Singing Frenchmen and Buff Vampires

Somewhere, in the craziness that was midterms, finals and party planning, I never got around to talking about two rather stunning visual art forms I encountered. So, as a bit of post-holiday catch-up, here it goes:

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Les Miserable: I saw this at the Orpheum with [Львица], [The Question], and [save the panzer]. I'd been fortunate enough to see it when I was fourteen at the Ordway back on one of it's previous tours and totally feel in love with it. It's my favorite show, now tied with La Cage. I'm a total sucker for the music; I absolutely love it (especially "Empty Chairs at Empty Tables" - someone once mentioned it in connection to Torchwood on Tumblr and I can't get it out of my head. I was totally thinking of Jack singing it after he's lost half the team during the actual show... God, I am way to devoted to this show; it's usurped the plot of a Tony-award winning musical!) The show was good - Valjean was great, Javert was wonderful, and Marius, who too often can be kind of wimpy, was PERFECT. I've never really liked his character but that night I realized he's the one I sympathize with most - the one who wants to change the world but doesn't want to get swept up into radicalism to do so. Cosette was typically weak, Fantine was a disappointment, but Eponine was wonderful. And Enjolras looked like Roger Daltrey. So win. It wasn't quite as stunning as it had been the first time - maybe because I knew what was coming and because I liked the staging of it at the Ordway just a little better - but it was still an excellent show.

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Fright Night: I had wanted to see this movie over the summer because it had Colin Farrell in it, and Anton Yelchin, also known as "that funny guy from Charlie Bartlett." I'm usually not into remakes but, having never seen the original and DESPERATELY WANTING a movie in which vampires are actually SCARY, I really wanted to see it. I didn't get the chance but then this winter I realized, with my new-found Doctor Who obsession that David Tennant was in it. So my longing to see it tripled.

I know what you're thinking - revamp (hah, pun intended) of an 80s horror movie? Probably going to be lame with gratuitous gore. NOPE. NOT AT ALL. I am not a big horror movie fan. I don't like gore. And they generally have shitty plots. I haven't seen the original - and apparently all fans of it hated the remake. SO I have nothing to compare it to (well, I do, but not plot-wise). That being said...

THIS MOVIE ROCKED. SERIOUSLY. I LOVED IT. Maybe I'm desensitized, but I didn't think it was that gory (have you seen CSI lately? Jesus, last time I saw it, it was WAY grosser than it was when I was thirteen). I liked the characters. I liked that it was humorous. And I liked the fact that Colin Farrell was hot and FUCKING SCARY. But not so scary that I felt like I would never sleep again.

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Also, David Tennant was an epic win. I'm probably just saying that because of the leather pants. But seriously, I thought he was great.

WINNING

Fright Night has really become my favorite horror movie. Seriously. I'm not really a good person to judge on that, I suppose, since horror movies aren't really my favorite sort of film (too many years of watching bad Sci-Fi channel creations and having enough nightmares without watching horror movies, thank you very much).  But I really like the balance of humor with the horror elements. And I like that it used a teenager plot line without being totally campy or stereotypical about it.

So, yeah, if you want a something that's not super scary, not Twilight and mind-fuckingly gory, I recommend this. Also, you know, the Doctor Who connection doesn't hurt.

Sorry, had to use this damn gif. Blame Tumblr. Actually, what the hell am I apologizing for? I'm not sorry at all ;)

Haunted by Sondheim

This seems to be a week about Broadway and hauntings. Seriously, this is the second post in two days about Broadway taking over my mind. Watch this video below to see why:

What do you know... it's John Barrowman again. What are the odds of that, right? barrowmanilove on Tumblr posted this the other morning and I watched this and nearly fell out of my chair. Because I love Sondheim. And I love John Barrowman. And George Hearn is pretty freaking amazing. So this is a total win. It's also from Sweeny Todd, which just happened to be my favorite musical/ movie in my junior year of high school (it was the first R rated movie I saw in theaters... ah, fond memories). And I love this song. Though in the context of the show, it's a totally whack - Todd, which is the part Barrowman is singing, is about to kill Judge Turpin, the part Hearn is singing, because Turpin seduced his wife, kidnapped his daughter, and totally ruined Todd's life in general. So yeah. Though I have to admit, seeing Barrowman and Hearn play those parts would be pretty wild, though I do like the much more amicable version of this. :)

And while listening to "Pretty Women," I stumbled across this video:

Melt... just... melt. This song is SOOOO beautiful. But I felt like there had to be a catch (especially as people kept commenting that the song was so lovely out of context). Then I saw that it was from Assassins. And I knew we were in trouble.

This will be another example of how everything in my life comes full circle. Assassins was mentioned in a class I took last semester, taught by [tedesco]. In fact, on the first day of class, two students acted out part of the play the musical is based on as a mind-blowing way of starting the class. And then when watched a clip from The Producers (the bit with John Barrowman singing "Springtime For Hitler," but I didn't know that was him yet :P). Because the class was a study of how history is made, we spent a lot of time talking about history being made in not-so pretty ways, like assassinating and killing people. Which is exactly what Assassins is about.

Here's a short description about it, via Wikipedia:

It uses the premise of a murderous carnival game to produce a revue-style portrayal of men and women who attempted (successfully or otherwise) to assassinate Presidents of the United States. The music varies to reflect the popular music of the eras depicted.

And...

By developing the characters of historic assassins out of the slim biographical information found in the daily news, Assassins prompts us to consider their motivation. "(Sondheim) confronts pain in order to cauterize the decay and heal the sicknesses which lurk at the core of our society". Departing from the humanism of his previous musical Into the Woods, Sondheim suggests that political murderers are a product of the American political culture (Joanne Gordon).^[18]

At this point in the musical when "Unworthy of Your Love" appears, John Hinckley, the man who attempted to assassinate Ronald Reagan, is visited by Lynette Fromme, a woman who tried to kill Gerald Ford. Here's how Wiki describes it:

John Hinckley sits in his rumpus room, aimlessly playing a guitar. Lynette Fromme enters and tries to convince him to play her a song (asking for "Helter Skelter"), but he refuses. Fromme notices a picture of Jodie Foster, who Hinckley claims is his girlfriend. When Fromme realizes the picture is a publicity photo from a film, she pulls out of a picture of Charles Manson and mocks Hinckley for being in love with a woman he's never met, which makes him throw her out in a fit of rage. Alone, he swears that he will win Foster's love "with one brave, historic act" and sings a love song to her while Fromme individually does the same to Manson ("Unworthy Of Your Love").

Totally changes your feelings about the song, right? I felt... kind of disturbed, to say the least. Which is the point. It's how I feel every time I listen to "A Little Priest" and am like, "hey this song is great. Hold on, it's about CANNIBALISM." And then I get this wonderful, terrible sense of cognitive dissonance. Sondheim is very, very good at making me do this. Not that all of his music is dark; it's not. He's just really good about making things dark and disturbing - and yet sympathetic.

So, I can't help liking the song as a traditional love song (if a very intense, emotional one). But it's kind of weird and unsettling to know how it's performed in the musical. That's the vibe I get with a lot of Sondheim's music - it could fit into a lot of scenarios, but the one's they actually apply to are sometimes totally unexpected. Which makes them all the more powerful and beautiful and disturbing. And haunting.

And thus I've had "Unworthy of Your Love" stuck in my head for the last two days. And it kind of freaks me out. But, you know, I always feel a bit freaked out when I get a song as powerful as this one stuck in my head. Because there's no getting it out. I'm just stuck with it for now, so I might as well revel in its power. Sondheim, you win again :)

Good And Evil

Yesterday, while I was at home, I had the sudden urge to add all the albums that I have of musicals onto my iPod. I haven't done this before because of space issues on my computer but now that my iTunes is on a back-up drive...well, I can add as many songs as I want.

So after this epic upload, I was listening to the music from one of my favorite shows, Jekyll and Hyde. I got obsessed with it in 2002 when I discovered Linda Eder (a Broadway performer who was raised in Minnesota). I seriously listened to this soundtrack for nearly the entire winter, so now that whenever I listen to it after not hearing it for a long time, the first thing I see is snowfall and Christmas lights. I was also lucky enough to see it performed by Burnsville High School, who has one of the most incredible theater programs in the south suburbs. They were even doing a showing of it somewhere in Scotland as I saw ads for it in Glasgow and regretted the fact that there was no way I was going to be able to go. Despite the fact that it's not that well-known and the music isn't quite as spectacular as some shows, I suppose, I'm still a fan. Perhaps because it's based off of one of my favorite creepy stories by Robert Louis Stevenson.

Man is not one but two/ He is evil and good/ And he walks the fine line we'd all cross if we could. That's part of the chorus in one of the main songs, "Facade." If Henry Jekyll were working today, he'd probably be a psychologist trying to understand human nature. Unfortunately from him, that probably wouldn't save him from spiraling into taking experimentation too far and using himself to release his evil side. Which doesn't work out so hot. Because now he's just a normal man, both good and evil (leaning more towards good) with a totally evil maniac trying to escape from him. The musical of this saga is dark and powerful and really chilling (especially when you're listening to it amongst a misty October afternoon). This is one of my favorite songs that just haunts me:

I love the voice of the actor that sings this too - it's so emotional. Also, you can hear a bit of the voice he uses for Hyde lingering in some of the words, and it's super eerie.

This show is just tragic and utterly Byronic, I'm sure. A good man being corrupted by his faults though he intended to do good with his work - how much more of a tortured hero can you get? I also like that this adaption takes into account the women in Jekyll's life, something I always wondered about when I read Stevenson's story (because there were no women in that story and nothing make me wonder more about something than not addressing it all). There are some REALLY great pieces for the women characters in this show and I could share all of them, because some of them are SUPER FANTASTIC. I'm not, though, because that'd probably be tedious and annoying. Instead, I'm going to recommend two - "A New Life" and "In His Eyes." And I'm going to play the one that, for some reason, I just can't get out of my head today. It's really short, not super spectacular, but I just keep singing it to myself. So here it is - "Emma's Reason," a song where Emma, Jekyll's fiance, stands up for wanting to marry him even though everyone thinks he's bonkers. This isn't the whole song, but I can't find it in it's entirety, in English and without any extra weird stuff. So this'll do:

I don't know what makes this show so obsessive for me, but now I can't stop listening to it. A great soundtrack for Halloween, though, I must say.

La Cage Aux Folles

I finally saw La Cage Aux Folles at the State Theater last night.

OH. MY. GOD. I LOVED IT. LOVED LOVED LOVED LOVED LOVED IT.

There's a trick to going to Broadway shows, I've learned. - walk in there knowing the bare minimum about the show. That makes it SO much more exciting. Like Cabaret, which was my favorite musical (up until now) - I knew very little about it walking in. I didn't connect that, even thought it was Berlin in the 1930s, there would be Nazis in it. So when they showed up, I was like, "Holy shit." The plot twists are also a lot more spectacular without knowing the whole show. Which just makes it fun in general.

So I walked into La Cage Aux Folles knowing that it was about a gay couple in the 1960s, one of who owns a nightclub where men perform dressed as women. And that my most favorite Broadway song of all time is in it (which I'll post below, even thought it's elsewhere on this blog. But this version is sung by John Barrowman, so naturally I could post it a thousand times and never grow sick of it):

What I didn't know is that IT'S THE BEST BROADWAY SHOW I'VE EVER SEEN. Seriously. It is. Albin is the cutest, most wonderful, most interesting character I've seen onstage ever. And the actor who played him, Christopher Sieber, was PHENOMENAL. And he's from Minnesota. So yeah, win-win. Plus the storyline is just so... emotional. And kind of personal. Like, I didn't realize that "I am what I am" was sung right after Albin is told by Georges that who he is isn't what their son Jean-Michel wants around to meet his to-be in-laws. I cannot even fathom how painful that must be. I'm generally moved to tears by the performance of this song, but I definitely teared up big-time last night seeing it live. And kudos to me for sending it to [uber gay] when his family told him to change himself around relatives and he was totally upset. I made the perfect connection without even realizing it.

This show is just so.... feel-good. Much more so than Cabaret, which is probably why La Cage has now replaced it as my favorite (sorry, Cabaret, you're wonderful, but you're just kind of a downer). I mean, I walked out of there feeling on top of the world, feeling great about myself and feeling great about entire world and just wanted to run out and start volunteering for the HRC or the No H8 campaign or something (I would be already, except a little something called school has gotten in the way). But now I have serious motivation to do so. I mean, four... okay, five, because FINALLY we learned that one of our friends from high school, [save the panzer], is gay - so five of my closest friends are gay. So it's kind of a personal topic for me. And I'm beginning wonder if I can't identify as a gay man in a straight woman's body (okay, queer theorists of the world, is this possible? I seem to have a thing for gay men, but I'm a straight woman? Or am I just a straight woman with unlucky taste? How exactly would I discern if I act somewhat like a gay man? How would you know? How would anyone know? What if all women are just gay men in women's bodies? Whoa, that's going a tad bit too far... And this is one hell of a tangent...).

Barrowman... heels... sparkles... I am both envious and a little turned on. What the hell does that mean?!

Meanwhile, back at the ranch... As a perfect way to end the evening, we went to The Saloon, a popular gay bar in the area. Despite the fact that it got some bad reviews from the people we went to the Gay 90s with last year, it was nicer than the 90s. And they played sweet music. And had some nice Halloween decorating. And damn, boy - [save the panzer] can dance. And I realized I LIKE CLUBBING. At least at gay bars. Well, it was great until a strange man older than my father asked me if I wanted to dance. Then it got a bit weird.  Otherwise, a great way to end the night.

I just can't get over how good this show was. Like, I went out to dinner tonight with my parents and it was all I could to keep from talking about it the entire time. Why did I like it so damn much? A brief analysis:

1) IT WAS AMAZING. Fantastic costumes, choreography, comedy, romance - it tour de force of Broadway excellence. No matter what Star Tribune said: screw you guys. I hate your website anyway. Although you were right about George Hamilton.

2) It made me proud to be a woman. Yes, a show about gay men made me proud to be a woman. Why? Well, when I was younger, I was terrified to be girly. I didn't think it fit my personality, I felt like people judged me for wanting to be girly - like they just thought I'd be another dumb appearance-absorbed chick (not to mention I was friends with some girls who either didn't care about how they looked. At least they pretended to not care), and I didn't think a lot of feminine clothes would fit my not super-skinny, somewhat-boyish frame. Somewhere between high school and college I decided, "Fuck that shit," and went all out for girly clothes. Like dresses. And heels. OH MY GOD. Do I love wearing heels, no matter what [X] or anyone else says. Heels make you feel like the shit. Ones you can walk in and still look hot? They rule. They make you feel like you can kick total ass. Anyway, my point is, seeing men wear heels and having them totally understand that it takes a bit of still to stay afloat in those babies makes you feel... well, understood. Seeing men totally rocking sequins and feathers and sparkles and all the things women are supposed to like but often get made fun of for liking - well, it was damn nice to see men looking great in them, relating to women, and being their own person, being so comfortable with their own bodies. It made me feel glad to have worn heels and made me feel way less self-conscious dancing at The Saloon later. I could go into a bunch of theories as why this might be, but I don't need theories right now. I'm just glad it had that effect.

3) I found this on another Youtube video: I am what I am - George Hearn, a comment from "peerkbh":

One of the reasons why this IS a gay anthem is the fact that it helped give us a sense of pride in the eighties at a time when thousands and thousands of our friends and lovers were being wiped away by AIDS. Half of the original Broadway cast of La Cage had died before the show ended its run in 1987. And the composer Jerry Herman himself found out that he was infected as well. This is 'lump in the throat' music for me and always will be. Thank you George, thank you Jerry. Thank you so much.

This is mind-blowing to me. Half of the original cast DIED?! That is so terribly, terribly sad. I guess you could say the effect of this show was like the Rent of the 1980s. And now I feel like it wouldn't be a bad time for people my age to see this show, especially given the bullying directed towards GLBT youth. Especially since it's so upbeat. An "It Gets Better" campaign before "It Gets Better" campaigns? For the win, La Cage, for the win.

So, anyway, the take home message: see the show. But enough of me talking about the show - why not have John Barrowman, who starred in one of the revivals, tell you about it? (Trust me, it's worth it :D)