Spider-Man, New York's favorite web-slinger, he's been in comic books, graphic novels, TV shows, and movies without to many problems (I maintain the Spider-Man 3 is the worst superhero movie ever) but he is going where he has never gone before, a Broadway stage.
Turn Off the Dark is being called the most technical musical ever produced with fight scenes taking place over the audience, crazy sound and lighting design, and a whole lot of rigging, but did it cross the line into too advanced. Several actors have already been injured, a spine injury in one case where the actor playing Spider-Man fell INTO the orchestra pit.
Is this show the worst content wise? Probably not, Pinkalicious still exists unfortunately but I can't deny the fact that this show hasn't even officially been released and their already nearly killing actors and putting audience members in danger. It also is the MOST expensive Broadway production ever and it isn't looking like it's gonna make all of it back.
Friday, May 27, 2011
Thursday, May 26, 2011
Musical Characters Part 6 of 6: Stine
Stine is a fitting end for the series of musical characters because he is such a different character than the rest. Ever character shown so far is either good or bad, their is no question about who they are. Stine however is both. To call him good would be a stretch because he is womanizing and eager to do anything to make a buck. But near the end of City of Angels he changes his tune, winning back his wife and tearing up the script he wrote.
Stine is a novelist with the tendency to base his characters off people he knows, but his main character, Detective Stone, isn't anyone but what Stine wishes he was. In the song You're Nothing Without Me Stine argues with Stone. They both bring valid points but as the song ends this sing together this verse
A puppet, an upstart
A loser who's destined to fall
I'm everything you always wanted to be
Let's deal with the issue:
You wish you were me
You're nothing without me
Without me you're nothing ...
A loser who's destined to fall
I'm everything you always wanted to be
Let's deal with the issue:
You wish you were me
You're nothing without me
Without me you're nothing ...
They both have reasons to be jealous about what the other has. Stine is kind of crazy because a large chunk of this musical is Stine talking to Stone. Stone is a character in a novel so who knows what's going on with him.
Stine all in all is one of the most changing characters in all of musical history, even Billy Bigelow bed an unmarried women, never married her, tried to commit theft, died, than struck his daughter when he came back to earth eventually being denied passage into heaven.
Stine is just an average writer, nothing special, just trying to find a place in this world.
Monday, March 28, 2011
Musical Characters Part 5 of 6: John Wilkes Booth
John Wilkes Booth is one of two "narrators" of the musical Assassins a musical that focuses on presidential and attempted presidential assassins. Booth is "killed" very one in the show after he flees to a barn after his assassination of Lincoln.
He is one of the more profound characters of the show and is the unofficial leader of the group of assassins. Booth leads the group in stating "All you have to do is move your little finger, squeeze your little finger, and you can change the world"
Booth also is shown to have a temper at one point striking Lee Harvey Oswald and swearing. Booth is also shown to have a great knowledge of plays stating at one point "Attention must be paid!" from Death of a Salesman in a conversation with Oswald which plays out like this.
Booth- Attention must be paid!
Oswald- What does the mean?
Booth- It's from a play Lee, about a poor misguided fool who runs out of options so he decides to kill himself. His wife stands at his grave begging the world to pay attention to this simpleton. Now Lee, I'm an actor and a good one, but Willy Loman is a part that I could never play and I don't think you should play it either.
Booth also demonstrates supernatural abilities as he comes back from the dead along with the other assassins and turns curtain rods in a sniper rifle.
He also convinces Oswald the shoot JFK.
In summery Booth in a smooth talking supernatural assassin. Pretty awesome
Friday, January 21, 2011
Back Stage Roles Part 3 of 3: Sound
Sound is an important parts of musicals, not so much in straight plays, but definitely in musicals.
Sound designers and operators have three basic types of mics, shotgun, stage mics, and body mics.
Shotgun mics are usually placed along the front or side of the stage and used to help pick up the chorus, special care must be taken as for the actors not to step on them. The operator must also be careful to kill the mic if a large dance number or stomping takes place.
Stage mics, despite the name, are rarely used in musical theater. Stage mics are your standard microphone that you'd find on a stand during any concert. You don't see these much because they require the actor to get very close to it and break the fourth wall. Very few shows use these and they are almost all in character (If you really wanted you could use one in Bye Bye Birdie because Conrad is a rock star) but Rent uses them quite readily in the original Broadway show, the carolers sing into one, and in the song Life Support by Gordon (Roger on the other hand uses a body mic).
Body mics are the heart and soul of theatrical sound. They allow the actor to sing over the music for solos and can aid in lines if you want them to. They consist of the parts, the mic, the wire, and box. The box is usually put into the pocket or waistband of an actors pants. In the event of that being difficult or impossible (The actor is wearing a dress, no pants, or "skimpy" clothing) It will sometimes be tucked into a bra if it is an actress (9 times outta 10 that's the case) or sometimes taped to the lower back. The wire is usually run up through clothing and secured with special mic tape. The mic itself is usually hidden just above the ear and is flesh toned.
Sound designers and operators have three basic types of mics, shotgun, stage mics, and body mics.
Shotgun mics are usually placed along the front or side of the stage and used to help pick up the chorus, special care must be taken as for the actors not to step on them. The operator must also be careful to kill the mic if a large dance number or stomping takes place.
Stage mics, despite the name, are rarely used in musical theater. Stage mics are your standard microphone that you'd find on a stand during any concert. You don't see these much because they require the actor to get very close to it and break the fourth wall. Very few shows use these and they are almost all in character (If you really wanted you could use one in Bye Bye Birdie because Conrad is a rock star) but Rent uses them quite readily in the original Broadway show, the carolers sing into one, and in the song Life Support by Gordon (Roger on the other hand uses a body mic).
Body mics are the heart and soul of theatrical sound. They allow the actor to sing over the music for solos and can aid in lines if you want them to. They consist of the parts, the mic, the wire, and box. The box is usually put into the pocket or waistband of an actors pants. In the event of that being difficult or impossible (The actor is wearing a dress, no pants, or "skimpy" clothing) It will sometimes be tucked into a bra if it is an actress (9 times outta 10 that's the case) or sometimes taped to the lower back. The wire is usually run up through clothing and secured with special mic tape. The mic itself is usually hidden just above the ear and is flesh toned.
Friday, January 14, 2011
Backstage Roles Part 2 of 3: Stage Lighting
Theatrical lighting is an aspect of theater I hold near and dear to my heart. Before I got back into acting, I was a lighting operator and designer for several years and still have an active role in it.
Theatrical lighting is different for every show, for example, Still Life With Iris (Which holds the distinction of being my LEAST favorite show ever) is a highly imaginative show that allows the designer to incorporate many unrealistic elements, such as purple light. Now when I designed the lights for a production of Still Life With Iris I was limited to 18 lights. Most of those lights were area lights (Such as fresnels which can't be focused and are general area lights) and several Source 4s (Which come in different degrees which measure how wide the light is at 100 feet) most of which were used as "specials". A "special" is a light that is focused on one area that is supposed to have the attention draw to it. An example of that was the Still Life which had to be lit up by a Source 4 every time Iris touched a button.
(As I stated Still Life With Iris is my LEAST favorite show, I can't stress that enough, I may dedicate a post to how bad that show is in detail. If you can avoid it, DO NOT SEE THAT SHOW!)
Their are several mottoes, quotes, and jokes withing lighting. Most are at the actors expense but several are inappropriate for this blog.
You have now been victim to one of my favorite techie jokes. Lighting is one of the toughest jobs in theater but remember without them you'd be dancing in the dark.
Theatrical lighting is different for every show, for example, Still Life With Iris (Which holds the distinction of being my LEAST favorite show ever) is a highly imaginative show that allows the designer to incorporate many unrealistic elements, such as purple light. Now when I designed the lights for a production of Still Life With Iris I was limited to 18 lights. Most of those lights were area lights (Such as fresnels which can't be focused and are general area lights) and several Source 4s (Which come in different degrees which measure how wide the light is at 100 feet) most of which were used as "specials". A "special" is a light that is focused on one area that is supposed to have the attention draw to it. An example of that was the Still Life which had to be lit up by a Source 4 every time Iris touched a button.
(As I stated Still Life With Iris is my LEAST favorite show, I can't stress that enough, I may dedicate a post to how bad that show is in detail. If you can avoid it, DO NOT SEE THAT SHOW!)
Their are several mottoes, quotes, and jokes withing lighting. Most are at the actors expense but several are inappropriate for this blog.
Q: How many actors does it take to change a light bulb? A: None. Complain to the director at notes.
You have now been victim to one of my favorite techie jokes. Lighting is one of the toughest jobs in theater but remember without them you'd be dancing in the dark.
Thursday, December 16, 2010
Backstage Roles Part 1 of 3: Theatrical Properties (Props)
(I realized that I havn't yet finished the musical characters series yet, but please bear with me, I want to give some credit to those we don't always see.)
Theatrical Properties (henceforth referred to as Props) is an important part of any performance. Props can be important in advancing the story in some shows (Once Upon A Mattress relies heavily on props) or just aids to the show (Finians Rainbow the only major props are a pot of gold and a guitar). Yet this position always needs to be filled. It is near essential to put on a show. Props masters have to coordinate themselves with costume and set designers, as well as the director and possibly music director if it is an in use instrument.
It's no easy task and I will be undertaking it myself in a production of Is He Dead? by Mark Twain, where the biggest and hardest prop is a full sized coffin.
Theatrical Properties (henceforth referred to as Props) is an important part of any performance. Props can be important in advancing the story in some shows (Once Upon A Mattress relies heavily on props) or just aids to the show (Finians Rainbow the only major props are a pot of gold and a guitar). Yet this position always needs to be filled. It is near essential to put on a show. Props masters have to coordinate themselves with costume and set designers, as well as the director and possibly music director if it is an in use instrument.
It's no easy task and I will be undertaking it myself in a production of Is He Dead? by Mark Twain, where the biggest and hardest prop is a full sized coffin.
Wednesday, December 1, 2010
Musical Charcters Part 4 of 6: Josh Baskin
Josh Baskin is the main character in the musical adaption of the movie Big. At the start of the show Josh is a 12-year-old boy living in a New Jersey Suburb. He has feelings of self conciseness whenever the girl he has a crush on, 13-year-old Cynthia Benson is near. He and his friends have no idea what is happening to them and their parents don't either, this feeling is expressed in the song "Can't Wait".
Josh's friend Billy later tells him the he has heard the Cynthia things he's "cute". Josh begins to worry what to say to Cynthia as Billy explains everything will go fine at the carnival that night, this dialog is heard in the song "Talk to Her".
At that carnival that night, Josh makes a fool of himself when he learns that Cynthia has an older boyfriend. He also is embarrassed in front of the roller coaster when the operator tells him he is to short to ride. Billy tries to talk to him but Josh speeds away on his skateboard to the abandoned warehouse.
At the warehouse, Josh finds an old arcade game called Zoltar Speaks it prompts him to put in a coin and make a wish. Josh does this makes his wish, a wish to be big. Zoltar replies "Your wish is granted" as Josh leaves to go home.
The next morning Josh realizes something is wrong ("This Isn't Me"). The machine has granted his wish and he is now a 30-year-old man. He realizes the machine has granted his wish and is scared and confused because, though he has the body of a 30-year-old, his mind is still that of a 12-year-old boy.
Josh than comes downstairs and scares his mother and runs off to the school and tries to get Billy to help him. Billy only believes it's Josh when they perform their secret had shake.
Without a plan, Billy and Josh take a bus to New York City after school. Billy wants to stay by Josh but has to catch the next bus home. Josh and Billy agree to meet at FAO Schwartz the next day. After Billy leaves, Josh gets frightened and has trouble falling asleep ("I Want to go Home").
The next day Josh goes to FAO Schwartz and is amazed by the multitude of kids having fun with toys ("The Time of Your Life"). Billy hasn't arrived so Josh kills time by walking around the store and starts to chat with an elderly man. It turns out that the man is Mr. Macmillan the CEO of Macmillan toys, he had come to the store to try and find out why so many companies are beating Macmillan toys in sales. Josh replies that Macmillan toys "Don't allow kids to have fun,". Instead of being angered by this comment Macmillan is intrigued by what Josh has to say about what makes a toy fun. They end up having a great time playing on a giant piano and he hires Josh as his assistant on the spot.
Later at a meeting at the Macmillan company, the vice-presidents are presenting their holiday toy ideas to Josh and Mr. Macmillan. Josh shoots all the ideas that are presented down which enrages the vice-presidents ("Josh's Welcome"). One of the vice-presidents, Paul is also upset over his relationship with another vice-president, Susan, suddenly ending.
Susan is working late that night when she realizes her feelings for Josh because he is so different from Paul. ("Here We Go Again").
Will Josh ever return to normal? Find out by either watching the musical of Big or the movie, staring Tom Hanks (While devoid of music it still is a quality film)
Josh's friend Billy later tells him the he has heard the Cynthia things he's "cute". Josh begins to worry what to say to Cynthia as Billy explains everything will go fine at the carnival that night, this dialog is heard in the song "Talk to Her".
At that carnival that night, Josh makes a fool of himself when he learns that Cynthia has an older boyfriend. He also is embarrassed in front of the roller coaster when the operator tells him he is to short to ride. Billy tries to talk to him but Josh speeds away on his skateboard to the abandoned warehouse.
At the warehouse, Josh finds an old arcade game called Zoltar Speaks it prompts him to put in a coin and make a wish. Josh does this makes his wish, a wish to be big. Zoltar replies "Your wish is granted" as Josh leaves to go home.
The next morning Josh realizes something is wrong ("This Isn't Me"). The machine has granted his wish and he is now a 30-year-old man. He realizes the machine has granted his wish and is scared and confused because, though he has the body of a 30-year-old, his mind is still that of a 12-year-old boy.
Josh than comes downstairs and scares his mother and runs off to the school and tries to get Billy to help him. Billy only believes it's Josh when they perform their secret had shake.
Without a plan, Billy and Josh take a bus to New York City after school. Billy wants to stay by Josh but has to catch the next bus home. Josh and Billy agree to meet at FAO Schwartz the next day. After Billy leaves, Josh gets frightened and has trouble falling asleep ("I Want to go Home").
The next day Josh goes to FAO Schwartz and is amazed by the multitude of kids having fun with toys ("The Time of Your Life"). Billy hasn't arrived so Josh kills time by walking around the store and starts to chat with an elderly man. It turns out that the man is Mr. Macmillan the CEO of Macmillan toys, he had come to the store to try and find out why so many companies are beating Macmillan toys in sales. Josh replies that Macmillan toys "Don't allow kids to have fun,". Instead of being angered by this comment Macmillan is intrigued by what Josh has to say about what makes a toy fun. They end up having a great time playing on a giant piano and he hires Josh as his assistant on the spot.
Later at a meeting at the Macmillan company, the vice-presidents are presenting their holiday toy ideas to Josh and Mr. Macmillan. Josh shoots all the ideas that are presented down which enrages the vice-presidents ("Josh's Welcome"). One of the vice-presidents, Paul is also upset over his relationship with another vice-president, Susan, suddenly ending.
Susan is working late that night when she realizes her feelings for Josh because he is so different from Paul. ("Here We Go Again").
Will Josh ever return to normal? Find out by either watching the musical of Big or the movie, staring Tom Hanks (While devoid of music it still is a quality film)