Beyond the Barricade: Les Miserables (2012)

I'm a massive theatre geek. I even flirted with the idea of making my living in the performing arts at one time (instead I've decided to go the much safer route of writing... ha). Les Mis was one of my favorite musical scores growing up and I was excited to see how it would be brought to the main screen.
For those of you unfamiliar with the story, it's based off Victor Hugo's novel about the later years of the French Revolution. It follows the lives of impoverished people of France looking for a better life, for redemption. The main character is Jean Valjean, a convict who spent 19 years at hard labor for stealing a loaf of bread to save his sister's starving child. After he's released, an act of kindness makes him decide to turn his life around and he breaks his parole, changes his name, and starts again. Javert, a police inspector with a black and white view of morality makes it his mission to recapture Valjean.
The production had a very impressive cast on the whole. Stage and screen veteran, Hugh Jackman plays a sympathetic Valjean. He presents the aging of Valjean in a realistic manner. The sound of his voice seems to shift as time passes, especially in the finale of the film, you hear the sound of weakened, elderly man. Eddie Redmayne and Aaron Tveit are very strong as the young revolutionaries, Marius and Enjolras. Redmayne is not known for his singing, but has a clear voice deeply laden with emotion. The song "Heart Full of Love," (which isn't one of my favorite of the show due to its slightly cliche' lyrics) feels strangely genuine, giddy, and comical in Redmayne's hands. Tveit's theatre experience comes across in his commanding performance as leader of the students. I'm dissapointed he wasn't featured more on the posters and other press for the film.
The female cast was generally strong as well. Anne Hathaway was surprisingly adept at marrying emotion with vocal quality. Samantha Barks, familiar to Les Mis fans from her performance in the 25th Anniversary concert reprises her role as Eponine to good effect.
The only person who seemed miscast was Russell Crowe as Javert. Not a natural singer, he handles all his solo work decently, but at times it seems like he's putting to much focus on his singing. He has trouble balancing the acting in a scene while he's singing. Not that he's particularly bad, but when so much of the rest of the cast shines at that balance, it's easier to notice his deficit.
Overall, the film was very strong and emotionally resonant. There were many sniffles among the audience as early as a half an hour into the film. The score is extremely powerful. That's the quality that has brought theatre going audience to their feet for the past twenty five year and it continues to be effective in film. As the press for the film has made clear, the actors sang on set instead of pre-recording their music. It gives a more organic feel and allows for the actors to experiment and really perform the songs as they would in a theatrical setting.
The film medium allows them to explore the scale of the story more and even find some gritty moments about the poverty people live in. The death scenes (of course there are are death scenes) are handled well. One particular death of one of the barricade boys is done especially well, as he is draped out of a window like a flag.
Fans of the musical and of historical dramas will find many things to enjoy about the newest adaptation of Hugo's classic 19th novel.

Screnzy Slump

Slumps always happen during NaNo, but for some reason I keep forgetting about Script Frenzy. I open my email and see there's another "Script Frenzy Story" posted and suddenly remember the two scripts on my flash drive.
Looking through my script library (a left over from theatre school)I've noticed that most two act stage plays fall at about seventy pages. That's why I decided to write two pieces to total my word count. Still, I always feel my narrative voice is the strongest part of my writing so it's hard for me to be so dependent on dialogue.
I've also been avoiding the forums. For some reason they've been annoying me. Script Frenzy is supposed to be for, well, amateurs. Generally unpublished writers (like myself), but some of the questions on the forums bother me. It seems like many of the writers want to be handed a guide with all the "rules" for script writing, dictating how long all their scenes must be, how many characters they should have, etc. The "quick and dirty" tricks posted for reaching the goal used to amuse me, but again I've been finding them really annoying lately.
Maybe it's because I've been taking so many writing-centric classes and have been cracking down on myself to become a more serious writer to look toward making it my career. These challenges aren't just for fun for me, I may end up living off what I've been writing for NaNo and even Script Frenzy (hopefully).
Maybe I'm also just tired, overtaxed, and wishing summer were here. No doubt that compounds all my issues. The end of the semester is creeping up with an armful of papers and exams to dump in my lap. I also agreed to perform in two of my friends' directing class final, as well as my club president duties.
I'm not in a bad mood, exactly. The weather's been quite fine (I don't even mind the rain because it makes everything so green). I'm working on some exciting stories for the paper, I've been selling things on my Etsy, I'm going back to work at the Renaissance Faire this summer (I'm such a nerd, but I've missed having an excuse to wear a corset and sword fight with pirates), I was also invited to audition for a show that one of my professors is putting on in the fall. Good things are happening, I'm just not sure if I can dedicate the time to Script Frenzy this month. I'm also feeling like I might be growing in another direction as writer-- one that Screnzy and NaNo may not accommodate much longer. There is much for me to ponder.
Sorry for the wrong rant. I'm going to bed now.

Happy Script Frenzy!

Today is the first official day of Script Frenzy. I've written a few pages thus far. This year I'm working on two stage plays (probably one-acts, but we'll see). One is a melancholy family drama surrounding a funeral. This is conditionally called Firefly Jar. The second piece is an eccentric comedy called The Seduction of Peter.

I wish everyone well on their writing adventures this month. I've been working on the sequel to my murder mystery as well. I'm putting that aside this month to work on my scripts, but I have about 50 pages of the sequel so far on my computer and some notes to be typed up as well.

Also, happy Poetry Month!

Only Two Performances Left...

So I'm taking a brief breather.
It's been going well-- not too disasterous (yet). It's been a busy week of trying to keep up with school work, my Etsy, and this show. Still, I'm feeling good about what I've put into it.
Before tech started I finished The Crack in the Lens by Darlene Cypser, I haven't had time to write a review yet, but that will be forthcoming. I'm also reading Sister Carrie (mostly while I'm doing laundry or eating lunch) and slowly working my way through The Dubliners.
I also finally bought Mumford and Sons' album, Sigh No More. It's lovely.
I miss being involved in the theatre, I've realized. I haven't been keeping up with it on a local or national level like I used to-- I've been so focused on my English studies. I even let my subscription to American Theatre Magazine run out.
As I turn my thoughts back to playwriting, I'd like to become more theatre-literate again.

Tech Week Arrives

After the peaceful bliss that has been spring break, there will be a week of chaos known simply as tech week. For those of you that have theatre experience, I'm sure chills are already quivering up and down your spine at the very mention. However, if you are unfamiliar, I'll explain.
Tech is when all the lights, sound, and costumes are added to a production. Each of these components has a wide margin of disaster, so it means late nights fighting with breaking props, tearing seams, and things that just aren't working for the show.
What's more, we only have three days to tech before the show opens which adds to the tension and means even later nights.
Don't be surprised if I drop off the grid for a few days-- I shall return once I have (hopefully) done a run that Tennessee Williams would have been proud of.

Stephen Sondheim Talks Theatre

Earlier this week I went to see Stephen Sondheim lecture at a local college. Fortunately I was on spring break and the event was open to the public. For those of you that aren't familiar, Sondheim is one the most prolific and ingenious composers/lyricists to grace the musical theatre stage. The conversation was moderated by Frank Rich, a journalist from the New York Times that actually first met Sondheim when he wrote a review of the try-out production of Follies in his college newspaper. The production team stumbled across it and thought it a good assessment, so they met with him.
Student journalist that I am, that is a dream to imagine. I took extensive notes through the night that I will transcribe into an article for my college's paper. Here are some of the highlights of the night, however.
Rich took Sondheim through some "pivotal songs" of his career. They started with "Something's Coming" from West Side Story which was written during rehearsals in 48 hours according to Sondheim. He revealed that the music for "Gee, Officer Krupke" came from another show that Bernstein was working on, Candide. With that song, Sondheim was determined to have the first four letter word in a musical. However, they would have violated obscenities laws if they shipped the soundtrack over state lines, so the final line was changed to "Krup you!" and remains so to this day. It also turns out that Sondheim was not a fan of the movie of West Side, when asked what he thought of it he said, "Really? You really want to know?" The main problem was that he felt that the stage conventions did not translate well to film-- there was no realism or danger.
The next song was "Losing my Mind" from Follies (which is one of my personal favorites, I often entertain myself by singing and banging it out on the keyboard when I can't sleep). He purposefully made it in the style of torch songs such as Gershwin's "The Man I Love." Follies also took five years to get up, he wrote about eleven drafts by 1968, he admitted.
Rich seemed to like to throw out little details to see how Sondheim would react, when discussing Follies, Rich asked him if he discussed his writing with his therapist, "If by any chance you were in therapy...." Sondheim gracefully dodged taking the evening in a personal direction. Later, the song "I'm Still Here" from the show was also discussed. A lighthearted song full of innuendo, "Can That Boy Foxtrot" originally filled that slot in the show, but they decided to put a more serious song in it's place. Even if it didn't stop the show, "The audience will know they've been served a meal..." said Sondheim.
"Being Alive" from Company came next and Rich and Sondheim discussed that though the emotions of such songs are universal, the specific way the lyrics are written makes this a male song in the same way "Losing my Mind" is a female song. Another prickly personal detail was revealed by Rich, who pointed out that Sondheim had 'never been in a committed relationship' at the time he wrote Company. Sondheim said he never thought to himself, "I can write about myself through the guise of Bobby." The themes of yearning for connection are pretty universal, especially in the theatre. "An awful lot of yearning goes on in the theatre," said Sondheim.
A Little Night Music and "Send in the Clowns" came next. Sondheim seemed genuinely surprised that this particular song became such a hit where songs like "Losing my Mind" never did (until Liza Minnelli and The Pet Shop Boys got their hands on it any way).
"Sunday" from Sunday in the Park with George is one of Sondheim's few choral pieces (the opening of Company was the first he ever attempted). The song, performed by a group of people immortalized in a painting finally culminates to the word "Forever." "Forever-- when I wrote that, I cried," confessed Sondheim.
Sondheim said that the biggest failure of his career was Do I Hear a Waltz. It was a failure because unlike some shows that were panned by critics (like Sweeney Todd on it's first outing in London, in spite of it being Sondheim's "Love letter to London."), it was received "politely." What made it a failure was the fact that he wrote it for the wrong reasons, there was "No passion, no blood, no reason to be," Sondheim said.
Near the end of the evening he took some questions that the audience had scribbled on scraps of paper beforehand. His advice for young theatre writers was not to write for Broadway, but just keep writing. He also said that the most creative person he ever worked with was Jerome Robbins, Robbins was creative on many levels, he would apparently even invent games at parties.
What's next for Sondheim? There is a production of Company staring Neil Patrick Harris, Stephen Colbert, and Patti Lupone coming up as well as Follies starring Bernadette Peters in DC and Roadshow in London. Sondheim himself is not working on any new shows currently, but writing the sequel to his book Finishing the Hat, his collected lyrics with commentary and essays. The second volume, Look, I Made a Hat will contain "Essays that will irritate a lot of people," Sondheim said.
It was a great evening and now that I've been in the same room as Sondheim, I have one to two degrees of separation from practically everyone on Broadway over the past fifty years. Unfortunately we weren't allowed to take photos, but the entire evening was filmed for an upcoming documentary on Sondheim. He was extremely well spoken and very funny. Even my father, who isn't a huge musical theatre fan (but I dragged him along anyway), was very impressed with him and interested in seeing more of his shows.

Script Frenzy 2011

I was going to do the Frenzy last year, I even signed up and outlined an idea. Then I just didn't bother. I had spring fever and I was in play. This year I am actually making a valid attempt. I even have an idea.

I haven't written anything for the stage since my play writing class two years ago. However, working on and seeing new plays lately has made me miss my dusty days building sets, cranking out dialogue and working on production after production in some capacity. In some respects, college theatre is great because the shows have a large budget and a whole department backing them, so the sets and costumes are all stocked. In other ways I really miss working in tiny crappy spaces with no money and being involved in making and finding everything. It made you feel like it was your play, not just some show you were in. You bled for it (often literally). I think it created some of the most poignant, entertaining work because, in a way, you suffered for it. It forced you to think outside the box. You had to make it worth it. That's drama in itself.

Right now my idea is something like a family drama in the vein of Eugene O'Neil and Tennessee Williams, but more modern and with a female central character. I know I can only aspire to be anywhere near as beautiful and lasting as their work, but it feels like something I could play with. It will be very melancholy, but with touches of dark humor. I know how it will begin and I know how it will end. It's all about stringing it together now and figuring out which characters to show and which to keep off-stage.

This could be a good project. I wasn't intending to do Frenzy, but then I had this idea. It seems very fortuitous.

A Whirlwind of Theatre

Sorry my updates have been rather spaced out I'm in the midst of rehearsing several Tennessee Williams plays for performance next month while teching (and now performing) a production of The Vagina Monologues that our college is presenting. All the proceeds are going to a local women's shelter.
I'll, be honest, I was rather squeamish about the idea at first, but it's a really touching show that makes you realize how much women are still victimized around the world and in this country. I'm glad that I've been able to contribute.
Of course, due to the stress, lack of sleep, and fact that I've been living off sandwiches and iced tea, I'm now sick. That makes rehearsals and performances even more tiring.
I think Tennessee Williams has been inspiring me. I took a playwriting class a few years ago and was disappointed with my results. My play didn't become what I had envisioned by the time it needed to be presented in the play festival we held. I haven't really done anything in the way of writing for the stage since, but I've been thinking about it more lately. Maybe I'll give it a go during April's Script Frenzy.

The Tail End of Winter Break

The Spring semester starts in two days. I've enjoyed almost four weeks of *wild debauchery* that is now coming to an end.
By wild debauchery of course, I mean I've read several lovely books that weren't required for classes, I've had a few semi-spontaneous social interactions, made lip balm, consumed copious amounts of tea and toast, and I've accomplished a great deal of writing as well- none of which was class required. What can I say? I'm quite the delinquent. Honestly, I dread giving up the liberty to do what I want with my time for a somewhat rigorous schedule of classes, club meetings, and rehearsals.
I like having time to talk to my characters and nurture my stories.
My short story for the Jane Austen Made Me Do It contest isn't going as well as I'd hoped, unfortunately. I only have a few pages and I feel like it's not Austen enough. I actually scrapped my initial attempt and started over- but it still isn't hitting the note I want it to. It needs some work shopping.
All my textbooks have arrived, I am taking some interesting classes this semester at least. I'm also in a Tennessee Williams play- I adore him.

My Motto for the Day

This weekend was my first Forensic Speech tournament and I was nervous. I was thrown into one event only this week, so I was very nervous. One off our assistant coaches made us little slips of paper with inspiration quotations and pictures. I don't know if she did this purposely for me, because I'm an Anglophile, but she put "Keep Calm and Carry On" in the corner and it was my motto all tournament.
I knew I wouldn't be coming in top rankings my first time out, in fact I knew in some events I wouldn't even make near the finals, but I kept on. And I made it to finals on two events this weekend.
So, I'm looking to next weekend, hoping that it's only up from here.

Forensic Speech

Possibly the nerdiest competition in the world, Forensic Speech has nothing to do with science and dead bodies, it is a competitive speaking competition involving informative, persuasive and interpretive speaking.
So a combination of English and an almost element? Of course I joined the college's team. It's a clever way of keeping my theatre scholarship, but it's a lot of hard work. I'm currently piecing together a Program Oral Interpretation or POI. That is where you select various cuttings of poetry, prose and dramatic text that have a similar theme or subject and you build a program that weaves them together. So far I have two poems, one prose and one dramatic piece and I'm trying to find and work in a few more. The whole thing has to run 10 minutes when performed, it's harder to get the timing right than it would seem.
Since I haven't taken my program out to competition yet, I won't say what it's on, but I think it's clever and that some of my texts are original. But, that's what I've been up to lately. My first competition is coming up soon!
Next I'd like to get an After Dinner Speaking piece ready- ADS is an informative or persuasive speech that is performed in a comedic way. I was hoping to have mine ready for my first competition, but it's taking a while to come together. I think I have a good subject and it will be fabulous by the November competition I'm taking it to.
Must go Forensicate now.

Banned Book of the Day: The Great Gatsby

I'm starting my Banned Books Week celebration a little early because I'm feeling down and nothing perks me up like a lively literary discussion.
As some of my regular readers know, I read The Great Gatsby for the first time this summer. In spite of my hesitance, I discovered that I loved it. It was a beautifully tragic novel with a theme just as modern as when it was first published. Whether the ALA's list of top 100 Banned or Challenged Classics is in any sort of order or not is unclear, but either way, The Great Gatsby is the first book on the list. Also on the site, some reasons and instances of banning are listed. Here is the reason given for Gatsby:
"Challenged at the Baptist College in Charleston, SC (1987) because of "language and sexual references in the book." Source: 2010 Banned Books Resource Guide by Robert P. Doyle."

After my initial reaction of "What?" I truly thought about the content of the book and though there are themes that might be unpleasant or involved sexuality, there is nothing explicit. Not explicit enough to gain my notice. The language, I remember being quite mild especially compared to much of the film and literature present at 1987, the year mentioned for the challenging.
Perhaps I wouldn't recommend it for my eight year old nephew, but it is an important novel that I believe every high schooler should experience.

Mainly why I decided to post on this tonight is because The Elevator Repair Service is doing another production of Gatz starting the 26th at the Public Theatre in New York. After Performing it all over the world, ERS is finally bringing it to New York City. The six hour performance (with two intermissions and a dinner break) performs the complete text of F. Scott Fitzgerald's novel.
The company is also just coming off the run of their adaptation of Hemingway's The Sun Also Rises. Incidentally, another top 100 Challenged Classic, number 20 on their current list.

Real Life Stuff

So I have been busy lately working at my “real job” by real I mean there are regular paychecks and stupid things I don’t want to do but have to. It’s actually not that bad, I’ve worked at far stupider places for less money. The weather’s been giving me migraines (and blew down my poor tent) so I haven’t been writing as much as I’d like to.
I also realized I completely missed this years’ Tony Awards. Some theatre geek I am. I somehow forgot it was on. Oh well.

Jane Austen and Getting Plastered

These two things are not connected, I would never imply that Miss Austen would behave indiscreetly at a public gathering or in even private. However I would like to note that today is her birthday. Her 234th birthday if my math is correct. What with all the turmoil surrounding her lately with paraliterature and poor adaptations, I suggest that in remembrance of her work, pure and untouched by others, we take a moment to read some favorite passages today. Northanger Abbey here I come! Though not very popular, I think it is hilarious. What are your favorites?

Now to the "getting plastered" bit which I'm sure sounds scandalous. Well, you may be dissapointed, but I mean it literally. An aquaintance of mine is directing an updated version of an ancient Greek play in the spring. To help out with her lack of actors I auditioned and was cast. Part of her vision for the piece is to have the players masked and perform in almost a pantomine style while the chorus narrates. last night we made my mask.
If you have never had strips of plaster soaked gauze applied to your face, you probably don't know how trippy it is. First you have thick greasy layer of vaseline applied to your face and straws pushed up your nose to enable breathing (always important). When first applied the strips almost feel nice, like a thick, damp second skin. Slowly though, they harden and draw away slightly, but are still somehow stuck to you; I imagine it's what an exoskeleton feels like. When it was set the plaster ended up sticking to my face more than it should have and left bits clinging to my red, irritated flesh. Due to the cumbersome and quick-drying nature of the paster paste applied over top the gauze, drops ended up in my hair and in my eyelashes. The latter led to me getting plaster dust in my eye.
As I washed my face with shampoo- which my friend supplied, assuring me it was fine for my skin- I reminded myself how much I love the theatre, and how lucky I was not to be the girl that is playing my daughter (in spite of our closeness in age). She ended up with a glop of plaster paste in her mouth which had to stay there for the fifteen minutes it took to set her mask. I realized too late that some photographic evidence should have been taken. Oh well.