is where the idea to change the model came from." " ... most of all, I’ve been honoured by the patronage and support of Kate and Karl (Jack Studio Theatre) – and they’ve shown me the power of hard work, diligence, and care – if I ended up with anything like the talent and acumen they have, I’d be very happy." In celebration of the Fiftieth Anniversary of the Apollo 11 Moon Landing, Arrows & Traps Theatre bring their critically-acclaimed approach to a brand-new comedy set in the back streets of a Hollywood lot. One Giant Leap is about the power of having an impossible dream, realising it’s impossible, and then trying your hardest to fake it and hope no one notices.

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psychnerd47 · 6 years ago

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Monster College part 4

Rating PG, Warnings mentions of drinking and brief mild language.

Authors Note: sorry it took so long to write, I’ve been struggling to write this. I had really hard time trying to keep Billy in character so I tried to write him more like he is in the books and other fanfics

The party grew crazier, louder and more insane as more monsters and more booze showed up. Billy and Scarah were able to slink out just as the party picked up, but the others weren’t so lucky. The university police rounded up party attendees and took them down to the station. Deuce, Cleo, Operetta, Heath Burns, Johnny Spirit, and Holt Hyde, who after having been removed from the loud music of the party was starting to turn back to Jackson and some other monsters they didn’t recognize. Jackson was relieved that Frankie made it out of the party and didn’t have to go in for questioning.

“I can’t believe we have to ride in the back of the police van like a common criminal,” Cleo said disgustedly, “I’m royalty and deserve to be treated as such.”

A look of horror came upon Deuces face, “You know that it’s not good that we are being arrested, Cleo. Like it could be on our record forever and we could get kicked out of college.”

“But we didn’t actually do anything,” Heath whined.

“Speak for yourself,” Jackson moaned, “I have no idea how many drinks Holt had, but all I know I now feel miserable.” The nerdy human boy looked like he could barf if the van hit a bump hard enough.

Deuce put his arm around Jackson, “Hold in there bro, we’ll get to the station soon.”

Operetta sat in the corner of the van steaming, “You all are going to be fine. But I’m going to the slammer because I threw the dang party,” the rockabilly continued to mope. Johnny Spirit put his ghostly arm on her.

“You’ll be ok baby, I’m the one with the milelong rap-sheet.” Johnny said with a new tone of panic in his voice.

“Do you think I will get my own cell, or will I be thrown in a common one with the peasants.”

Everyone else groaned.

* * *

University Police led the ghouls out of the van and into a room for questioning. A female officer walked in, “Operetta Phantom,” the officer called.

“Here,” she replied in her Southern tang. The Rockabilly phantom was lead into the next room. The male cop stayed in the room with the rest of the ghoul friends.

Deuce sat on the hard chair in the cold but crowded room. The gorgon boy let out a sigh, “All I want is to go back to the dorm, take a shower, and go to bed.”

“Well if you pass the breathalyzer test, we won’t charge you will under age drinking and you can go back to your precious dorm room,” the male officer grumbled.

“Well that’s good,” Heath said with a tone of relief in his voice, “Holt was the only one who was drinking so we will be freed.”

“Well if ‘Holt’ was the only one drinking why does Mister Jekyll here look so miserable?” the officer looked Jackson straight in the face.

“Um, well,” Jackson started to ramble, “you see Holt, and I share the same body. But while I’m polite, reserved and shy, Holt is obnoxious, loud, and out of control and he is blue skinned with fire hair. Holt appears when loud music is played,” Jackson fidgeted with his bowtie awkwardly, “so it would be wrong to make me responsible for Holt’s drinking. I personally am very against alcohol, honestly it makes me want to puke my guts out,” the nerdy boy winced, he looked so miserable, “may I have a glass of water please.”

“I guess that will be ok,” the male cop grumbled.

“Can I have one too, and make it with lemon and ice,” Cleo ordered.

The officer’s glare shot bullets, “This is not a dang restaurant, I’m not getting anyone water. You’ll take your tests and then I hopefully will never have to see you all ever again.”

+ + +

“I can’t believe they just let me off with a warning,” Operetta said with a sigh of relief, “I mean I’m the one who threw this disastrous hootenanny.”

“But you didn’t know that those frat goons where going to crash it,” Deuce explained to his Rockabilly friend.

“I’m just glad they are letting me go after Holt drank all that alcohol.” Jackson said with a tone of relief.

“After you puked your guts out on the officer’s boots. I don’t think the officer wanted you around much longer,” Johnny Spirit reported.

Jackson continued his rant about Holt, “You won’t believe how much trouble we got into when Holt got our eyebrow pierced or when he got that tattoo on our back. It is making me crazy.”

· * *

“Be quiet.” Deuce told the fire elemental, “you don’t want to wake Billy up,”

“Oh, sure, I am the king of being quiet,” Heath assured his friend, “I’m not going to wake him up,” but right after he said that Heath’s hair caught on fire. Triggering the smoke alarm and setting off the sprinkler.

“What the hell Heath,” Billy yelled uncharacteristically for him as he sat up in his now soaked bed.

“Sorry,” the fire elemental said sheepishly.

* * *

Deuce woke up at 6:00 the next morning. He grumbled to himself as he quickly pulled on a t-shirt and a pair of jeans, he absolutely hated having to go to the communal bathroom in the morning, so inconvenient. As he trudged down the hall the gorgon boy stewed in the misery of dorm life. He no longer had his own room, though having Jackson as his roommate was the best choice he could think of, he was not allowed to have his pet rat Perseus in the residence hall, no longer having a bathroom that he only had to share with his mom. He missed his mom even if she could be a bit overbearing. Deuce hated to admit it, but he was a bit of a mama’s boy.

Deuce brushed his teeth and started to take his shower. While he was getting dressed in the shower cubicle, his icoffin began to ring. The gorgon boy could tell by the Casta and the Spells song that it was his mother calling.

“What’s up mom?” Deuce asked into the phone.

“I just wanted to check on my baby boy,” Medusa said coolly, “how are doing?”

“Um, fine, just a little tired,” Deuce answered honestly.

“You haven’t turned anyone into stone, right?” Medusa asked her son.

“I haven’t mom,” the gorgon boy answered with a tone of annoyance in his voice.

“You have been remembering to put on clean underwear?”

“Ugh, mom some one could hear this, but yes,” Deuce felt ready to die of embarrassment.

“You haven’t been going to any crazy parties, have you?”

Even though he was talking on the phone Deuce could feel his mother’s eyes looking straight through him. “Um, how did you know about that?” Deuce could feel his face turning red.

“Sydney Jekyll called me last night. Turns out Jackson had a traumatic experience last night and decided he need to talk to his mom about that. She said that he was crying and threw up a few times last night. Do you have an insight on this topic Deucey?”

Deuce grew quiet, he needed to tell his mother what happened but also did want her to freak out and drag him back home. “Well you see mom, Operetta and Johnny decided to throw a back to school bash. It was a pretty cool party until, Manny and some fraternity goons crashed the party. I didn’t drink an alcohol, promise mom, but the frat goons played some loud crazy music, turning Jackson into Holt. I guess while Holt was living it up at the party, he must’ve chugged all the booze. Anyways when he transformed back to Jackson, the poor dude had to deal with consequences of Holt’s mistake. But don’t worry mom I promise I will never drink that stuff I learned about it enough second hand.”

Deuce left out the part about being taken in questioning at the campus police station, didn’t want her to freak out.

* * *

Jackson found himself waking up somewhere cold and hard, his head was killing him, and his stomach felt awful. The nerdy human boy started to move, he realized he fell asleep in his glasses, strange. As he tried to sit up, he realized he was on the floor of the hall bathroom. Images of his miserable experience the previous night flashed through his mind.

“Ohmyghoul!! Jackson are you alright,” Invisi Billy’s voice called out.

“I’m fine I guess,” Jackson stammered as he weakly pulled himself off the floor, “what are you doing here?”

“I may be invisible, but I still have to pee,” Invisi-Billy laughed.

Jackson’s face winced. “Thank you for that delightful imagery,” the “normie” scientist boy said sarcastically.

“I think we need to get you something to eat, all the alcohol on an empty stomach can’t be good,” the invisible boy suggested.

* * *

Invisi Billy took Jackson to the Dying Hall were they got plates of scrambled eggs, fruit, and toast.

tags @queenofworry

#monster high #monster high fanfiction #jackson jekyll #invisi billy #operetta #deuce gorgon #my fanfiction #monster university #monster college #heath burns #monster high fandom #holt hyde

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chiseler · 6 years ago

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The Madness of Ken Russell

Critical thinking in Britain has always taken the view that Ken Russell was a wild, ill-disciplined talent who ultimately went artistically mad: this was also the view in the film industry. The only major disagreement was about when he went from being merely excessive to being balls-out crazy: different parties chose different tipping points.

(WAIT! WHO CARES ABOUT CRITICS?)

(Bear with me: in Russell’s case, the critical consensus serves as a valuable reverse barometer.)

Russell, a suburban boy, former merchant seaman and Catholic convert, made a few brilliant short films with his wife and fellow genius, costume designer Shirley Russell, before landing a job at the BBC’s flagship arts program, Monitor. His stint here taught him to fight, and placed him under the stern patronage of producer Huw Weldon, probably the only authority figure he ever respected. Many good fights were enjoyed. When Russell joined the program, there was an absolute ban on dramatization and re-enactment: the most he was allowed was to show a composer’s hands at the piano. By the time he finished up on the show, he’d managed to twist it out of shape to the point where he’d been allowed to make complete dramatic works in the guise of documentary. These TV plays are highly cinematic, kinetic and bold: like Kubrick, Russell had a love of both stark symmetry and dynamic movement. Control and its opposite.

Russell found actors he liked, including Oliver Reed, with whom he enjoyed a strange kinship: both were heavy drinkers, both affected a casual attitude to their work, though Russell was never ashamed to call himself an artist. Ollie became the John Wayne to Russell’s Ford (in a roiling, nightmare vision of classical cinema).

The point when Russell moved out of TV is the first moment his detractors choose to mark his decline into self-indulgent craziness. He made a modest, eccentric comedy, French Dressing (with mounds of inflatable girls piled up like Holocaust victims) and a wild, idiosyncratic spy movie, The Billion Dollar Brain, a Russophile anti-Bond movie full of flip humor and Eisenstein homages. Critics saw these films as work-for-hire, as perhaps they were, and largely discount them. They are quite brilliant.

Women in Love is counted by others as the last pre-madness film, and its relative sanity can be attributed to the control exerted by its writer-producer Larry Kramer. Russell’s excesses are held in check, it is argued, and the tension between its creators was productive. It’s a very good film, but I find it too sedate in places, though the vivid color and Shirley Russell’s bold designs, and some scenes of genuine wildness and invention stave off actual boredom.

The Music Lovers, his dream project, expanding the TV composer film to the big screen and color, is where a real case for craziness begins to be made: the choice to explore Tchaikovsky’s homosexuality now seems mature rather than lurid, but Ken is undeniably pushing the biopic into unfamiliar terrain: fantasies of decapitation by cannon-shot, a filthy madhouse, a demented honeymoon on a train rocking like the Starship Enterprise, complete with crotch shots. Maybe even worse, from the critics’ viewpoint, Russell, who had directed one TV commercial before walking away from that business in disgust, co-opted the visual language of the shampoo commercial to depict the images conjured by the composer’s music. Russell was in love with romanticism but saw through it too. Ironically, the filmmaker constantly castigated for unsubtlety injected an irony into the film that critics missed, taking the soppiness at face value and not seeing how the concealed satire blended perfectly with the overt caricature and phantasmagoric visions.

Still, the subject was respectable, but with The Devils, Russell managed a film maudit that took decades to be reappraised, and earned him criticism of a uniquely vociferous sort, admittedly in keeping with the hysteria of the film itself. An account – or channelling – of a 16th Century witchcraft trial in France, the movie didn’t so much push as cremate the envelope as far as sex, violence and blasphemy were concerned: Russell, who had converted to Catholicism in his youth, lost his faith while making this one, converting to an animist worship of the Lake District, a religion of his own devising. Well, he did have a substantial ego.

Russell was upsetting: apart from the torture, abuse and madness, the film threw in discordant tonal shifts, creative anachronisms and deployed all of his cinematic influences, which prominently featured Orson Welles, Fellini, Fritz Lang’s German silents, and the musicals of Busby Berkeley, which supplied the top-shots used to depict the rape of Christ on the cross, a scene cut by the censor and lovingly preserved by the director for a future restoration, still explicitly forbidden by the film’s backers, Warner Brothers.

Asides from his crisis of faith and crises in his marriage and his dealings with the studio, Russell was also knocking back the wine. “Better before lunch,” was his prop man’s characterization of the director. Production designer Derek Jarman recounted Russell asking him, “What can I do that’ll really offend the British public?” “Well you could kill a lot of people,” mused Jarman, “but if you really want to upset them you could kill some animals.” A plan was then devised to have King Louis with a musket blowing the heads off the peacocks on his lawn: the birds were to be fitted with explosives at the neck, like Snake Plissken, but Russell backed away from this extreme, even by his standards, approach, and instead had the target practice performed with a man dressed as a blackbird, and the King saying “Bye-bye, blackbird,” and Peter Maxwell-Davies’ remarkable score quoting the popular twenties song, and that infuriated the critics just as much as actual bird-blasting would have.

Less amusingly, Russell was also guilty of unsafe practices involving the naked girls and rowdy extras: the stories here get really dark. As does the film: a demented masterpiece that shows Russell for once engaging with the political: a film about corruption that uses physical disintegration alongside social and spiritual rot.

Just to confuse us even more, Russell made The Boy Friend the same year, an epic music and a miniature at the same time, allowing him to recreate Busby Berkeley’s pixilated fantasias in a seedy English theater. It’s light and charming, but Russell’s version of these qualities was not recognized by the critics, and it’s true that his wit is clodhopping, his whimsy grotesque, everything is overplayed, in your face: but you have to climb aboard the film, get into its spirit, and then it really is a very lovely reversal of the usual nightmare.

The seventies brought more composer films, Mahler and Lisztomania, and also the rock opera Tommy, which earned Russell slightly better reviews as his boisterousness was judged more in keeping with the material (critics, it seemed, could not stand the idea of a filmmaker responding to classical music for its passion and energy, its rock ‘n’ roll qualities, rather than for its assumed civilising effect). Russell got away with showing Ann-Margret humping her cushions while slathered in feculent chocolate sauce, shot Tina Turner with a 6mm lens to uglify her as she thrashed around a steel sarcophagus studded with hypos, and put Elton John on ten-foot platform shoes.

Lisztomania is another movie that’s seen as marking the decline into lunacy: its producer, David Puttnam, hugely impressed by Russell’s flare and his ability to shoot Mahler after half the budget fell through, felt that ultimately the relentless negative press knocked his enfant terrible off-balance. Instead of rolling over in submission, Russell perversely doubled down on the excess and became a parody of himself. And he had already been a parody to begin with (but a parody without an original, unless we take him as a combined burlesque of all his cinematic influences). I’ve always adored Lisztomania, which knows it’s going too far, knows its japes and conceits are ludicrous and indefensible, knows it can’t get away with Roger Daltrey as Liszt and Ringo Starr as the Pope. And just. Doesn’t. Care.

Valentino, which marked the end of the Russell marriage (there would be a bunch more), was dismissed by Russell as the fag-end of his first British period, “everything about it was bored and boring, including me,” but it’s actually rather good. Nureyev as Valentino (well, he was used to being called Rudolph), Russell as Rex Ingram wielding a megaphone the size of a cannon. The twenties, as lived by Rambova, Dorothy Arzner, Fatty Arbuckle, or as dreamt by Mad Ken.

Russell had made his career in Britain at a time when the industry was in collapse: he largely missed the explosion of energy that marked Swinging London, the British new wave, and the only kitchen sink he liked was the one he was always throwing in. Now, the domestic business seemed to have expired of ennui, senile dementia and blood poisoning, but Hollywood beckoned. Russell was bottom of a long list of directors who all turned down Paddy Chayefsky’s Altered States, a late-mid-life crisis film about sensory deprivation tanks and psychedelics which takes John C. Lilley and fuses him with Dr. Jekyll. Russell took it on despite being forbidden from changing a line of dialogue, but got his revenge by having his actors speak fast -- like Jimmy Cagney fast, not so much throwing away their lines as firing them like tennis balls. And by having them eat at the same time. And by expanding the hallucination sequences until they took over the movie, so that they were all anyone talked about. Druggie audiences would hang out into the lobby, Russell gleefully reported, posting a sentry in the auditorium who would yell “Hallucination!” whenever one was starting, and everyone would rush back in to get a hit of audiovisual delirium.

A bit like Women in Love, Altered States benefited from the creative clash between director and writer (who took his name off the script in protest at Russell’s backhanded fidelity), but the reaction among respectable types was mainly a theatrical eye-roll: the maniac was up to his old tricks. Crimes of Passion, starring Kathleen Turner and Anthony Perkins, was next, with she as a Belle de Jour career girl by day, working girl by night, he as an insane sex-obsessed preacher, some forgettable soap opera type as leading man, the whole thing soaked in neon colors and spliced full of Bearsley and Hokusai, whom the American censor duly deleted in horror. “They cut out anything to do with art,” observed the filmmaker.

And that was it for America, save occasional pieces for HBO, progressively more televisual, the locked-off symmetrical winning out over the kinetic. Russell returned to the UK to make theatrical features, and again you heard the cry off “Whatever happened? He used to be good!” Gothic dealt with Byron and the Shelleys and the birth of Frankenstein, and was fruity, literate, dirty good fun. The Rainbow was a return to Women in Love territory, on a lower budget and with less energy and star wattage: Russell declared it his best film since that imagined zenith, and a few critics wanly agreed. The Lair of the White Worm was another journey beyond the pale, thrusting some of the same actors into a ludicrous vampire and snake goddess phallic farrago with Hugh Grant and a kilted Peter Capaldi attempting to snakecharm with bagpipes. A vampirized policeman gets his head impaled on a deco sundial. Marvelous. And the sequence was rounded out with Salome’s Last Dance, which stages Oscar Wilde’s biblical wet dream in a Victorian brothel, an inspired no-budget solution and a film which, unlike Altered States, really respects its words, lingering over them, rolling them salaciously over its tongue. Add in also Ken’s episode of Aria, in which he stages Nessun Dorma as an accident victim’s operating room hallucination, with porn mag model Linzi Drew, a new Russell favorite, in the lead.

Time was running out, the budgets shrinking like a Fu Manchu death chamber, the ceiling pressing down and clearly constraining what Russell could achieve, despite his continuing ambition. Lady Chatterley’s Lover for the BBC scored huge ratings, and he was never asked back. Commercial television’s top arts programme, The South Bank Show, run by Russell’s old screenwriter from Women in Love, Melvyn Bragg, kept him going with more-or-less annual commissions: he’d come full circle, or did when he moved back to home movies, shot in his garden or in his favorite Soho pub, which he hoped to “flog on the internet.” The symmetry of the career, its ourobousness, is more pleasing to contemplate than it must have been to live, though the last marriage lasted and was happy, and the ever-moving critical pendulum had reached the place where people were starting to say that The Devils and some of the other seventies work was really good, actually.

I can admire everything up until the final home movies, and maybe I’ll come round to them: Russell was right to admire all his earlier films. He spent decades more or less brushing off French Dressing, then saw it on TV and thought, “This is a masterpiece!” which it is. But only a minor one compared to what was those around it. Seaside-postcard humor, musical comedy performances, pop art imagery, Wagnerian and Stravinskian soundtracks, a defiant rejection of subtlety. “I don’t believe there’s any value in understatement […] This is the age of kicking people in the balls and telling them something and getting a reaction […] Picasso was not restrained, Mahler was not restrained!’” His detractors thought he should be, possibly in a straitjacket and with megadoses of Thorazine, but Russell was a volcanic eruption in cinematic form, a purple-faced tyrant of the Stroheim school, a demonic force driven to possess reels of celluloid and make them glow in the dark with a sugar rush radiation that has yet to decay. He was too big, too vulgar, too beautiful, too nasty and too beautiful for a national cinema mired in lethargic literary-theatrical respectability. “The visual arts have never had a foothold in England,” he sneered.

Ken!

Life is not a Ken Loach movie. It is a Ken Russell movie.

by David Cairns

#David Cairns #The Chiseler #Ken Russell

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mareyshelley · 6 years ago

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Since we’re 20 days into August, how about 1-20 of the writers ask meme?!?!?!?! #imtheworst 😄

This is madness, let’s do it.

1. Favourite place to write.Anywhere I can get comfy and either put my feet up or curl up with a blanket.

2. Favourite part of writing.All. Of. It. I love having an idea and being able to bring that to life.

3. Least favourite part of writing.I don’t really have a part I don’t like. It can be frustrating if a scene isn’t working, but then I work around it and it’s fun again.

4. Do you have writing habits or rituals?Not really? I do like playing some music, usually something with the right lyrics or sound/feel for what I’m writing. So I’ll stick on a playlist to write, but that’s about it.

5. Books or authors that influenced your style the most.It depends on the kind of story I want to write. I think every book/author I’ve read and enjoyed rubs off on me, but then some influence me more if I want to write something in that vein. Poe’s one of my favourite writers, but he only tends to influence my Victorian/Edwardian and more Gothic stories. He influenced The Image of Her more than anything.

6. Favourite character you ever created.I have a bunch for original works, but my favourite OCs from a fic are Azrael and Pruflas from this Lucifer series. I like Herz too but he’s a dick, so.

7. Favourite author.Edgar Allan Poe. That’s why my URL’s Mary Shelley. Recently I’ve been reading Erin Morgenstern and Brandon Sanderson, if you want more recent (and living) authors.

8. Favourite trope to write.The Monster Within. It’s my favourite of all the Gothic Tropes™ and I use it a lot. It’s like Jekyll and Hyde or Frankenstein and the creature.It’s the idea of, instead of the monster being an outside threat (as in regular horror) the monster is our own creation, something that comes from within us. In The Image of Her, Belle thinks the threat might come from the creepy old house itself, or the servants who’re never around, or the ghost boy, or her Byronic husband, but Surprise! Turns out she was the scary thing all along. In Lovelier Colours is a bit more obvious. It’s told from the POV of vampires who literally kill people. But are they really monsters? When you get a character’s POV, if it’s done right, you get to know them as a person. Is this old-fashioned, love-sick fool really a monster? (Yes, he kills people.) But is he really when he went to such lengths to save the woman he loves? (Yes.)Echoing Hearts is more subtle, but it still has this. Belle has a darkness of her own that speaks to her and tells her to do awful things. She’s literally hanging out with the Darkest Dark One to Ever Dark, Wish!Rumple, but he isn’t telling her to do anything bad. All of that comes from within Belle herself.Anyway, it’s my favourite trope and you’ll never stop me from talking about it or writing it.

9. Least favourite trope to write.I don’t really have an answer for this. If I don’t like a trope, I don’t write it.

10. Pick a writer to co-write a book with and tell us what you’d write about.I Choose You. It’d probably have some Beauty and the Beast element and be historical, maybe with a hint of fantasy. I’m thinking Edwardian. With magic. The main guy has to have a scar. There’s no reason for that. I just want it. That’s the setting and one (1) character. That’s all you’re getting. I can’t do all the work.

11. Describe your writing process from scratch to finish.I get an idea. I start writing the idea. I make notes on where I want the characters and plot to go, as I’m still writing the idea. I make a Table and plot out the idea as I’m writing it. I finish writing part of the idea, and I make you read it, and then I reread the idea. Then the idea is done. That’s it. I write it from start to finish. Sometimes I’ll have an idea for future scenes, or I’ll suddenly get an idea for a bit of dialogue or narrative for an upcoming part, but I never write out a full chapter until the one before it is finished. It’s easier to write stuff in order so I know where the characters and relationships are.

12. How do you deal with self-doubts?I don’t. I let it build up and try to ignore it until I can’t anymore and end up dying inside.

13. How do you deal with writers block?I don’t really get it. If I’m unsure of what to write next for a story, I just move to a different WIP and that usually helps. But I never just… can’t write anything at all.

14. What’s the most research you ever put into a book?I don’t do a lot of research for fantasy stories, but if I’m writing a period piece, then that’s when I’ll do the most research. And I’ll research stuff I don’t even need to research. I get distracted doing that and 84% of what I learn doesn’t even get used in the story.

15. Where does your inspiration come from?I wish I knew. Inspiration comes when I’m not looking for it. It can come from reading something else, or even writing something else. It could come from listening to a particularly good song, or when I’m forcing myself to come up with an idea because gdi I will write a Mermaid AU if it kills me. The inspiration for those ideas comes when I just start asking questions. What kinda setting do I want? If it’s a fanfic, which version of Rumple do I want to upset this time? Etc.

16. Where do you take your motivation from?I guess my motivation just comes from the fact that I love writing. I love literature. I read all the time. I study it. I always want to write, even when I’m tired or feel Not Good. Loving it is all the motivation I need.

17. On average, how much writing do you get done in a day?There isn’t really an average. It depends on my current WIPs, my mood, how busy that day is, the scene I have to write. On a good day I can do maybe 1k words, or just a few hundred on a bad day. As long as I’ve done something, I’m happy.

18. What’s your revision or rewriting process like?I put the old thing that I wanna revise/rewrite/kill in a 2x1 table, then I read through that as I rewrite it. So the old piece and the new piece are next to one another, and I can copy and paste from the old piece if there’s anything I wanna keep. Or, I straight up delete everything, cry, and start again.

19. First line of a WIP you’re working on.

He would have to marry soon.

That’s the first line of a WIP I’ve been working on for months. I’m determined to finish it, I just need time.

20. Post a snippet of a WIP you’re working on.

“How do we finalise this deal?” Belle asked, determined not to back out now no matter how stunned her certainty made him. “Should we sign somewhere?”

“No, no,” he said, finally making his decision. He curled his hand around her neck and a warmth spread across her chest. “There are better ways of finalising a deal such as this,” he added, all mirth and merriment replaced with a deep, gravelly tone. “One thing all marriages need to make them binding.”

Belle stared up at him, her cheeks flushing hot, and stepped closer.

“What?” she asked breathlessly.

“This.” Rumplestiltskin pulled her to him, holding her against his chest, and kissed her.

That’s from the same WIP. It’s all just the first draft, so it’s unedited.

#asks #maplesyrupao3 #lol #WHY #ignore typos #i'm tired #i didn't sleep #goodbye

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