Mishmash Monday
Feb. 18th, 2008 02:39 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
bironicRemix Redux signups are open! I tried it for the first time last year and had a wonderful experience, both in the remixing and in the being-remixed. I highly recommend it. It would be great to have more House people participate this year. *nudge nudge*
Hm. That does bring the total number of fics I have due by mid-April up to four (two House, one SGA, one TBA). Stay tuned for panicking.
Meanwhile, things are continuing to go well, if still pretty tightly packed. Last weekend my sister and I took our dad to see Young Frankenstein for his birthday, which he loved. Mel Brooks isn't my kind of humor, except possibly for Robin Hood: Men in Tights, but it translated well to the stage -- either because I'm older now than when I saw the movie, because the story changed from movie to play, or because it works better in this kind of venue than on screen. It was raunchy, noisy, entertaining, non-stop, inside-jokey to people who know Shelley's story and Whale's movies -- and very obviously expensive.
Roger Bart, who played Frankenstein, was quite flat overall and had strange, high-pitched, quickly spoken, 20-something affectations that reminded me of Dane Cook, but he had his moments. Sutton Foster (formerly of Thoroughly Modern Millie fame) as Inga was by far the most talented cast member, especially in her opening song where she yodeled very impressively, although she didn't always hold on to her accent when she sang. (The accents in the show, btw, ranged from German to Transylvanian to Brooklynite to Irish to Cockney.) Shuler Hensley played the Monster, and while he didn't have much to do for most of the play other than stagger around and moan, he totally stole the show as soon as they did the "Puttin' on the Ritz" number. He had a surprising, rich baritone, too, and a swanky English accent at the end when Frankenstein upgraded his brain. Megan Mullally (Karen on Will and Grace) pretty much played to type as Elizabeth / The Bride of Frankenstein, which worked well, and I don't have much to say about the actor who played Igor, Christopher Fitzgerald; my dad said he was basically the same as the character in the movie (which I haven't seen since I was about eight, and don't remember liking much). Oh, and Andrea Martin as Frau Blucher (cue the horses neighing) brought a touch of classic Broadway to the play; very mature performance overall, and she stole the first act by virtue of singing its only good song, "He Vas My Boyfriend."
Overall, it was enjoyable. My favorite parts were "Puttin' on the Ritz," where the monster did his awkward tapdance and barely articulated lyrics; a song in the first act called "Join the Family Business" where the ghosts of Frankensteins gone by (and their leggy lab assistants) convinced Frederick to try to animate a creature of his own, because in the middle of the song, the chorus assembled a giant puppet-monster that stomped across the stage to resounding drum beats; a cameo by Dracula at the end; and ... something else I've already forgotten. Mostly, I was taken aback by how much money was poured into the production, ostentatiously so (unless that's typical for the bigger Broadway shows these days). There were at least twelve sets, all switched out with barely a pause from scene to scene; props such as that giant marionette and a huge plasma ball for Frankenstein's lab; a ship, a steam engine, a wagon; multiple high-quality costumes for the entire cast; video projections; trap doors, a bed/table that reached the ceiling on a chain, and other stage tricks; full orchestra; etc. etc. Coming off a series of one- to two-set dramas, it startled me.
Oh, and Sarah Jessica Parker and Matthew Broderick were in the center section in our row, with their kid. Random.
It's been a theater-full few months, and I'm really looking forward to what's coming up this month and in March: Patrick Stewart in Macbeth, Conor McPherson's The Seafarer (with Tritter!), and Stoppard's Rock 'n' Roll a few days before it closes.
I've got most of my application in to Birthright Israel. I ended up going with the Holocaust-themed International March of the Living trip, which takes you to Poland as well as Israel. It's going to be fantastic -- if I get a slot. It's first-applied, first-considered, so we'll see. I'm hoping they'll take into account that this is the last year I qualify.
Have been doing beta work for people who were brave and industrious enough not to have backed out of![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-community.gif)
house_bigbang. Trying to plan out fic, and taking notes for posts I may never write. Read Rock 'n' Roll. Went to a terrible astronomy lecture. Had a lovely brunch yesterday in a retro French café with ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
scribblinlenore, pun and linaerys, in which many amusing topics were covered, from baseball history and Jeter/A-Rod RPF to cars to John Simm to our various works in progress to the line, "You pimped your mom into House slash?"
Not much else going on worth noting, except perhaps that Peanut Guy and I started carpooling today. We live something like three miles from each other; it's silly not to come in together as often as possible when gas prices are still rising and we're logging about 250 miles a week just to get to work and back.
In conclusion: Remix!
How are you?
Hm. That does bring the total number of fics I have due by mid-April up to four (two House, one SGA, one TBA). Stay tuned for panicking.
Meanwhile, things are continuing to go well, if still pretty tightly packed. Last weekend my sister and I took our dad to see Young Frankenstein for his birthday, which he loved. Mel Brooks isn't my kind of humor, except possibly for Robin Hood: Men in Tights, but it translated well to the stage -- either because I'm older now than when I saw the movie, because the story changed from movie to play, or because it works better in this kind of venue than on screen. It was raunchy, noisy, entertaining, non-stop, inside-jokey to people who know Shelley's story and Whale's movies -- and very obviously expensive.
Roger Bart, who played Frankenstein, was quite flat overall and had strange, high-pitched, quickly spoken, 20-something affectations that reminded me of Dane Cook, but he had his moments. Sutton Foster (formerly of Thoroughly Modern Millie fame) as Inga was by far the most talented cast member, especially in her opening song where she yodeled very impressively, although she didn't always hold on to her accent when she sang. (The accents in the show, btw, ranged from German to Transylvanian to Brooklynite to Irish to Cockney.) Shuler Hensley played the Monster, and while he didn't have much to do for most of the play other than stagger around and moan, he totally stole the show as soon as they did the "Puttin' on the Ritz" number. He had a surprising, rich baritone, too, and a swanky English accent at the end when Frankenstein upgraded his brain. Megan Mullally (Karen on Will and Grace) pretty much played to type as Elizabeth / The Bride of Frankenstein, which worked well, and I don't have much to say about the actor who played Igor, Christopher Fitzgerald; my dad said he was basically the same as the character in the movie (which I haven't seen since I was about eight, and don't remember liking much). Oh, and Andrea Martin as Frau Blucher (cue the horses neighing) brought a touch of classic Broadway to the play; very mature performance overall, and she stole the first act by virtue of singing its only good song, "He Vas My Boyfriend."
Overall, it was enjoyable. My favorite parts were "Puttin' on the Ritz," where the monster did his awkward tapdance and barely articulated lyrics; a song in the first act called "Join the Family Business" where the ghosts of Frankensteins gone by (and their leggy lab assistants) convinced Frederick to try to animate a creature of his own, because in the middle of the song, the chorus assembled a giant puppet-monster that stomped across the stage to resounding drum beats; a cameo by Dracula at the end; and ... something else I've already forgotten. Mostly, I was taken aback by how much money was poured into the production, ostentatiously so (unless that's typical for the bigger Broadway shows these days). There were at least twelve sets, all switched out with barely a pause from scene to scene; props such as that giant marionette and a huge plasma ball for Frankenstein's lab; a ship, a steam engine, a wagon; multiple high-quality costumes for the entire cast; video projections; trap doors, a bed/table that reached the ceiling on a chain, and other stage tricks; full orchestra; etc. etc. Coming off a series of one- to two-set dramas, it startled me.
Oh, and Sarah Jessica Parker and Matthew Broderick were in the center section in our row, with their kid. Random.
It's been a theater-full few months, and I'm really looking forward to what's coming up this month and in March: Patrick Stewart in Macbeth, Conor McPherson's The Seafarer (with Tritter!), and Stoppard's Rock 'n' Roll a few days before it closes.
I've got most of my application in to Birthright Israel. I ended up going with the Holocaust-themed International March of the Living trip, which takes you to Poland as well as Israel. It's going to be fantastic -- if I get a slot. It's first-applied, first-considered, so we'll see. I'm hoping they'll take into account that this is the last year I qualify.
Have been doing beta work for people who were brave and industrious enough not to have backed out of
house_bigbang. Trying to plan out fic, and taking notes for posts I may never write. Read Rock 'n' Roll. Went to a terrible astronomy lecture. Had a lovely brunch yesterday in a retro French café with scribblinlenore, pun and linaerys, in which many amusing topics were covered, from baseball history and Jeter/A-Rod RPF to cars to John Simm to our various works in progress to the line, "You pimped your mom into House slash?"Not much else going on worth noting, except perhaps that Peanut Guy and I started carpooling today. We live something like three miles from each other; it's silly not to come in together as often as possible when gas prices are still rising and we're logging about 250 miles a week just to get to work and back.
In conclusion: Remix!
How are you?
no subject
Date: Feb. 18th, 2008 11:57 pm (UTC)It's... a musical? Ooookay *g*. I have a wildly uneven thing with Mel Brooks - love The Producers, To Be or Not to Be and Spaceballs, but found Blazing Saddles dull and loathed Men in Tights more than I can adequately express, despite the lovely Cary Elwes (that was an "I want those hours of my life back" movie *g*).
It's been a theater-full few months, and I'm really looking forward to what's coming up this month and in March: Patrick Stewart in Macbeth, Conor McPherson's The Seafarer (with Tritter!), and Stoppard's Rock 'n' Roll a few days before it closes
I hate you just a little. Maybe a lot. Reviews, woman! :)
The Birthright trip sounds really amazing!
no subject
Date: Feb. 19th, 2008 12:25 am (UTC)Stewart's Macbeth is at the same theater that housed McKellen's Lear. Which I didn't see and you did. So we're even there. And this time there won't be any traumatizing nudity.
Yep, it's a musical. And heh, your reaction to Men in Tights sounds like my reaction to Blazing Saddles. W. T. F. The others left me mostly meh -- haven't seen To Be Or Not To Be, though, or actually even heard of it -- but I know a lot of people really like his stuff. *shrug*
no subject
Date: Feb. 19th, 2008 02:46 am (UTC)Yeah, but I adore Stewart and don't really give much of a damn about McKellan. Also the play sounds like more fun. So to speak.
I think Mel Brooks' comedy tends to be very, very broad, which is why I enjoy it most when it has more serious subject matter as counterpoint. I have no excuse for Spaceballs, though, except that I was a teenager, which is exactly the target market for juvenile humour *g*. To Be Or Not To Be stars Brooks trying to make a living as a Polish actor during WWII - he's playing Hamlet, obviously, and is most unamused when a handsome young officer (Tim Matheson) keeps leaving during the most famous of soliloquies. It's a very good movie. I remember it was the first time I ever heard about the pink triangle and how homosexuals were persecuted as well.
Hmmm, okay, sometimes I wonder whether I might be straying into 'insensitive' territory here, since my associations are purely to do with entertainment value. Hence the edit. Sorry if I did :(
no subject
Date: Feb. 20th, 2008 12:54 am (UTC)Aaaand, removing that last paragraph in case any of it is not meant to be public info. As far as you/etc. is concerned, I mean.
Yay edits!
no subject
Date: Feb. 20th, 2008 01:40 am (UTC)Hee - and just to say, no, nothing you wrote would have bothered me at all. I don't see it happening though XD
no subject
Date: Feb. 20th, 2008 01:43 am (UTC)no subject
Date: Feb. 20th, 2008 01:56 am (UTC)