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It is the sad duty of this blogger to inform the people of the internet that Theatre Thursdays, a weekly glimpse into the world of the performing arts, entered immortality at 800 hours today.
Yes, this article marks the end of Theatre Thursdays as a weekly column here on Lady Geek Girl and Friends. We’ve loved having it as a feature on the site, but the time has come to shift our focus elsewhere. Don’t worry! There will still be the occasional post on various live performing arts! We just won’t be devoting weekly articles to the genre.
With the close of this column, I want to finally write an article that I’ve been playing around with in my head. I’ve had this idea gestating for a few years but never felt quite ready to put it into words. This is the story of the time I saw the musical In the Heights and realized how important representation in entertainment really is.
Jason Robert Brown’s musical The Last Five Years never had a particularly long run in its off-Broadway productions, but it has proven immensely popular through the years. The story is simple: a young couple meets, marries, and divorces, but there’s a small twist that makes the show unique. The characters, Cathy and Jamie, each tell the story of their relationship in episodes. While Jamie’s go from start to finish, Cathy’s begin at the relationship’s demise and go back in time to their first meeting.
A movie adaptation of the musical was announced in early 2013, starring Anna Kendrick and Jeremy Jordan; however, with the exception of releasing the poster, there was almost no news concerning the production. Few photos were released, no premiere date was announced, and I started to question whether the movie was still on track. Happily, the film premiered at the Toronto Film Festival this month and is scheduled for commercial release Valentine’s Day, 2015.
With the movie finally ready to be released, I have begun doing what every fan does when a book/TV show/play is announced for a film adaptation: wondering how the magic of the original will translate to the big screen. There are a lot of aspects of the musical which make it difficult for a film adaptation. With the exception of one scene, the two characters never dialogue; there isn’t really a narrative thread to the show, and the back and forth structure of the storytelling can be confusing.
Christine Daaé may not be the title character of the musical The Phantom of the Opera, but she is the one with the most stage time and arguably goes through the most visible character arc. Despite these two facts, however, she’s not looked on too favorably by critics. She’s often thought of as flat, boring, and a character whose plot is in service of others’. Is there any truth to these claims? If so, is it possible to still consider Christine a worthwhile character from a feminist standpoint?
One of the ways I often pass time is by thinking about film adaptations of my favorite musicals. Usually I’m imagining musicals that haven’t yet made it to the silver screen, but sometimes I think about those musicals which have been adapted for film but could use another go. With the much-anticipated Annie remake starring Quvenzhané Wallis only months away, this topic has moved to the forefront of my thoughts. Here are three of my top picks for movie musical remakes.
Lord Andrew Lloyd Webber’s long-running hit musical Cats will return to the West End this December, more than a decade after its original run ended. Between tours, community theatres, regional productions, and student performances, the show is perennially performed, so you may be asking yourself, “Why should I spend the extra money to see this mounting?” Thankfully for you, the good Lord has an answer ready: the Rum Tum Tugger raps now!
Yes, Lloyd Webber will be re-writing the fan-favorite song “The Rum Tum Tugger” into a rap in order to fit his new vision of the Rum Tum Tugger being “a contemporary street cat”, according to this article. The column also reports that another song, “Growltiger’s Last Stand”, will be re-written as well, because it, along with “The Rum Tum Tugger”, never satisfied Lloyd Webber.
Now here’s what’s giving me a headache over this news: first, the last thing that needed improving in this show was the music; second, the shallow, gimmicky feel of the news; and third, Lloyd Webber’s claim that T.S. Eliot invented rap as a justification for the change.
Once upon a time, I more or less swore that I wouldn’t see the Evita tour. I love the show and had never seen it live, but I was insulted that the producers claimed the show needed to close on Broadway due to a lack of qualified leads, while still immediately making plans for a tour. I stuck to my one-man boycott and refrained from buying a ticket. That is, until I got an e-mail offer for $30 orchestra seats and found a third row, limited view ticket. My resolve weakened by the promise of being so close to the action for such a low price, I bought the ticket.
Did the production manage to pierce through my jaded disposition? Read below to find out! Continue reading