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#166 taion

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Posted 31 July 2017 - 05:49 AM

That pre-curtain thing was just so damn weird. How could they have thought that was a good idea?


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#167 Sneakeater

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Posted 31 July 2017 - 05:51 AM

I thought it was perfectly entertaining.  But who was that woman?

 

It was only when she turned out to be a very minor player that it seemed pointless.


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#168 Sneakeater

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Posted 31 July 2017 - 05:52 AM

(I mean, considering who was dancing Bianca, I should have recognized it wasn't her.  But it didn't make any sense otherwise.  And me, I'm charitable [after all, I've paid a lot of money for my ticket]:  I always give things the interpretation that makes the most sense -- until it becomes impossible not to.)


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#169 taion

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Posted 31 July 2017 - 03:17 PM

I meant in retrospect, yeah. It was neat at the time. Then the actual Katherina and Bianca showed up and it was confusing and weird.
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#170 taion

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Posted 16 October 2017 - 04:58 AM

After the Blast at LCT3 sucked. I came out of it thinking that it had some cool ideas and was a good freshman effort, but then I realized who Zoe Kazan was. It fails in two pretty fundamental ways.

 

First, and most immediately noticeable, it's a science fiction story that doesn't manage to do a plausible job at world building. The former of the two big plot twists was so obvious that I thought maybe it was a failure in world building. When it became clear, instead it made me think that the main character was just an idiot. Maybe I'm touchy because I was a major SF fan in the past, but implausible near-future SF is just sort of offensive.

 

The problem that I realized later on was that the play also just lacks strength in its convictions. It wears a certain brand of politics on its sleeve through offhand references and some nice casting choices... except the main characters are a pragmatic male scientist and a female ex-writer/now-housewife suffering from depression (despite the existence of housewives making no sense in-universe). Like, what the hell? Not only is it an outdated sexist (gendered?) stereotype, it's stupidly at odds with the constant dog whistles throughout the rest of the play. And, no, lampshading that your main characters are sexist stereotypes isn't enough – maybe just don't use sexist stereotypes to start with.


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#171 taion

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Posted 05 November 2017 - 02:51 AM

Well, I've never seen The Red Shoes, but my takeaway from Bourne's adaptation is that both Craster and Lermontov are assholes.


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#172 Sneakeater

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Posted 05 November 2017 - 05:07 PM

That isn't the take you get from the movie.  In the movie, neither of them is an asshole.  The movie is very explicit about this, taking great pains to show it.

 

I thought the Bourne adaptation -- which I generally loved -- rushed the ending, to the point where I can't really believe that anyone who hadn't seen the movie would have a clue as to what was going on.


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#173 prasantrin

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Posted 06 November 2017 - 02:00 AM

 

(My local opera company puts on related educational seminars within a week or two of any opera that will be performed. For Werther, there was a seminar on mental health, and then the primer this past weekend, which provided an overview.)


I also want to say that pras's local opera company is seemingly doing everything it can to kill opera.

I mean, educational seminars on mental health in connection with an opera production? Is that the kind of thing that makes you feel like going to an opera is something you want to do, as opposed to something you would force yourself to do because it's good for you?

And the topic is so tangential. It's like if you accompanied a production of The Odd Couple with an educational seminar on obsessive-compulsive disorder.

It's sad that an opera company has so little confidence in the entertainment value of its own productions.

 

 

This fall's production is Madama Butterfly and the other day, I attended a seminar on cultural appropriation vs cultural appreciation.

 

Kind of interesting, but a little confusing and I had to leave early.

 

The other seminars have been more interesting as they focused on the music and/or story.

 

Later this week is a seminar on cross-cultural marriages with a focus on marriages between Japanese women and Western (i.e. Caucasian) men. Odd.



#174 taion

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Posted 06 November 2017 - 04:14 AM

That isn't the take you get from the movie.  In the movie, neither of them is an asshole.  The movie is very explicit about this, taking great pains to show it.

 

I thought the Bourne adaptation -- which I generally loved -- rushed the ending, to the point where I can't really believe that anyone who hadn't seen the movie would have a clue as to what was going on.

 

In the second act, I thought Craster forcing her away from the shoes was sort of a dick move. Then the invoked parallel of Lermontov to the demonic shoemaker, beckoning her with the shoes.

 

You mean the film doesn't end with a train driving into the theater and running her over while she's on stage?


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#175 Sneakeater

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Posted 06 November 2017 - 04:22 AM

You won't believe it, but no, it doesn't.


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#176 Sneakeater

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Posted 06 November 2017 - 04:26 AM

In the second act, I thought Craster forcing her away from the shoes was sort of a dick move. Then the invoked parallel of Lermontov to the demonic shoemaker, beckoning her with the shoes.


Right, that's how it's now presented.

In the film, it was clear that Lermontov was hung up on an idealized vision of Vicki and the purity of art in general, whereas Craster was a completely sympathetic underdog (he's introduced via a subplot, omitted from the Bourne piece, where his composition professor steals his work and presents it to Lermontov as the professor's own) just trying to have a full life with his wife/lover.

It's interesting, in the context of things we've been discussing recently, that it would be almost impossible to present the film's viewpoint now, because it's clear to us now that really the two guys were being dicks.


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#177 Sneakeater

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Posted 06 November 2017 - 04:09 PM

(It's interesting to note in this connection that the English Music Hall scene did not appear in the movie, but was invented for this production.)


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#178 taion

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Posted 06 November 2017 - 11:15 PM

It's interesting, in the context of things we've been discussing recently, that it would be almost impossible to present the film's viewpoint now, because it's clear to us now that really the two guys were being dicks.


So there's this current series of films called Kingsman...

(I was really bored on a flight a while ago.)
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#179 Sneakeater

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Posted 06 November 2017 - 11:45 PM

As a huge James Bond fan, I really want to see those, actually.


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#180 taion

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Posted 07 November 2017 - 06:20 PM

Oy, now those havent aged well in some ways.
I didn't tip at Per Se either.