Showing posts with label theatre. Show all posts
Showing posts with label theatre. Show all posts

August 11, 2012

Acting + Character Longevity



Today, I was just doing a random search on YouTube - -as one does on a lazy Saturday -- and came across a video that showed "morphing" sequences from the Mighty Morphin Power Rangers series that was popular back when I was in middle school.  (It wasn't the video above -- but this is still enough to give you the idea.)  Oddly enough, there was one particular comment on that video that had given me some pause for reflection as a performer.

The comment had referred to the actor Jason David Frank, who had portrayed the character Tommy on the Power Rangers series through several incarnations.  The comment had essentially posed the following question:  how is it possible for an actor to do the same gig for so long?

And here is my answer/musing about it.  To be honest, that is something that a lot of actors dream about -- if for no other reason than it provides them with a steady paycheck, hehe.  But all joking aside, I, as an amateur actress, have grown quite fond of some of the characters I have played, and wish that I could still be playing them.  As an actor, one often gets fond of being "in a character's skin", so to speak ... especially once one has spent so much time trying to get into a character's skin.

Although I must admit that character longevity seems to happen more often on stage than it does in movies or on TV -- and it's something that stage actors covet.  Take, for example, the Russian actor Yul Brynner.  He played the role of The King of Siam in The King and I more than 4,500 times on stage.  (Can you imagine that?)  This does not include playing the role in the movie version in 1956 (seen below).  He became so immersed in/attached to this role that, after shaving his head in order to take the role, he adopted the look as his own, and kept the shaven head for the rest of his life.



One might also consider Michael Crawford, who originated the role of The Phantom on stage in The Phantom of the Opera.  He performed the role on stage nearly 2,000 times.  (And this role surely involved quite a bit of time sitting in the makeup chair, in order to add the facial deformities!)  According to Michael's Wikipedia article, he admits to having somewhat of an emotional attachment to the role, and being broken up at finally leaving it.


But what do my fellow actors out there think?  Would you want to stick with a gig for that long?  Have you ever been so fond of a role that you weren't ready to give it up at closing?

July 17, 2011

Stephen Sondheim and I

For me, Stephen Sondheim is one of the “Holy Trinity” of Broadway musical composers – along with Rodgers & Hammerstein and Andrew Lloyd Webber.  I guess I first became acquainted with the work of Stephen Sondheim when I was in high school, when my drama teacher showed the class a video of “Into the Woods” – a musical involving many well-known fairy tale characters (Little Red Riding Hood, Cinderella, Rapunzel, etc.) being put into some very real situations.

While I liked the story, I was not conscious at that time that The Name Of The Guy Who Wrote The Music For This Is Stephen Sondheim, And I Should Try To Look Up Some More Of His Work.  hehe.  I became fully conscious of Sondheim many years later, when I was in college and I heard the soundtrack to the show “Sweeney Todd” for the first time.  “Sweeney Todd” is a musical thriller about a barber who slits the throats of his customers, then gets rid of the bodies by giving them to a pie shop owner, who grinds them up and uses them as filler for her meat pies!  I had chills the first time I heard the music from that show.  Some of you may recall that they made a film adaptation of it about 4 years ago, starring Johnny Depp as Sweeney Todd.

And I also just became acquainted with another show of his, “Company”, which my theatre group will be performing in Spring of next year.  It’s about a guy who is celebrating his 35th birthday – most of his friends are married and he’s not sure if that’s what he wants.  This particular song is the one that I can’t get out of my head.  hehe!  Buzz is that they’re making this into a movie too, starring Neil Patrick Harris.

June 12, 2011

T.G.I.F. + TV + Tonys!

BIG pop culture day today!  First off, today is the world premiere of the music video for Katy Perry’s latest single:  “Last Friday Night (T.G.I.F.)”  The vid features several cameos from many well-known faces such as Darren Criss and Kevin McHale from the smash hit TV show Glee, cewebrity Rebecca Black, and 90s music stars Hanson and Kenny G.

Theatre buffs will have their eyes glued to the Tony Awards tonight, which will be hosted by Neil Patrick Harris.  In the US, the awards will be broadcast on CBS – check your local listings for time and channel.  You can check out the nominees and choose your favorites at the official website for the Tony Awards!

And those of you who have been watching Oprah Winfrey’s new television network – which she has been focusing on since finishing the run of her show – tonight, you’ll get to watch the premiere of Finding Sarah, which chronicles the personal struggles of Sarah Ferguson, the former Duchess of York.  Check the Oprah Winfrey Network website for time and channel in your location.

My Latest Theatrical Endeavor

I have just been cast in Crown Point Community Theatre's production of Shakespeare’s “The Taming of the Shrew” this summer!  This is a featurette of the late, great Elizabeth Taylor playing Kate – the “shrew” of the title – in the 1967 film adaptation;  Richard Burton (Taylor’s husband at the time) plays opposite her as Petruchio, who tries to win Kate’s heart in spite of her reluctance.  The rest of the cast and I will definitely be posting updates on the CPCT blog, so go check that out!  Also stay up-to-date by visiting our website, http://www.cpct.biz.

If you’d like some more information about the “Taming of the Shrew” story, you can check out the article on Wikipedia, or you can even read the entire play -- complete with side-by-sides of the original words and a more “modernized” translation -- on the No Fear Shakespeare section of SparkNotes.

June 11, 2011

Rules

Movie buffs and pop-culture freaks on the Internet have been abuzz about how the Alamo Drafthouse, a dine-in movie theatre chain based out of Austin, TX, had thrown a texting patron out after two warnings, then made a PSA of the angry (and perhaps slightly inebriated?) voicemail she had left in response to being kicked out without a refund.

What I can say about it is this:  there is a difference between watching a movie in a theatre and watching it at home by yourself/with friends.  At the movie theatre, you, as part of the audience, do not have the luxury of a pause or rewind button.  So when most people (or at least, when I) go to the movie theatre, they want to watch the MOVIE – they don’t want to hear any of your extraneous commentary.  They don’t want to hear about your drama with your boyfriend/girlfriend.  They don’t want to hear you ask your wife to pick up a gallon of milk on her way home.  When we go to the movie theatre, we want to pay attention to what’s going on on-screen.  We don’t want to read the text that you’re sending to your bestie.  We don’t want to see your unnecessarily detailed play-by-play on Twitter.

Same goes with live theatre.  This past winter, I was the House Manager for Crown Point Community Theatre's production of “Inherit the Wind”.  Before each show, we do make it a point to tell people to turn off their cell phones, to avoid using flash photography, to be quiet, and to keep purses, hands, feet, and children out of the aisles.  Nonetheless, during one performance, there was a couple who brought a 2-3 year old child that they could not keep quiet, nor keep out of the aisles.  During intermission, a member of the tech crew complained to me, so I sat by them and kept an eye on it.  Halfway through the second act, they got up and left, much to my (and the audience’s) relief.

Now, this is not to say that I don’t love kids.  I worked with kids for a number of years.  Kids are great.  But if you, as a parent, cannot keep control of them – or if you know that your child is too young to have the attention span to keep quiet in a show – then maybe it is best not to bring them.

And people don’t make these rules up just to be jerks.  Whether the rules make sense to everyone or not, they are most often there for a reason.  Talking loudly and texting IS a distraction, in both live theatre and cinema.  It distracts both your fellow patrons AND also, in the case of live theatre, the performers – who are working their butts off to give you and the other patrons the best possible performance they can.  Leaving your huge purse in the aisle, or just letting your child lay in the middle of it, is dangerous for your fellows in the audience.  In the case of live theatre, it is also dangerous for tech crew who are moving around during the show, and to performers who may be trying to make an exit/entrance through the aisles.

I've witnessed this lack of respect for rules in the professional environment as well.  I work in a call center as a telemarketer.  It is the company’s strict policy that no cell phones are permitted anywhere in the building.  It might seem a little harsh, but there’s a reason for it:  it is a fairly well-known fact that in the past decade, cameras – cameras that record both still photos and video – have become standard features on most cell phones.  Our center has many different sales campaigns that operate out of it, all of which deal with a large volume of highly sensitive personal information in one respect or another.  This poses a security risk, because we do not want any pictures to get out of any of this personal information, either deliberately or inadvertently.  This is why cell phones are not supposed to be allowed in the building, and this is why it is company policy that having a cell phone in the building is grounds for termination.

All the same, my supervisor called our entire unit up one day this past week, giving us a lecture because she had found THREE of us within the unit with cell phones at their desks. Keep in mind that this was also on a day when we had executives from one of our campaigns in the building!

All I could do was shake my head at the stupidity, and I recalled a few instances that occurred when I worked in daycare.  As I imagine is the case in most states, all daycare centers in the state of Indiana MUST be licensed by the Indiana Family and Social Services Adminstration (known colloquially in daycare circles as “State”) in order to keep operating.  In order to obtain and keep its license, a center must be inspected annually by State, and comply to each and every regulation given by State.  State has regulations for everything – from what kinds of toys should be available and always accessible for each age group, right down to the exact procedure for changing a diaper.  And each of these regulations must be strictly followed.

The point I’m trying to get to is that even my boss at the daycare didn’t agree with each and every regulation given by State. But she understood that State had reasons for these regulations, and if she wanted to keep her center open, she had to make sure that we complied.

So rules aren’t there just so that people can go on power trips and spoil your fun.  There are reasons for them.  So respect them.  If you can’t do that, you can find the door.

June 14, 2010

The Tony Awards

Last night's Tony Awards were described by some of this humble blogger's acquaintances as "a hot mess".  The #tonys hashtag on Twitter was full of people complaining about the audio gaffes, as well as a few of the performances.  (In particular, Catherine Zeta-Jones' rendition of Sondheim's "Send In the Clowns" got a lot of mixed reaction.)  We also saw an ever-increasing number of film and television actors transitioning over to the stage, with Denzel Washington winning his first Tony for his performance in this year's revival of Fences, which also got the win for Best Revival of a Play.

Nonetheless, it had some very touching highlights.  Of course, there was also lots of fangirling out of me to see some of my favorite ladies of Broadway -- Kristin Chenoweth, Idina Menzel, Bernadette Peters, and Angela Lansbury -- as well as much coveting of Scarlett Johansson's dress.  It also featured a number of plays and musicals that I would be very excited to see.  I'm hoping that some of them will go on national tours soon, so that I might get the chance to see them in Chicago.  Maybe before my birthday in less than a month?  Hint hint?  ;-)  HINT HINT?  Anyway, here's a list of them.



FELA!  The Musical - Produced for Broadway by Shawn "Jay-Z" Carter, Will Smith, and Jada Pinkett Smith, "Fela!" is a celebration of the life and work of Nigerian musician and political activist Fela Kuti.  Fela Kuti is one of many artists responsible for bringing the Afrobeat genre to a global audience, and this musical features a number of his best-known songs.  From what I saw at the Tonys, it is an explosive, colorful musical featuring fantastic music and spectacular choreography.  In fact, Bill T. Jones took home the Tony for Best Choreography last night for this show.  Visit the official site for ticket info, news, and more!




In The Next Room, or the vibrator play - "In The Next Room" is a comedic look at late Victorian-era methods for treating what they called "female hysteria" -- or what in truth is female sexual arousal/frustration/tension.  Yes, "hysteria" was a commonly given -- and medically treated -- diagnosis at the time, and doctors would actually treat it by using what amounts to an electric vibrator.  (Read more info about all this at Wikipedia.)  But this play is more than just a silly comedy with a scandalous gimmick;  it's about love and relationships as well.  It appears as though the play is not currently open on Broadway, but I do hope to see it performed soon, in both professional and community theatre companies all over!



La Cage Aux Folles - The campy and riotous musical about Georges and Albin, a gay male couple who have been in a relationship for many years, and own a nightclub in Saint-Tropez. Georges works at the club as the emcee, and Albin is the headliner, performing in drag under the name Zaza. Georges also has a son who is engaged to a woman. When Georges' son wants to introduce his fiancĂ©e's rigid and conservative parents to Georges and Albin, hilarity ensues. This revival took home the Tony last night for Best Revival of a Musical.  The revival stars Kelsey Grammer as Georges, and Douglas Hodge as Albin/Zaza.  Their performance at the awards last night was one of the highlights of the ceremony, so if you can get a chance to see it, it is not to be missed!  Visit the official site for ticket info, news, and more!




Memphis - And the Tony winner last night for Best Musical!  It's about the early days of rock n' roll, underground clubs, the corruption and segregation of radio stations, and the racial tension in general that punctuated the time period.  It was said by many Tony tweeters last night that the "Memphis" performance at the ceremony did not do the actual show justice.  I would really like to see if the word on the Tweet was right.  Visit the official site for ticket info, news, and more!

April 14, 2010

Hedwig and the Angry Inch


Hedwig and the Angry Inch (2001, directed by John Cameron Mitchell)  - Continuing with my current penchant for television and movies with a drag and/or transgender theme, this is the film adaptation of the off-Broadway musical.  Along with directing the film version of the show, John Cameron Mitchell also wrote the score and starred as the title character on stage.  There has reportedly been talk of bringing this show to Broadway (which would be great), and David Bowie himself co-produced the Los Angeles production of the show.

To briefly summarize the plot, Hedwig (Mitchell) is the transgender frontwoman for the "internationally ignored" punk band, Hedwig and the Angry Inch.  She goes from town to town, playing mediocre gigs with her band on a tour that is attempting to parallel that of Tommy Gnosis (Michael Pitt), a much more successful young rock musician.  Hedwig claims that Tommy "learned everything he knows" from her, and that Tommy stole songs that she wrote.  Along the way, we hear Hedwig recount her life story to the audiences she meets:  growing up in communist East Germany as a "girlyboy" who worshipped punk and philosophy, the relationship with an American soldier that prompted Hedwig to agree to a sex change operation (which ended up being botched), her arrival in an army base town in America as the soldier's wife, only to have the soldier walk out on her while she watched the Berlin Wall come down on TV, and finally, the formation of her band and her relationship with Tommy.

It is a really well put-together story, and it seemed to me as though there was something not quite linear in the way the story was presented.  (If you know anything about me, then you know I can always appreciate a good non-linear plot!)  It's also got some really great music in it -- in fact, there is an album out entitled Wig In A Box, in which many well-known rock acts perform tunes from the film/show.  In my opinion, this belongs alongside the greatest "rock" themed musicals of all time.

Watch Ticketmaster to keep tabs on any upcoming stage productions of Hedwig and the Angry Inch near you.  You can also purchase the film, the soundtracks for both the film and the stage show, as well as the tribute album, Wig in a Box, from my Amazon.com associate store!

January 28, 2010

Best Rock Operas

How does one define a "rock opera" exactly? Well, I consider a "rock opera" to be something that isn't necessarily opera, but still involves more singing than speaking. Here are a few rock operas that are my personal favorites.

Before I begin, however, a few informative tidbits: Album recordings for all the shows mentioned in the following article are quite easily available; you can find them at pretty much any music retailer (iTunes, Amazon, etc.). In addition, all film versions mentioned should also be easily available for purchase or rent via the vendor of your choice. Visit Ticketmaster's Broadway page to purchase tickets to the productions that are currently running on Broadway in New York City, or click here to use Ticketmaster to find a show near you. My fellow Chicagoland residents can also visit Broadway In Chicago to find out the latest information about any Broadway productions that are in town, as well as those coming up.