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(in which [personal profile] starlady's post reminds me to finish and post this)

I've seen Assassins once before: it was my freshman year and the first theatrical production I would see in college. It was also my first exposure to Sondheim outside of West Side Story; I had no idea who he was or that I would later find many extremely passionate Sondheim fans in fandom.

I remember coming out of the theater absolutely stunned; I had seen some commentary in musicals before, but nothing quite like this, definitely nothing this dark and this biting.

Since then, I've become a fan of several of his shows, though I'm not hardcore enough to have listened to them all, and I've been lucky enough to see a few staged (mostly by local troupes or college productions, though I really should write up the revival of A Little Night Music I saw in NY in 2010). Assassins is still one of my favorites, in large part due to [personal profile] coffeeandink's write up of the 2004 revival, which prompted me to buy the cast album. I prefer the revival to the original, in part due to familiarity, in part due to recording additions that make it more satisfying to listen to as an album, and largely due to one major change the revival made.

This staging uses the revival changes, with the additional change of no extra cast outside of the assassins, the Balladeer, and the Proprieter. So the assassins who aren't the main character in a scene play bystanders and witnesses, which is a nice way of visually conveying the ordinariness of the assassins. The staging is a carnival setting, although I really wish there had been the light-up prize when a president is assassinated, along with the "DING DING DING DING DING" of the bell in the recordings. It was a bit like watching a production of Sweeney Todd without that ear-piercing whistle.

The Balladeer was an excellent singer and sounded a lot like Neil Patrick Harris, but unfortunately, his mike wasn't working very well the night CB and I went to see it. Also, he plays the banjo himself, which would be nice except for the whole overpowering of the voice. And given his role as a key narrator to several of the assassinations and as the viewpoint most set against the assassins, it felt like a big loss. Similarly, while I liked the Proprieter's scary stage presence, he could not sing, and as such, he only lurks in the background for most of the production, instead of taking a more active role. He does give all the assassins their guns in the first number, but outside of that, he's not a very large figure in the musical.

Cut for length )

Spoilers for revival staging (and Buffy) )

Assorted personal and political thoughts )

In conclusion: still one of my favorite Sondheim albums and one of my favorite Sondheim musicals, though I can see how some people might think of the pacing of the show and its composition as a series of individual narratives before Lee Harvey Oswald as a flaw.

Also, I am disproportionately amused by listening to "We're the other national anthem, folks, the ones who can't get in to the ballpark" in a production happening at the same time the Giants were playing a World Series game.

Production details
oyceter: Pea pod and peas with text "peas please" (peas)
Argh! My computer ate my first post!

I'm still behind on comments and behind on LJ; I suspect I will be for a good few months, as real life has started to get very busy.

Avenue Q )

Max Brenner, take two )

After lunch, my sister persuaded me that buying (yet more) peas at the Union Square market and lugging them around while shopping would be a very bad idea. Given that we got home around 7, I think she was right. Though I still miss the peas...

We wandered around Soho because I wanted to visit Purl Soho (a yarn store) and stopped by around 18 different clothing stores along the way. I didn't manage to find any clothes that I liked, but I did find a pair of ten-dollar flats that I got. I think I can wear them dancing. Also, they are pink!

We also managed to trudge over to BookOff at the very end of a long afternoon. Yay Bookoff! Sadly, I couldn't find more cheap $1 manga that I wanted, but I did manage to get some other stuff. I also persuaded my sister to get Emma vols. 3 and 4, so I feel the trip was rather successful.

Stanton Social )

Rent (2005 movie)

Thu, Dec. 15th, 2005 05:33 pm
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YAY! I finally got to see my musical! The sad thing was, it hasn't even been out a full month or so, and it's already only in one theater in the area =(.

I have complete, unabashed, totally uncritical adoration of this movie! It is my musical! On large screen! Soon to be preserved in a format that I can rewatch it over and over and over without booking seats and paying $60!

I do realize that Rent has a rather romantic view of the starving artist and bohemian poverty and rebellious behavior and an uncomplicated view of business and corporate America. And that it doesn't particularly tackle social issues surrounding AIDS. But... I still love it! I don't care! I love that it has its giant, bohemian heart on a sleeve, I love that it's earnest and optimistic and idealistic, that it's about connecting and risking emotional involvement.

I also like that there's a gay couple, a lesbian couple, and a straight couple, and that they all have emotional weight, as opposed to the non-straight couples being played for comedy. And I like that all the couples are interracial and that it's not a big deal! And that the rich, upper-middle-class characters are both black, and that that's also not seen as strange. And that everyone is ok with Angel being a crossdresser.

Well, Roger and April aren't interracial. But I'm pretty sure Benny and his wife are, given that his investor/father-in-law is white. But yes, I like that I have to sit back and think to see if I can find a non-interracial couple.

And I am so, so very glad that the movie kept the original cast, basically, and that they didn't try to make Mimi white or whatnot when they recast her. Yeah, it's not race-blind casting, but it is so good to see a cast on screen that doesn't just have token minority characters.

And hey, all this is secondary because the story totally gets me every time. And music!

I realized while I was watching that I've gotten used to musicals being told in the Brechtian manner instead of the integrated style of Rodgers and Hammerstein, where the musical sections feel very deliberately staged and meta and set apart from the story. Rent doesn't do that; while there is a bit of staging/dream sequence involved, mostly it just seems to posit that, well, people are just naturally breaking out into song. It took a while to get used to, but by the end, it felt completely natural to have people singing. Although, hrm, I'd love seeing a Brechtian version of Rent on film, just because I love bits and pieces in the musical like people singing to the answering machine.

But! They have bits I love and I love the music and they were singing on screen! Yay! I love musicals ^_^.


Sun, Aug. 7th, 2005 03:05 am
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I saw Stomp last week. It was nifty.

Wah, non-adequate description. I'm not actually quite sure how to describe it if you haven't seen the ads for it -- it's not so much a musical so much as people making rhythms and beats out of really random objects. There's no dialogue or real story. I suspect it's a bit like Blue Man Group, from what I've heard? The basic stage set-up looked like some sort of run-down street with garbage cans everywhere, and the show starts with some guys in messy clothing walking out with brooms and sweeping the streets. More people come out, and soon, you've got about ten people up on stage sweeping. The bristles all make different noises, and all the people have tap shoes on (I think), and everyone is doing different little rhythms by banging the brooms on the floor every so often or making short sweeps or other things. It sounds rather small, but the overall effect was really cool.

My favorite segment was when a group of people were sitting around reading newspapers and started making their own noises by flapping the papers or crumpling them or fanning them out or something, including the one crazy guy eating it. Hee!

Anyhow, I suspect I am making this sound incredibly boring, but it was just really, really cool watching people all start out by making ordinary, boring noises and eventually making them into music by doing them in rhythm and by making them into dance as well.

When I left the theater, I was making all sorts of random outdoor noises into music in my head.

It just made me think, what is music anyway, except a whole bunch of random sounds strung together in a not-so-random fashion? I just liked that they had me looking at everyday objects in an entirely different way -- everything, including the kitchen sink (literally!), was used, and this one nifty bit had people just flicking lighters on and off, and another had these people just sitting around and rummaging in a garbage bag looking for things to make noise with. It actually reminded me a bit of those old Pringles commercials, where everyone would drum around on the Pringles cans, or The Triplets of Belleville, which had the eponymous triplets (haha! I use giant SAT word totally gratuitously!) playing music on their old refrigerator and vacuum cleaner and things.

I liked how they made random noise into music just by paying attention to things, and I liked how it seemed to be a music of people, not necessarily sophisticated music that required years of training. Of course, this is probably one of those handwavy stage magic things, because to move like that and know beats like that probably requires lots of time and training. It just seemed like the show was fueled by the POV that anything can be art and that art can be found anywhere; you just have to know how to listen, how to look, and how to shape your world.

(no subject)

Sun, Nov. 14th, 2004 08:06 pm
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Got Into the Woods from Netflix. Am very confused now. I've never listened to the score before, so it was a little hard at times figuring out what everyone was singing.

Spoilers here )

(no subject)

Mon, Oct. 11th, 2004 09:52 pm
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Question (because obviously, my FL knows everything): I managed to get my hands on Dorothy Sayers' Lord Peter, Unnatural Death, Clouds of Witness and Gaudy Night, since I am planning on reading them sometime. Is there any sort of handy reference out there that tells me what order I should read them in?

The boy showed me an organizational chart of Time Warner and all the companies it owns and said, "Look, it's the world!" Truly it is the evil empire ;).

I continue to enjoy the Assassins soundtrack, albeit in a slightly strange way. I can't help it. Some of the songs are just so peppy. I love the Sousa-esque "How I Saved Roosevelt" and the banjo-y "Ballad of Booth" and the folk song-y "Ballad of Czolgosz." The Czolgosz song particularly reminds me of "Big Rock Candy Mountain." I just realized while listening to this how much Americana music (is that even a term? Probably not) I listened to while growing up, mostly thanks to the wonderful "Wee Sing America" and "Wee Sing Around the Campfire." Also, the insanely optimistic "Ballad of Guiteau." But while I'm sitting in my car and enjoying listening to them, there will inevitably be a point in which my brain realizes that the songs are still about the assassination of American presidents, and as such, are pretty violent and unhappy. I don't think I'll ever quite get over that disconnect.

I think Sondheim does a particularly good job in reconciling the funny and the horrific in "How I Saved Roosevelt," which could have very easily been a straight comic piece. But every single time I'm giggling like mad because of Sondheim's rhymes (they remind me of "A Weekend in the Country" in A Little Night Music) and the fact that assassinating the president is somehow a solution to one's aching belly, Zangara bursts into the song screaming, "No laugh! No funny!" with a terrifying fury, and suddenly it's not funny anymore. Also, it's a frightfully cheery song for something that ends with the buzzing of the electric chair.

"Something Just Broke" will forever make me think of 9/11. I wasn't even alive for the assassination of JFK, I don't remember the Challenger, or most other national tragedies. I would like to say that 9/11 changed my entire outlook on life, but I'm not sure if it did. It's not as though there was much violence of that nature in Taiwan, though we would sometimes joke about China bombing us. I think it was just that even though most people were pretty sure China wouldn't be so stupid as to blow up our island, the threat was always sort of there. And even if not, it was dangerous territory politically, and just the fact that no one could really say what would happen to Taiwan come ten years makes for some uncertainty.

American never used to feel that way to me, though. American always seemed so safe and so stable, like it was something that would always be there, despite a relatively short national history. That was what 9/11 changed for me. Unlike the rest of my roommates that day, I was awake because (ironically) I was getting a new cell phone. I still find it strange that my old cell phone bill has the start date of 9/11/01. And my friend and her dad and my mom and the guy selling us the cell phones just stood there listening to the radio, because there was no TV in the store, and we heard the news when the second plane crashed, when another one hit the Pentagon, when another one crashed in Pennsylvania. And then the towers fell down. And it felt like the end of the world. Things like this weren't supposed to happen in America. They happened in the Middle East and in Ireland and other places, and it's so horrible to think of tragedies like that, like something that always happens in other places, to other people, but that's how it felt. Prior to 9/11, it felt as though the world was on track... there was the boom of the nineties, we weathered the Asian financial crisis (pretty glum in Taiwan during that time), etc. After, people were screaming for retaliation, which frightened me. My mom was convinced World War III was going to start. The economy, which was already not doing so well, really started going down. And I interned at Merrill Lynch and got seriously depressed, then I graduated from college two years later and had to look for a job and got even more depressed. Because of that, 9/11 always feels to me like the dividing line between adolescence and (fledgling) adulthood, the stepping stone between optimism and cynicism.

But that's what that song reminds me of now.

Despite the sobering associations, I can still listen to Assassins over and over just because the tunes are so peppy. And somehow, it doesn't depress me as much as Sweeney Todd. Also, Sweeney Todd is just incredibly difficult to listen to because of the almost painful whistles in the theme. Sweeney Todd feels like there is no hope at all in man, that everything beautiful only ends up destroyed and broken, but Assassins feels like even though horrible things happen, there is a reason behind it (albeit occasionally insane), and that there are people who still care. It's tragic, but not nihilistic.

(no subject)

Sun, Aug. 1st, 2004 09:07 pm
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Went to San Francisco again today, this time with my dad.

Saw Movin' Out, which was pretty good once I got past the complete weirdness of people dancing a sort of mix of modern and traditional ballet style to Billy Joel music. The show actually inspired much mental dissonance -- a dance version of the Vietnam War to "We Didn't Start the Fire" and then a dream sequence in which dead American soldiers get up and dance to Billy Joel music were both incredibly strange.

But I haven't seen dance in a while, so it was a nice change. Sigh, watching things like this make me wish I could dance.

I also ate about ten times as much as was good for me ;). I figure, my dad likes fancy restaurants, he is paying, I don't get to go to fancy restaurants that often. Therefore, when I do, I should stuff myself like a pig. That's my philosophy.

Watching the show and going to the city made me miss the east coast for the first time in... hrm, probably for the first time ;). I suddenly flashed back to the boy driving me to the public library in the dead of winter and drinking soup in the little cafe there. And I miss New York. Not that I went that often, but still... it's possibly the only city in the world in which I actually sort of know my way around (sadly, this includes Taipei and Hsinchu). And I miss theater. SF doesn't have all too many options. Back in college, there was this school-sponsored thing in which you could bid on shows you wanted to see -- tickets were $15, including dinner and the bus ride, and usually we had orchestra seats. Really, really cool. That's how I got to see Chicago and Rent and Cabaret. Cabaret was particularly nifty because I had a seat at one of the tables so close that I could reach out and touch the stage. Yay subsidized entertainment ^_^.

I think I am now going to collapse from an excess of food.

(no subject)

Wed, Jul. 28th, 2004 07:23 pm
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Yay!! Read or Die has arrived!!

I also got Avenue Q yesterday, and I listened to it three times at work. My new favorite song is "If You Were Gay."

Rambling on Avenue Q (and Rent, later) )

(no subject)

Sat, Jul. 24th, 2004 12:55 am
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So after the disappointment of not being able to do an Angel S2 marathon, I decided to watch snippets of my favorite musicals instead. There's nothing like having snazzy music and people dancing to pep one up.

Happy snippets are:
- Chicago, "All That Jazz" (so. cool.)
- Chicago, "He Had It Coming" (my absolute favorite number that never fails to pick me up. It's the beat. And the tango. And the choreography.)
- Chicago, "Both Reached for the Gun" (puppets!!)
- Chicago, "He Had It Coming" (again, because I love it. The boy finds my adoration of the song rather disturbing, given the subject matter)
- Singin' in the Rain, "Moses Supposes" (I love the long takes in Singin' in the Rain. They never fail to amaze me. Plus, it's the weirdest song ever. "Aaaaaaaaaaaa!")
- Singin' in the Rain, "Singin' in the Rain" (the kicking around water in the puddle bit!)
- Singin' in the Rain, "Make 'Em Laugh" (I love Donald O'Connor. Besides, funniest sequence ever, plus amazingly long takes)
- Strictly Ballroom, the bit when they talk about the history of Doug Hastings (It's the surrealness! And the fun music)
- Strictly Ballroom, the last dancing scene (Red dress!! Tango/flamenco/latin dancing! Red dress!)
- Moulin Rouge, "The Pitch" (sheer over the top insanity with funny sound effects)
- Moulin Rouge, "Roxanne" (more tango! And absurdly short cuts that make the cinematography and editing into a kind of dance in itself. Plus, awesome beat and cutting and yeah)
- Once More, With Feeling, "I'll Never Tell" (Peppy and retro)
- OMWF, "Going through the Motions" (cool montageness, also, the disc wouldn't let me cut straight to "Life's a Show")
- OMWF, "Life's a Show" (my absolute favorite number in this. I want Buffy's outfit)
- OMWF, "Where Do We Go From Here?" (just because I love the "hand in hand" choreography, literal as it is)
- Nightmare Before Christmas, "This Is Halloween" (ok, actually the entire musical and the claymation make me gleefully happy. The macabre-ness doesn't hurt either)
- Nightmare Before Christmas, "Kidnap the Sandy-Claws" (how can you not love a song with the lyrics "Kidnap the Sandy-Claws, beat him with a stick, lock him up for ninety years, see what makes him tick" sung at a high pitch with maniacal glee? It's rather disturbing how purely happy this song makes me)
- Lilo and Stitch, opening credits (Hawaiian music and bright fish and hula dancing. Yeah ^_^)

I seem to have a leaning toward more... unconventional musicals.

There's just something innately satisfying about watching people and images move to a beat.

(no subject)

Wed, Jun. 30th, 2004 03:41 pm
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Downloaded a few tracks from Avenue Q to see if it was worth getting, and now I want to run out and get the CD right this minute.

Tee hee hee hee hee.

I should be doing productive stuff, like unpacking or moving stuff or job searching (ugh), but instead I am listening to "It Sucks to Be Me."

Les Mis stuff

Wed, May. 5th, 2004 08:40 pm
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Found Les Mis at work and borrowed it to listen to (somehow, very long musicals are less annoying to listen to over an eight hour workday than lots and lots of CDs on iPod). I used to absolutely adore it to pieces (still like it, just... not that fanatically), but I haven't heard it in a good few years or so, since my Les Mis CD started skipping.

Ah, so many things are the same -- Cosette still annoys me. I still can't help but roll my eyes at the love at first sight bit and the entire trilling through "A Heart Full of Love." Apparently, I was a cynic about romance pretty early on. Romeo and Juliet annoyed me for the same reason. I think I tried to make everything make sense then, so I completely did not understand how someone could just set eyes on another person and know it's love. For that matter, I still don't think it happens really. Plus, I felt sorry for Eponine (unrequited love, ah, high school. Hee). I think everyone does though, but back then I thought I was being rebellious or something, not liking the heroine ;). It's just, Cosette has no agency at all. She sits there with the Thenardiers and is abused and in general engenders pity in the audience, and then she's rescued by Valjean and raised as a completely sheltered princess. I'm supposed to feel sorry for her because she had a rotten childhood, and I do, but it doesn't make her a very interesting character. Valjean protects her by telling her nothing, as does Marius later, because she's the princess in the ivory tower (mixing metaphors...) who can't be sullied by the real world or something. And I think it makes psychological sense on Valjean's part, but again, it doesn't make her a very interesting character to watch.

Marius also gets points off for doing that love at first sight thing. Plus, I have inherent dislike for the "meant to be" couple in a love triangle. And I remember teenaged me rolling my eyes over his bits in "Red and Black" -- who needs love when there's an exciting, idealistic revolution going on! Now that I think about it, I think I was a great fan of exciting, idealistic revolutions as a kid.

I'm actually not that interested in Valjean either, but I very much like Javert (especially Terrance Mann's voice). I think part of that is the fascination with idealism and justice. I was very adamant (and still am) that things be Fair and Just and with questions of ends justifying means (for a while I was for it) and being annoyed at the emotional heroes who are always willing to let the world go to hell because an innocent is suffering. Not that I am actually all for killing the innocent, obviously, but one sees so many heroic stands like that in fiction, that people who are starkly idealistic to the point in which the end does justify the means are very interesting in contrast. We can now see where my fascination with Wesley stems from. I just thought today that Javert is the opposite of Enjolras -- they've both got this very hard set ideology and aren't very willing to let anything get in the way of it. Ruthlessly idealistic people are interesting. So are ruthlessly grey people like the Thenardiers and Eponine (who now sort of reminds me of Spike).

I think in fiction the heroes are too often singled out so that even when they make the tough decisions, you know they will somehow resolve it, like Buffy in the Gift. ME gets many more kudos though for portraying the psychological damage of having to make those decisions. Sometimes the good people in fiction seem to preternaturally know they are Good and that everything will be ok, and that makes them less interesting. It's like Harrison Ford in Air Force One not taking the escape capsule because he thinks he can single-handedly defeat the terrorists. Admirable love for his family, but extremely impractical, imho. I also used to be (and still am to a lesser degree) absolutely fascinated with the conflicts between being a leader/king/queen of people and being a person (much like Buffy's Slayer/California girl complex) and because all the narratives I watched or read had heroes that would privilege the personal above the ideal (loooots of action movies here, thanks to my dad), I always fell firmly on the side of responsibility to the greater good instead of the personal. I think this is why I got to like Faris so much in A College of Magics.

Also listened to Joseph and the Amazing Technicolor Dreamcoat (stop laughing at me! I went through this huge Andrew Lloyd Weber phase in middle school) for the first time in forever. Like Les Mis, many things haven't changed... still fascinated with fan renderings of the Bible or addendums to the "canonical" stories I know (which is why the Gnostic Gospels and Kabbalism interests me). I still think Joseph was rather spoiled and it wasn't very nice of him to rub his brothers' noses in it. And I still feel sort of sorry for his brothers, who often feel like they are programmed to be mean and jealous.

I also used to be able to sing all the colors from memory in the Amazing Technicolor Dreamcoat (It was red and yellow and blah and blah), but sadly, I have lost that ability.


Mon, Apr. 19th, 2004 10:13 pm
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I am a Livejournal maniac today! Actually, I'm just bored because the boy is doing homework instead of watching It Happened One Night with me. So I sadly click every five seconds to see if anyone on my FL has posted.

Anyhow. I can make my rats dance! They follow me around on the couch, and apparently they will follow my finger around too. So I held my fingers above their heads and moved it left and right to the beat, and my rats would stand on their hind feet and swivel their heads to and fro. It's the funniest thing ever. I have to get batteries for my camera so I can tape it or something.

Listening to my iPod at work, I was quite amused by the fact that Herr Someone in the revival version of Cabaret is originally played by Ron Rifkin. That's right, go listen to Crazy Uncle Alvin sing about pineapples!

I updated my User Info (about time). Sometime I am going to have to go through my memories and reorganize them (LJ, not the ones in my head). I have too many entries in the Books section -- should split by genre. I want a handy little linkbar next to my entries in my LJ, but I like my layout right now. Hrm. Plus, wrestling with HTML is kind of frustrating.


(later) I think It Happened One Night was funny, but I didn't like it in the end because the heroine was a complete idiot.

I also completely disregarded the numbers on the bathroom scale (I will pretend it is broken, lalala) and gorged on strawberries and Cool Whip and salt and vinegar chips (best kind! love the kick when you inhale the vinegar) and leftover Easter candy. Really disgusting ^_^. Isn't it great?

First time I had Cool Whip! It has to be put in the freezer, weird! It has a weird springy texture before it melts. I am amused by processed American food (Cheez Whiz!).


Mon, Jan. 5th, 2004 11:50 pm
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Just finished watching the filmed London production of Oklahoma, starring Hugh Jackman (aka Wolverine), directed by Trevor Nunn.

I like it a lot better than the older film version (fifties? not sure), but I definitely have issues with this musical. It probably doesn't help that I watched it for a class and analyzed it before I really watched it for the first time, so it's a very different perspective than growing up with it. Hugh Jackman is very cool. And funny. And he made me mostly like Curly, which I didn't in the original. I think the person I liked the best in this production was the woman playing Aunt Eller though, because she was great. I liked Laurie in the beginning (much better than the movie!), but then she got in her dress and got much less interesting. After Laurie gets into a dress, the big conflict is will Judd get his dirty paws on her? whereas before it's a kind of pride and prejudice type thing between her and Curly. The two really managed to sell that in the beginning though.

Beautiful singing all around (Hugh Jackman! Wow!), and a really funny British-American-West accent. I bet the British think that whenever Americans are doing a British accent in movies. It's just kind of funny hearing a British inflection coming in in the middle of Oklahoman slang. Minor detail though.

So I absolutely adored the musical until Judd stepped in, at which point everything just kind of went haywire for me. I did like that they didn't have the tension between Judd and Curly that apparent at the first scene in the smokehouse, so that Curly slipping into song about Judd being dead seems more him putting his foot in his mouth than anything else. I remember my prof. thought it was very interesting that Curly is basically singing Judd to death. Kind of creepy. Creepy scene in general. And it was strange, because I got that they were trying to make me feel sorry for Judd, except they also made it hard to feel sorry for Judd without really despising Curly and Laurie. Well, I really hated Curly and Laurie in the movie version, especially Curly, because he was so arrogant and assured. I though Hugh Jackman did a great job portraying him as someone who talked big to hide some insecurities and to just have fun.

Then there are all the thoughts left over from the class last year floating around my head on patriotism/nationalism (esp. evident at the bursting out of a paeon to the state during a very private affair -- Curly and Laurie's wedding). Also many issues on gender roles and the fear of outsiders (read: lower classes or foreigners) getting their hands on white women. I'm always disturbed by Laurie's psychotic ballet dream and the way it ended in this production with her on the ground with Judd lying on top of her. A lot of sexual issues coded in, especially with Laurie all pretty in white being assaulted by this large, dirty, unshaven man. And of course she weakly struggles but has to have Curly save her all the time. Then there's Ado Annie and her sexual favors. And the dirty pictures and the Little Wonder.

I think the thing I had a very big problem with was also Curly's "trial" in the end. Hey, I want the hero to win with the rest of them, but not by having the entire community bully the law in his favor just because he's popular and Judd's not! If it was self-defense, as it seemed to be, it should have held up to a real trial. And then, not two minutes after the mockery of the law goes by, we get a happy ending with Curly and Laurie driving away and everyone singing about the beautiful morning and glorious Oklahoma!

Weird. You know, this is really a very disturbing musical.


Mon, Feb. 24th, 2003 07:53 pm
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Yay! The boy got me the Chicago the movie soundtrack! I am so happy! This movie makes me so happy on a very basic level. Despite the cynicism? Because of it? I have no idea. Anyway, I love love love love love the movie. I watched it three times in about a week. Before it was even released everywhere. Hee.

Musicals make me happy. Especially awesome ones like Chicago! Please Hollywood, make more! Especially if it's got Richard Gere. Especially especially if it's got Richard Gere just loving the fact that he's in a musical. Or Catherine Zeta-Jones is good too.

Now I will annoy the boy's entire room by singing at the top of my lungs. Yay!!!


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