Sorry ¯\_(ツ)_/¯

I haven't gone in this blog in a while. And to be honest, some of the posts are quite embarrassing. Sorry. But hopefully soon, I'll find the time to post more, or make this site less embarrassing. To be honest, I haven't posted lately because I'm a coward. I free write all the time, but rarely do I find the bravery to share it with the world, even a small, dusty corner of the internet. So, as I shout into the deep void that is Blogspot, if there's one soul out there, just know that this blog isn't a lost cause. At least not yet, anyway. ;)

NETworks Tour’s Beauty and the Beast Review

NETworks Tour’s Beauty and the Beast Review

March 8, 2015 - Shubert Theatre, New Haven, CT

A Tale as Old as Time Becomes New Again With NETworks Tours

By: Gillian Brown

Notes on the Show - Miscellaneous Musings

The show begins with the Prologue, where the Beast’s backstory is introduced. The old hag offering the iconic red rose must magically change into a beautiful enchantress. The Original Broadway production included a real actress in a harness, who used real fire to create the effect of a great and powerful magic. In the NETworks Tour’s production, a puppet manned by crew dressed in black. This is understandable, considering the limitations of a touring production.

Belle’s line at the end of “Me,” is taken out, when she responds to Gaston’s marriage proposal stating, “…but thanks for asking.” Instead, it is just left at “I just don’t deserve you…”

While the very anticipated ensemble number, “Be Our Guest” is lively and colorful, it falls short of variety and actors. The stage is very colorful and bright, grabbing the audience’s attention. However, such a large number calls for a large variety of colorful costumes, aka, different types of furniture and knickknacks. Most of the servant’s costumes are gold, and of the same kind. The set piece that comes from up above, carrying assorted plates is a nice touch. The animated singing and dancing is what makes the performance exciting, though. Overall, the number is properly executed, but compared to the Original Broadway Production, it’s lacking in costumes. This is acceptable due to the fact that it’s a touring production.

A lot of puppetry is used to substitute live actors, such as the beautiful enchantress and the wild pack of wolves. This is acceptable, but perhaps the wolf scene would’ve had more action if live actors were used. More people are needed to manage the puppet wolves, than are needed to simply dress up and choreograph the fight.

The Transformation Explanation

I have my own theory on how the critical scene is pulled off. Obviously for the scenes leading up to the transformation, a double is used to give the actual actor time to change into the Prince. The double is first seen during the battle scene, where Gaston and the townsfolk are intruding into the castle. My evidence for this is the Beast’s line in that scene, “Leave me in peace… It doesn’t matter now, just let them come,” sounds different, like it was pre-recorded. That same double is used in the dramatic fight scene between the Beast and Gaston, as the sound quality is the same. After the fight, there is a blackout before the emotional death scene between Belle and the Beast, where the reprise of “Home” is sung. It is during this blackout that the Beast’s double and the actual Beast swap places once again, letting the original actor take the stage. The actual Beast has already changed into the Prince’s costume and taken off his extensive makeup, only wearing a simpler Beast mask and gloves that can easily be taken off in a matter of seconds. This less detailed Beast mask is mostly covered by the crying Belle, who I noticed was sure to lean directly over the Beast’s face during the death scene. Once Belle finally admits, “I love you,” to the dying Beast, he is lifted into the air, spinning first horizontally, then amazingly vertically, at times being upside down. I am still not sure whether a harness is used to pull him up, or an invisible platform somehow lifts him up. When he is suspended in midair, upright, the lights go out and strobe lights flash for a few brief seconds. During strobe lights I could see him hand something off to someone, which was probably the less intricate Beast mask and gloves. He then only needs to shed his cape when the lights go on to reveal his Prince form. This is only a theory, as the true magic behind the transformation has yet to be revealed. It is still a mystery to me how the Beast is lifted and spun in so many directions, but I’m pretty sure I’ve figured out the actual transformation process, from the Beast to the Prince. Whatever the actual answer is, it is impeccably hidden through the enchanting magic of theatre.

The Actors

The majority of the actors are great, specifically the Beast (Ryan Everette Wood), who is exceptional. During the climactic song, “If I Can’t Love Her,” he not only is pitch perfect, but sings with such mesmerizing emotion. His deep and powerful voice gives the Beast a tremendous intensity. Opposite of him, Belle (Jillian Butterfield) also is a very talented actress. She had an emanating energy, and brings life to the character. She plays Belle as more of a sweet, intelligent, ambitious, and wishful girl, with less of a sarcastic edge. Their chemistry is convincing, and exquisitely moves the story along. The character of Gaston (Cameron Bond) is also a significant character, as he almost has as many songs as Belle, herself. He, too, has a great power to his voice that conveys Gaston’s pure arrogance and ignorance. However, the character Maurice (Thomas Mothershed) is inadequate. The actor seems too young, and audiences are left not feeling much affection for him.

The Costumes

Madame de la Bouche’s costume is one of the only ones I have a problem with. The spells turns her into a large dresser, complete with doors and drawers. However, her costume doesn’t look like a dresser, but a normal dress. Her “drawers” containing clothing are at her sides, rather than her front. The Madame could easily be interpreted as a normal lady in a wide dress.

Belle maintains the same classical look of a simple blue and white dress, topped with a low ponytail. Her yellow ballroom gown is beautiful as always, except the dress she wears during the finale has a bright pink outer layer, which is far from translucent. I’m not sure why she didn’t wear the same dress she wore during “Beauty and the Beast” at the end. During the song, “Something There,” Belle changes into a purple dress, prompting the Beast to exclaim, “It’s purple!” which contrasts the Original Broadway Production and movie’s choice of a pink dress. The Beast’s costumes are very similar to the ones in the Original Broadway Production, from his puffy white shirt and tight dark pants, to his long, formal dark blue jacket.

Lumiere and Cogsworth sport less intricate versions of the Original Broadway costumes. Instead of real fire as used during the Original Broadway production, Lumiere illuminates his candlesticks with an orange light. Mrs. Potts’ costume consists of bright pink, and her left arm, which is supposed to be the teapot’s handle, is covered in a bright, colorful pattern that adds a youthful style to what is meant to be a sweet, old lady’s outfit.

Gaston, Lefou, and the rest of the townsfolk all have vibrant, 18th century costumes that look great on the stage and match previous productions. The majority of the Beast’s servants also have bright colors with ornate designs meant to represent pieces of furniture.

The Sets

Although the costumes were impressive, the sets were lacking. The stage was a dark blue covered in swirling yellow and green leaves on vines, which added bright color to the whole show. Belle’s house not very sturdy. When Maurice sits on the railing, it doesn’t seem like it wants to support his weight. Also, when Gaston jumps on the porch in “Me,” the set piece shakes, making me worry, Be careful! You have other performances! Even the Beast’s exceptionally tall chair continued to wobble each scene. The individual set pieces aren’t very compelling, either. There’s not much to not much to differ the castle from the village, besides a change in lighting. Again, this could be due to their touring limitations. Even in the crucial scene where the massive library is introduced to Belle, the sets are lacking. There are a few small bookshelves under the moving set piece the two sit on, accompanied by an archway of an unrealistically large assortment of open books that appear far too cartoonish. This really didn’t emphasize the immense size of the library. A backdrop should’ve been used, which is easily transportable for a touring production. Some of the transitions between scenes were a bit awkward, as the set pieces’ old wheels could be clearly heard while being wheeled away. This could simply be fixed with a bit of oil. Some of the transitions though, don’t have the best timing. For instance, during the big ensemble number, “Gaston,” a bar set must be moved onto stage, since the scene takes place at Gaston’s favorite hangout. The bar set isn’t brought out until well into the song, when it should’ve made its first appearance at the beginning.

Musical Number Changes

The production omits the song, “No Matter What,” instead featuring a father-daughter talk between Belle and Maurice about her mother and the "change" that came about, evidently setting the stage for the later song "A Change in Me" that was added in 1998. It is reasonable for the conversation to be added, as too tie in the extra song, but it was still unnecessary to skip the touching song about their unconditional love. The scene still works though, and translates their relationship very well to audiences.

The great villain number, “Maison Des Lunes” is also excluded. The alternative is the foolish decision to waste time on a unnecessarily stupid scene of "acting" that in no way communicates their evil plan. The scene is dry, boring, and quite hard to follow for the audience. Even knowing the story thoroughly beforehand, I was left disoriented and confused. The scene is essential to the story in order to communicate Gaston’s plan to blackmail Belle into marrying him. Even in the movie, although the scene has some significance, it’s not the most exciting. An easy fix for Broadway audiences is throw in a song to replace the dragging scene. “Maison Des Lunes” was written by Tim Rice and Alan Menken, and features a rousing overlapping of strong harmonies by Gaston, Lefou, and Monsieur D‘ Arque.

“Home” is another song that has many variations, depending on the production. The Original Broadway Cast Recording includes a 2nd verse in the song, which this production followed. The verse goes, “Is this home?\Is this what I must learn to believe in\Try to find something good in this tragic place\Just in case I should stay here forever\Held in this empty space\Oh, but that won’t be easy\I know the reason why\My heart’s far, far away\Home’s a lie…” along with the updated lyrics of the bridge, “And to think\I complained\Of that dull provincial town…” despite the Original Broadway Cast Recording adopting the lyrics, “But I know\That I can’t\Solve my problems going back…” The change in lyrics were not exclusively unique this production, but also were included in the 1995 Los Angeles production, where most of the Original Broadway Cast reprised their iconic roles. The bridge mentioning a “dull provincial town” is a reference to the earlier songs, “Belle” and “Belle (Reprise),” where Belle only refers to her little village as “provincial.” The newer lyrics imply that the Beast’s castle it so depressing and dreary that Belle somehow misses the village she so desperately sought to escape. The lyrics create an underlying theme to the song, of “be careful what you wish for,” or “be grateful for what you have.” However the earlier lyrics Belle sings about how her problems won’t be solved by going back express a slightly different theme of “you can’t just run away from your problems.” In one rendition of the song, Belle craves her hometown, while in another she knows she can’t return. It’s the production’s decision on which message is prefered. The third reprise of “Home” is another song that is frequently changed. The song is sung by Belle right before the pivotal transformation scene. It’s when Belle finally confesses her true feelings for the Beast, which ultimately leads to her “I love you” proclamation. The Original Broadway Cast Recording uses the lyrics, “We are home\We are where\We shall be forever\Trust in me\For you know\I won’t run away\From today\This is all that I need\And all that I need to say\Don’t you know how you’ve changed me?\Strange how I fin’lly see\We are home\You’re my home\Stay with me.” This touring production, along with the Original London Production instead has the lyrics, “We are home\We are where\We shall be forever\Trust in me\For you know\I won’t run away\From today\This is all that I need\And all that I need to say\Home should be where the heart is\I’m certain as I can be\I found home\You’re my home\Stay with me.” Both versions convey Belle’s realization that the Beast is her newfound home, however the Broadway lyrics seem to relate more to Belle’s earlier songs and themes.

The newer lyrics of “If I Can't Love Her (Reprise)” are used, just like the Original London production. The Original Broadway Cast soundtrack presents the lyrics, “No pain could be deeper\No life could be cheaper\No point anymore if she can't love me\No hope she would do so\No dream to pursue so\I look to myself, despise all the things I see\For I know that she\Cannot set me free\Let the world be done with me,” whereas this production, similar to the Original London Cast recording, uses the lyrics, “No spell has been broken\No words have been spoken\No point anymore if she can't love me\No hope she would do so\No dream to pursue, so\I finally know, that I will always be\In this hopeless state\And condemned to wait\Wait for death to set me free.” Both versions of the song work well with the show, and convey the Beast’s gripping heartache.

An Introduction to my Obsession

It all started with Spotify. I was browsing my Broadway playlist and for some reason decided to listen to BATB. It's always been my favorite Disney Princess story, so I curiously checked out the soundtrack to the first Broadway show I ever saw at the age of 3. I was intrigued and couldn't get enough. That's when I decided to use a $25 iTunes gift card to just buy the album, along with The Hunger Games Original Motion Picture soundtrack. The obsession had started. The first week was the most intense. I found that all I was listening to was the 1994 album, over and over and over again. I would bring my headphones everywhere, roaming the long school hallways, my ears plugged with this marvelous sound I was rediscovering. From then, which probably was sometime in mid to late January, my addition heightened. I found as many videos and audio versions as I could to indulge my obsession, thinking any chances of seeing the live show again was hopeless. I knew my newfound interest was a dead end. Though somehow my hopeless obsession became something so much bigger. A family affair. A dream come true. I couldn't believe the way fate played out. Never in a million years would I think that the chance to see the show again would arise. Or that if it did, I’d even have the opportunity to see it. And yet it did. I did.

A Step into My Mind

The continuous aroma of foreign smells wafted in the air. Maybe it was the strong ink smell from the program, or the adjacent man's cologne, or even the smell of the theatre, but it was there throughout the whole performance. What might've otherwise bothered me somehow brought on comfort and remembrance. There was no one sitting to my immediate left, just a small velvet chair to match the steep, sticky carpeted stairs. Perhaps it was the carpet that caused numerous incidents of tripping. Even with holding onto the metal railing for dear life, I still found my heel falling from beneath me. The only way was to walk step by step, feeling each and every dip slowly with your foot. Besides the dangerously steep stairs and extreme lack of footroom in the seats, the Shubert theatre was quite lovely. Being in the absolute top mezzanine, maybe three floors up, I expected to be a great distance from the stage, struggling to squint and missing such important details that so often go unnoticed when sitting in the balcony. Nevertheless, our seats were indeed close enough to the stage to catch small details, such as Lefou spitting out a tooth when getting punched by the ever so aggressive, Gaston, or Gaston himself, proudly holding up three fingers during the line, “Now that I’m grown\I eat five dozen eggs!” I was high up, yes, but not an uncomfortable distance away. This was a great surprise. Another disadvantage to being so high up is the fear to simply staring at the wall above the stage. This was not the case, as I had a pretty good view. I was on the far right in the audience, so the only scenes I couldn’t see were the ones occurring in the very back of stage left. Luckily, the only scene I completely missed was the number, “How Long Must This Go On?” though the singing was still very clear.

One of my few complaints is the countless imprudent uses of electronics. The moving song, “If I Can’t Love Her” was interrupted by the illumination of a cell phone. What would make someone rather check a glowing screen than watch the beautifully poignant song the Beast sings to end the act? To this day, I am baffled by this. Even playing on repeat, the song still manages to send shivers up my body. How can someone not be utterly captivated when seeing the number live? Just in Act I, at least five times, someone took out their phone to check the time, send a text, or even take a call. A woman in the row below and to the right even made a call. Her phone didn’t ring, no one called her, but she made the conscious decision to turn on her ridiculously bright screen, type in a phone number, and press the green call button. This inexcusable act is not only ludicrous, vacuous, and highly inconsiderate, but extremely illogical. Why pay hundreds of dollars to see a professional production, only to check your phone, a device that’s easily accessible at home? Such imbeciles walk this great planet we call “Earth.” Now, I’m not offending those of less intelligence, as mere stupidity is somewhat acceptable. It’s sheer rudeness and oblivion that gets me, which ultimately morphs into the category of stupidity. So out of the two categories of stupidity, dumbness and rudeness, I’d have to say rudeness is worse. One can be rude, which is a stupid and dumb thing to be, but one who is just dumb is not in fact rude.

Intermission was approximately 20 minutes long, which I used to go to the restroom. The closest one had a long line and two stalls, with one toilet backed up. Perfect. I took the time to peruse the program. Upon my return to my seat, only a few minutes remained until Act II. The “curtain,” which looked more like light projections of dark blues and purples had a giant red rose projection on stage left, or in other words, my right. The lights slowly dimmed, and “Entr’acte” began to play, signaling the start of the act. Just like we had done at the start of the show, people still filed into the theatre while the music began.

At the end of the show, which was a time that taunted my overly enthusiastic, pre-show mind, I was left in a daze of astonishment. That. Was. So. Good. I was still wrapping my mind around the Transformation scene, thinking I had figured it out, already trying to plan when I would be able to see such an outstanding production again. I had just been lucky enough to experience the magical story of Beauty and the Beast, and there I was, obsessed, addicted, and greedy, wanting so badly to feel that enchanted again. I wished to take a step back in time to revisit the show over and over again, soaking everything up. The only way to preserve such an experience is to write about it. So here I am, taking a picture, no more like a video, with my mind. I hope the resolution’s not too blurry.

Answers

So tomorrow is Thanksgiving. A holiday of eating and family and thanks. A lot has happened in the past few weeks. Catching Fire came out, I went to NYC and saw a movie being filmed, I've been juggling the craziness of school. I've even been experimenting and figuring out the whole concept of leverage. It's a foreign word if you've never really had to use it. But mostly, I'm excited for the holiday season. It's a time of joy and warmth, and forgetting the things that haunt you. Or at least, tossing them aside. As a kid, I always wanted to be this age. It was old enough to be independent, but young enough to still have fun. Now, I guess it just... just is. Is something I can't describe. I don't know what exactly, but it is crazy, it is confusing, it is  frustrating, and it is... incredible. I guess for me, the confusion does take its toll on my life. I hate the suspense of not knowing, when you know answers just around the corner. Irretrievable. Some answers only others hold. While a special few, you may already have buried deep somewhere inside yourself. It's hard to forget what's gnawing away at you constantly. I sometimes have this need for completion. Like at the end of a book. I have to know everything ends alright. That the characters will be okay. That the story has a perfect closing. But in life, it just keeps going on and on and on. So for this holiday, I'll just set aside the anger towards not knowing, and focus on what I do know; what I do have. And the piles of food, of course.

Catching Fire

Today Catching Fire premiers at 8pm!!!!! CAN'T WAIT!!!!

So much to do to prepare...

Sweeter Than Fiction

Happy Fandom Friday!!! So since today's been such an awesome day, I'll post some awesome Fandom news. The new UK movie, Once Chance, features an all new single by my favorite artist, Taylor Swift. She co-wrote with guitarist, Jack Antonoff from American rock band, Fun. The film premiered September 6, 2013, at the International Film Festival. The new song, Sweeter Than Fiction, plays at the end credits.

It's supposed to be released later this Fall. However, the whole song was recorded during the premiere, and posted. It's not the best quality, but it'll have to do. Also, a 30 second preview of the official studio recorded track was released by iTunes. You can check both versions below, along with the lyrics!! Again, Happy Fandomonium Friday!!!! EXPAND THE RANDOM FANDOM....

Studio Recorded Preview:

Movie Premiere Full - Live recorded:




Lyrics:

Hit the ground, hit the ground, hit the ground (oh, oh)

Only sound, only sound that you hear is “no”

You never saw it coming

Except when you started running

And now you come undone (I, I, I)

Seen you lost in a crowd, seen you colors fade

Wish I could make it better

Someday you won’t remember,

This pain you thought would last forever and ever

[Chorus]

There you stand, ten feet tall

I will say, “I knew it all along”

Your eyes are wider than distance

This life is sweeter than fiction

Just a shot, just a shot in the dark (oh, oh)

All you got, all you got are your shattered hopes

They never saw it coming

You hit the ground running

And now you’re on to something

I, I, I say

What a sight, what a sight when the light came on

Put me right, threw me right when you put them front

And in this perfect weather

It’s like we don’t remember

The rain we thought would last forever and ever

[Corus]

There you stand, ten feet tall

I will say, “I knew it all along”

Your eyes are wider than distance

This life is sweeter than fiction

There you'll stand, next to me

All at once, the rest is history

Your eyes are wider than distance

This life is sweeter than fiction, fiction

[Bridge]

I’ll be one of the many saying

Look at you now, look at you now, now

I’ll be one of the many saying

You’ve made us proud, you’ve made us proud

I'll be one of the many saying

Look at you now, look at you now, now

I’ll be one of the many saying

You’ve made us proud, you’ve made us proud, proud

And when they call your name

And they put your picture in a frame

You know that I’ll be there time and again

‘Cause I you loved when

When you hit the ground, hit the ground, hit the ground oh, oh

Only sound, only sound that you hear is “no”

Now in this perfect weather

It’s like we don’t remember

The rain we thought would last forever and ever

[Chorus]

There you stand, ten feet tall

I will say, “I knew it all along”

Your eyes are wider than distance

This life is sweeter than fiction

There you'll stand, next to me

All at once, the rest is history

Your eyes are wider than distance

This life is sweeter than fiction, fiction

Catching Fire - 'Atlas' TV Spot

A new Catching Fire TV spot was released today, featuring new, never before seen footage, and the song, "Atlas" by Coldplay from the official Catching Fire Soundtrack!!! Can't. Wait...

The Hunger Games: Catching Fire - 'Atlas' TV Spot:

Maryse You Didn't Warn Us Monolgue

Happy Monologue Monday!! Today I've chosen a monologue from the 2nd book in The Mortal Instruments series, City of Ashes, by Cassandra Clare. The character, Maryse, has a long, hard grudge, and won't let go. She feels betrayed, and doesn't know who she can trust. Here's what she has to say.

City of Ashes, Maryse You Didn’t Warn Us Monologue

Some things you never forget. You think pretending his own death was the biggest lie Valentine ever told us? You think charm is the same as honesty? I used to think so. I was wrong. He told us he would lay down his life for the Circle and that he expected us to do the same. And we would have -- all of us -- I know it. I nearly did it. You remember the way he told us that the Uprising would be nothing, hardly a battle, a few unarmed ambassadors against the full might of the Circle. I was so confident in our swift victory that when I rode out to Alicante, I left Alec at home. I asked Jocelyn to watch him while I was away. She refused. I know why now. She knew -- and so did you. And you didn’t try to warn us.