#great performance from david and michael
Text
you know now that i’ve finished gomens s2 i could probably write an essay on my mixed feelings. what about when a work is - especially so in some parts - very fucking good. thematically interesting and consistent, characterisation that is so painfully human and told in a fascinating manner. but due to a lack of conclusion - inherent because of the format (tv series) - it feels an inherently different sort of narrative to the original. i do not think good omens season two is bad - not at all, but what i do think is it is now a very fundamentally different type of story than that of the book. not because the events of the show don’t happen in the book but because the style of storytelling is altogether different. it’s inherently going to be the case when one of the original creators has sadly passed on, and it doesn’t necessarily make it bad - however it does make it not what personally made me love the book of good omens in the first place. maybe it’s because i came in with certain expectations given that i have read a lot of sir terry pratchett’s other work and basically none of neil gaiman’s, but it’s just a different format of story. like the difference between an epic poem and a serialised story.
#good omens#gomens 2#gomens spoilers#this isn’t saying it is bad#i enjoyed it and i think the ending makes sense#but that’s not why i love the novel#this isn’t a bad thing adaptations are allowed to differ from source material#but it means my personal feelings are weird and conflicted and mixed#great performance from david and michael#a bit weird pacing and structure at times#the ending is the most solid part and where it finds it’s feet#but it is just a different type of story that does actually span over seasons#as opposed to the original#i think in future i’m gonna view them as two separate divergent works#good omens and good omens legends
343 notes
·
View notes
Text
I Talk Telly Awards 2023 were won by Good Omens, Staged, David and Michael and David! 🥳🥳🥳❤❤❤
Acceptance Speech for BEST COMEDY PARTNERSHIP - DAVID TENNANT & MICHAEL SHEEN - STAGED
David: Hello, everybody. David Tennant here from TV's Staged. Just dropping by to the I Talk Telly Awards to say... thank you because we are very thrilled to have won an award for Staged.
Georgia: Oh, that's nice.
David: Yeah.
Georgia: What's it for?
David: Best Comedy partnership.
Georgia: Oh, right. For erm.
David: For me and...
Georgia: You and Michael.
David: Me and Michael.
Georgia: Ok. That's... That's nice.
David: You know what that means, Georgia.
Georgia: No, I'm not doing it again.
David: Yeah, it's time.
Georgia: No, I'm not doing it again.
David: You've got to.
Georgia: David, I'm not doing it again.
David: You've got to.
Georgia: Everyone else has moved on and you need to too.
David: It's impolite. We've got to say thank you properly for the award to the lovely people who voted. We love them very much. Go on...
Georgia: I don't wanna do it.
David: Do it.
[Georgia holds big cardboard head of Michael Sheen in front of herself]
David: Heeeeeeeeeeeeyyyyyy! Michaeeeeel! Michael Sheen and David Tennant here saying thank you for recognizing us as Best Comedy Partnership. Very kind. We're thrilled, aren't we, Michael?
[The cardboard head of Michael nods]
David: Anything else you want to say, Michael?
[The cardboard head of Michael shakes as no]
David: Anything at all?
[The cardboard head of Michael shakes as no]
David: Say something in Welsh.
Georgia behind the head: I don't want to say anything in Welsh.
David: Must be something you could say in Welsh.
Georgia behind the head: I don't want to say anything in Welsh.
David: Thanks everybody! Iechyd da! [= Cheers in Welsh]
Acceptance Speech for BEST RETURNING COMEDY - STAGED
[There is Anna and Lyra, with Cardboard Georgia and Cardboard David]
Lyra: Thank you everyone for voting for Staged!
Anna whispers: For Best Returning Comedy.
Lyra: For Best Returning Comedy.
Acceptance Speech for BEST DRAMATIC PERFORMANCE - DAVID TENNANT - LITVINENKO
David: Hello. Welcome to backstage at the Domar Warehouse. I just stepped out of rehearsals for a second because I want to say thank you so much for this award. Litvinenko was such a very special project to be part of. It meant so much to all of us who were involved in telling Sasha Litvinenko's story. It wasn't just another job. We were telling the story of an extraordinary man and his extraordinary family. It was an honour to portray him. And it means so much to have it recognized in this way. Marina Litvinenko and Anatoly, her son, were extraordinary human beings to get to know. And to be entrusted with their story is something that I will be forever proud of. So this means a great deal. So thank you to everyone who voted and thank you to I Talk Telly. I really appreciate it. Thank you so much.
We don't have an acceptance speech but Good Omens won in the BEST RETURNING DRAMA category! :)
#good omens#staged#david tennant#michael sheen#georgia tennant#anna lundberg#lyra#neil gaiman#terry pratchett#i talk telly#i talk telly 2023#videos#awards#awards win
1K notes
·
View notes
Note
Hi Neil!
I don't want to sound like a killjoy, but I'm concerned about David Tennant's family being involved in the second season of Good Omens (or Michael Sheen's partner Anna Lundberg in a future season three). I absolutely have nothing against them, I loved Staged just like everyone else, but this is exactly the matter for me: casting them in the series would automatically make me think about Staged or something else while I'm watching GO, and it would distract me from the plot and the magic of it. It would feel somehow like a family reunion, no matter how talented they are as actors (not to mention that there would be nepotism accusations, above all against David. I hope this won't affect the popularity rating, since season three is still hypothetical). I'm not the only one who thinks this might be an issue, from what I read on blogs here on Tumblr (and on the Internet in general) but I feel like there's a sort of tension, like people are scared to say it out loud, because some fans get the wrong idea and accuse them of hating Georgia or Anna or Ty (and that's why I'm asking this anonymously, I don't want to start a fight). I hope you get what I'm saying, it only felt fair to me to let you know whatever concerns some fans might have, and maybe even give you a perspective you weren't considering? Of course you have the last word on this, and if you think this is not a big deal, I trust your judgement.
I wish you a fantastic day! (And sorry for my English, I'm not native, I tried my best!)
Yeah. So, I find that a little creepy, not very creepy, but definitely a bit.
I thought we were lucky to get Peter Davison in Good Omens 2. (He didn't audition. We offered him the part, as I've been a fan of his since 1978, and All Creatures Great and Small. He crushes it, and is heartbreaking, funny, and still somehow the moral compass of the episode he's in.) Ty Tennant auditioned, along with a number of other actors, and got the part because he did it best. (I didn't know who his family was when we cast him. I just liked the audition tape.)
If you're hunting down family connections, David's mother-in-law, Ty's grandmother, Sandra Dickinson, is in the Audible Sandman, too, as one of the Three Witches/Fates/Eumenides etc. And she was cast in it two years before David Tennant (although probably around the same time Michael Sheen was asked to be Lucifer). (I've been a fan of Sandra's since she was Trillian in Hitchhiker's Guide to the Galaxy in 1981.)
Anyway, I'm sorry you're worried about Peter and Ty's performances, although I promise you have nothing to worry about, and I'm sorry that you worry that our possibly casting Georgia and Anna in a hypothetical and not-yet actually a real thing Season 3 might make people think of Staged and make them not able to enjoy Good Omens any longer. (Had I known people were this easily shaken I wouldn't have appeared in Staged either, in case my name at the front of Good Omens shattered the fragile illusion and revealed to people that the David Tennant and Michael Sheen who play Crowley and Aziraphale are actors.)
Starting in 2017 I was the recipient of mind-mangling quantities of Tumblr abuse for casting David Tennant and Michael Sheen as Aziraphale and Crowley, which was, many people made very clear to me, the worst casting in the whole entire utter history of casting, and something that Good Omens would never recover from, because for a start neither of them looked like the versions in people's heads, and I'd also miscast them badly because everyone knew that if you had to cast Sheen and Tennant, Michael had to play Crowley and David had to put on some weight and play Aziraphale. (It wasn't until May 2019 that people stopped grumbling.) So people worrying I'm going to cast Anna and Georgia in a season that hasn't even been commissioned in parts that haven't been written just makes me smile.
I hope this helps.
1K notes
·
View notes
Text
The Night Manager will be returning for two more seasons with Tom Hiddleston at the helm once again, it has been reported.
The renewal of the hit adaptation of John le Carré’s 1993 novel, which aired to great fanfare eight years ago, has been greenlit by Amazon Prime and the BBC, according to Deadline.
It is understood that the new seasons about the hotel-manager-turned-spy will be filmed later this year in London and South America.
According to reports, David Farr – who wrote the original series – has been brought back to write season two.
The first series, which won two Emmys and three Golden Globes, featured an impressive cast including Olivia Colman, Elizabeth Debicki, Tom Hollander and David Harewood.
It followed Hiddleston as Jonathan Pine, the former British soldier who is recruited by the manager of a Foreign Office taskforce to infiltrate an arms dealer’s inner circle while he is the night manager of a luxury Cairo hotel.
The series quickly became one of the top-rated UK dramas of 2016 and spawned a number of subsequent le Carré adaptations from The Ink Factory, the production company run by le Carré’s sons Simon and Stephen Cornwell.
The new adaptation will be set in the present day, according to Deadline, and will follow Hiddleston’s Pine facing a new and more deadly challenge after being informed that arms dealer Richard Roper – played by Hugh Laurie – is dead.
Laurie, Colman and Hiddleston all won Golden Globes for their performances in the 2016 spy thriller, which became an international success and even led to rumours at the time that Hiddleston, 43, could be the next James Bond.
While the Bond rumours may have been put to bed, it remains to be seen where the plot may take Pine, seeing as Le Carré‘s novel has no sequel.
When Laurie was asked in 2016 whether the series would return, he said: “It’s based on a novel, we’ve got to the end of the novel and John le Carré has yet to write another novel. So in cold practical terms, no, we’re done.”
Le Carré, who died in 2020, took a very hands-off approach to the first series, but was said to be pleasantly surprised by the alterations Farr made to his novel for the script.
Charlotte Moore, the BBC TV chief, told The Telegraph in 2017 that “Le Carré is very involved” in discussions about the next series, saying: “We wouldn’t be talking with them if he didn’t think it was a good idea.”
Announcing the new series, Ms Moore said: “After years of fervent speculation I’m incredibly excited to confirm that The Night Manager is returning to the BBC for two more series.”
“Of course he wants to take part in it, it’s his work. He will definitely be involved in what we do next,” she added.
The Telegraph has contacted Le Carré’s estate for comment on the announcement of the new seasons.
Previously, Susanne Bier, who won an Emmy for directing the first series, revealed that scripts for a second instalment were “slowly being developed”, but she said writers were wary about being able to create the same hit again.
Elizabeth Debicki, Tom Hiddleston, Susanne Bier and Hugh Laurie at the premiere of the first season
Elizabeth Debicki, Tom Hiddleston, Susanne Bier and Hugh Laurie at the premiere of the first season Credit: Michael Tran/FilmMagic
Farr agreed with this sentiment at the time, telling Variety in 2016 that he was “not keen” to do a second series, adding: “I liked the fact that the story ended where the story ended.
“But that’s entirely personal. Given the characters, there is a potential for something more to happen, and I’m sure someone could find the right idea. But for me it’s done. My simple feeling is that I wouldn’t be able to make the next one as good.”
Hiddleston, 43, will be returning to executive produce the new seasons as well as play Pine.
The British actor said: “The first series of The Night Manager was one of the most creatively fulfilling projects I have ever worked on. The depth, range and complexity of Jonathan Pine was, and remains, a thrilling prospect.”
Simon and Stephen Cornwell said season one proved “a landmark moment for the golden era of television – uniting on-screen and behind-the-camera talent at the top of their game – and an audience reception which was beyond our wildest imagining”.
“Revisiting the story of Pine also means going beyond the events of John le Carré’s original work: that is a decision we have not taken lightly, but his compelling characters and the vision David [Farr] has for their next chapter were irresistible,” they added.
Vernon Sanders, the Amazon MGM Studios head of television, added: “We are elated to bring additional seasons of The Night Manager to our Prime Video customers.
“The combination of terrific source material, the wonderful team at The Ink Factory, a great writer in David Farr, an award-winning director in Georgi Banks-Davies, as well as the talented cast truly make the series the full package.”
78 notes
·
View notes
Text
When I was at Artschool in the early 80s, I was a big David Bowie fan (had been since 1975 at age of 12) and went along to some Bowie convention in Hammersmith, London. Where I watched an interview with Lindsay Kemp. He was the mentor to DB and taught him mime and opened his eyes to Kabuki and Jean Genet.... like Lindsay did to many of us. This made me picked up a leaflet to see The Lindsay Kemp Company shows at Sadlers Wells a week later and my career path changed.... a Theatrical life for me.
My artwork at artschool changed over night. It took another 6 years to get where I wanted to be... part of The Kemp Company. I saw all the shows that came to the UK in that 6 years, often going everynight on standby tickets. When I joined the Kemp Co officially, and was designing and making his solo show Onnagata.
youtube
This is where he taught me that every part of the performance, if paused and in a freeze...should look like a photograph or painting... these days it would be a screenshot.
I get exactly that feeling while watching Good Omens, the visual feast of both seasons , anytime I pause.... it is , a spectacular image to savour an old master or an incredible photo. Now I realise why I watch it time and time again. I want to Thank @neil-gaiman for bringing this visual wonder to the screen. As a visual person , I adore the staging of each shot.... the lighting, the angles... (love the aerial shots). The details of everything from set, costume to visual effects and the work of such a talented team. We never had the funds in the Kemp Co..... we were good at making do from scraps, begging, stealing and borrowing. I would of adored to work on something like Good Omens, but I was a Theatre person and didn't go near Film and TV. In fact I turned down an opportunity to work with Derek Jarman, as I would have to leave Lindsay's company to do so. No regrets. I followed my dreams.
I will look forward to Season 3 with great anticipation. But in no hurry for it to happen as once we have 3.... that's it!! In a way I don't want it to end....
We lost Lindsay Kemp in 2018 at the age of 80.... so there will never be more of his shows.
So take your time with Good Omens 3, I need to have something to look forward to.
These 2 actors are spectacular performers, and I adore the way they have created such marvellous characters. Thank you , David Tennant and Michael Sheen... you bring joy to my life.....
https://www.facebook.com/TheLindsayKempCo
If the link doesn't work, there is one in my first ever post below.
#crowleygoodomens#david bowie#good omens s2#neil gaiman#anthony j crowley#davidbowie#demon crowley#good omens#good omens crowley#lindsay kemp#good omens prime#angelaziraphale#david tennant#david and michael#michael sheen#azriaphale#thelindsaykempcompany#Youtube#derek jarman
34 notes
·
View notes
Text
Trading Site Reopening and Gifting Spree!
So. After weeks of work (*insert alpaca scream here*), my trading site is open for trading! To celebrate, I decided to gift a few audios and videos from Phantom of the Opera, a few audios from Les Misérables, two cast recordings from Elisabeth das Musical, and a cast recording for Sweeney Todd. Enjoy!
(If you're the master of a listed audio/video, please don't hesitate to reach out to me if you want me to remove your stuff from the list.)
POTO audios
Michael Crawford, Rebecca Caine (alt.), Steve Barton
October 10, 1987; London
Michael Crawford and Steve Barton's last in London. Soundboard, very good quality, and this one is complete. And Rebecca Caine sounds amazing in it (as she always does).
https://www.mediafire.com/file/pttrjfqzb84gatm/POTO_West_End_10-10-1987_-_Crawford%252C_Caine%252C_Barton.rar/file
Steve Barton, Rebecca Luker, Gary Lindemenn (u/s),
Marilyn Caskey, Jeff Keller, George Lee Andrews, Leila Martin
September 26, 1990; Broadway
Soundboard audio. Because Steve Barton was almost as good of a Phantom as he was as Raoul, and Rebecca Luker is a legend (RIP).
https://www.mediafire.com/file/xc9ywojtdesptje/POTO_Broadway_26-09-1990_-_Barton%252C_Luker%252C_Lindemenn.rar/file
Davis Gaines, Tracy Shayne, Matthew R. Jones, George Lee Andrews, Jeff Keller, Lelia Martin
October 5, 1996; Broadway
Davis Gaines's last performance. Because Davis Gaines has one of the best voices I've heard in the role.
https://www.mediafire.com/file/w1ybvl8v6e4ex6r/POTO_Broadway_05-01-1996_-_Gaines%252C_Shayne%252C_Little.rar/file
Brad Little, Lisa Vroman, Tim Martin Gleason, Kim Stengel, DC Anderson, David Cryer, Patti Davidson-Gorbea, Kate Wray, Jimmy Smagula
December 5, 2003; Los Angeles
Lisa Vroman’s second-to-last performance as Christine. Both she and Brad Little are glorious vocal-wise.
https://www.mediafire.com/file/muavx4ocvs62eav/POTO_US_Tour_05-12-2003_-_Little%252C_Vroman%252C_Gleason.rar/file
Anthony Warlow, Julie Goodwin, John Bowles, Andrea Creighton, John O'May, Derek Taylor, Jackie Rees, Nadia Komazec, David Rogers-Smith
August 15, 2007; Melbourne
Not the biggest fan of Anthony Warlow acting-wise, but he does not disappoint on the vocals - and neither does Julie Goodwin.
https://www.mediafire.com/file/3pm0ksips30n3it/POTO_Melbourne_15-08-2007_-_Warlow%252C_Goodwin%252C_Bowles.rar/file
John Owen-Jones, Katie Hall, Simon Bailey, Angela M. Caesar,
Andy Hockley, Simon Green, Elizabeth Mars, Hannah Cadec, Vincent Pirillo
September 29, 2012; Edinburgh
Not the biggest fan of the restaged tour, but... Katie Hall's "Tears of HAAAAAATE" is pretty great. And John Owen-Jones!
https://www.mediafire.com/file/00vtvziy172lpkv/POTO_UK_Tour_29-09-2012_-_Owen-Jones%252C_Hall%252C_Bailey.rar/file
Hugh Panaro, Elizabeth Welch (u/s), Jeremy Hays
March 3, 2014; Broadway
Great trio overall, but Elizabeth Welch is a standout (to me at least).
https://www.mediafire.com/file/1hc1ozi96vok5pd/POTO_Broadway_03-03-2014_-_Panaro%252C_Welch%252C_Hays.rar/file
Dmitry Ermak, Tamara Kotova, Eugeny Zaytsev, Irina Samoylova, Alexei Bobrov, Yuri Mazihin, Elena Charkviani, Valeria Migalina, Rustim Bahtiyarov (u/s)
July 16, 2015; Moscow
A lovely production that I miss - Tamara Kotova in particular is great.
https://www.mediafire.com/file/w56tx5d7fkh4kse/POTO_Moscow_16-07-2015_-_Ermak%252C_Kotova%252C_Zaytsev.rar/file
John Owen-Jones, Celinde Schoenmaker, Nadim Naaman, Megan Llewellyn, Michael Matus, Christopher Dickens, Jacinta Mulcahy, Alicia Beck, John Ellis
September 7, 2015; London
First performance of the 2015-2016 cast.
https://www.mediafire.com/file/5hswf44ldku6ngm/POTO_West_End_07-09-2015_-_Owen-Jones%252C_Schoenmaker%252C_Naaman.rar/file
Peter Jöback, Emmi Christensson, Anton Zetterholm, Karolina Andresson, Glenn Kjellberg, Rolf Lydhal, Sanna Martin, Tehilla Blad, Sindre Postholm
March 19, 2017; Stockholm
Given Christine is from Sweden, it's only fair to include the recent Stockholm production.
https://www.mediafire.com/file/zkl38t9388gcvh7/POTO_Sweden_2017-03-19_PJ_EC_AZ.wav/file
Tim Howar, Amy Manford, Jeremy Taylor, Kimberly Blake,
Ross Dawes, Alan Vicary, Jacinta Mulcahy, Georgia Ware, Paul Ettore Tabone
September 7, 2019; London
This one is different from the one listed as NFT (so don't get mad at me, haha). Last performance for Amy Manford in the West End production.
https://www.mediafire.com/file/vf60ie1er18rkon/POTO_West_End_07-09-2019_-_Howar%252C_Manford%252C_Taylor.rar/file
Ben Crawford, Meghan Picerno, John Riddle
October 26, 2019
Because we all love a Christine with opera chops.
https://www.mediafire.com/file/9gji0khgfoazjqd/POTO_Broadway_26-10-2019_-_Crawford%252C_Picerno%252C_Riddle.rar/file
POTO videos
Earl Carpenter, Rachel Barrell, David Shannon, Wendy Ferguson, David Lawrence (u/s), Sam Hiller, Emily Harvey (u/s), Heidi Ann O'Brien, Rohan Tickell
January 2006
VOB format.
If you want to see Earl in London right now but can't... this video is the best quality overall that features him, and Rachel Barrell is a fantastic Christine - one of my favorites in the role.
https://mega.nz/folder/u09GQKyR#gjNHj4Letd9YInTsuLowjA
Gary Mauer, Elizabeth Southard, Jim Weitzer, Kim Stengel,
John Jellison, DC Anderson, Patti Davidson-Gorbea, Kate Wray, John Whitney
April 6, 2006; Dallas
VOB format.
For my Eristine moots (I see you!): Gary Mauer and Elizabeth Southard were (and as far as I know, still are) married while performing as the Phantom and Christine, and you thought Ramin and Sierra's chemistry was off the charts, think again.
https://mega.nz/folder/PtExxS5A#D4yyf2g_lXoN-cIDPkMU2Q
Anthony Crivello, Kristi Holden, Andrew Ragone, Geena Jeffries Mattox, John Leslie Wolfe, Lawson Skala, Tina Walsh, Brianne Kelly Morgan, Larry Wayne Morbitt
August 8, 2008; Las Vegas
VOB format.
This is the Las Vegas Spectacular production, which is abriged compared to the original but totally worth seeing. If you want to understand why I love Meg Giry so much, Brianne Kelly Morgan is one of the best I've ever seen in the role. Also, if you’re meh about Raoul... with Andrew Ragone, think again. He’s one of the most Superman/Clark Kent Raouls I’ve seen. And I really like Kristi Holden’s Leroux-esque Christine too.
https://mega.nz/folder/Sh1zxSAB#twtXau8Y8pd_L9tMQLa4Mg
Jeremy Stolle (u/s), Samantha Hill, Greg Mills (u/s), Michele McConnell, Tim Jerome, Richard Poole (u/s), Ellen Harvey, Kara Klein, Christian Sebek
March 9, 2013
VOB format.
Missing part of Act 1 (‘Stranger Than You Dreamt It’ to Il Muto), but otherwise complete. This is one of the best trios I've seen on Broadway, and Samantha Hill is just a fantastic Christine overall.
https://mega.nz/folder/y1slyJRD#OP1Tp5Cj_fMk9LbAWJMqAA
Tomas Ambt Kofod, Sibylle Glosted, Christian Lund, Louise Fribo, Carl Christian Rasmussen, Sebastian Harris, Elisabeth Halling, Imogen-Lilly Ash, Rasmus Jupin
March 2019; Copenhagen
VOB format.
This one is more recent, but given it's been uploaded on YouTube, I guess it's fine to gift it (again, if you’re the master and you want me to remove this, please let me know).This one has one of the best casts ever caught on tape. Seriously. Everyone in this is a star.
https://mega.nz/folder/q40hTagI#Zui14MWo-F2YSQ0gNdaL6Q
Les Mis Audios
Colm Wilkinson, Roger Allam, Patti LuPone, Alun Armstrong,
Sue Jane Tanner, Michael Ball, Frances Ruffele, Rebecca Caine, David Burt
1985; London
Preview at the Barbican Centre. This is interesting since it includes Cosette's song "I Saw Him Once", which has been cut later.
https://www.mediafire.com/file/jbedqiemuk9qnd1/Les_Mis_West_End_1985_-_Wilkinson%252C_Allam.rar/file
Symphonic recording (1989)
Gary Morris, Philip Quast, Debra Byrne, Michael Ball, Tracy Shayne, Kaho Shimada, Anthony Warlow, Barry James, Gay Soper
https://www.mediafire.com/file/n7gp30jcpnjfkf7/Les_Miserables_Symphonic_Recording.rar/file
Kyle Jean-Baptiste (u/s), Earl Carpenter, Erika Henningsen, Chris McCarrell, Samantha Hill, Brennyn Lark, Max Quinlan (u/s),
Gavin Lee, Rachel Izen
August 13, 2015; Broadway
For Kyle Jean-Baptiste, who was an amazing performer gone way too soon. RIP.
https://www.mediafire.com/file/fzj2qubunkrrfhc/Les_Mis_Broadway_13-08-2015_-_Jean-Baptiste%252C_Carpenter.rar/file
John Owen-Jones, Michael Ball, Carrie Hope Fletcher, Craig Mather (u/s), Lily Kerhoas, Shan Ako, Bradley Jaden, Matt Lucas, Katy Secombe, Earl Carpenter
October 16, 2019; London
All-star concert!
https://www.mediafire.com/file/nh28zdry93vhry2/Les_Mis_London_Concert_16-10-2019_-_Owen-Jones%252C_Ball.rar/file
Elisabeth das Musical
Original Cast Recording (1992)
Pia Douwes, Uwe Kroeger, Ethan Freeman, Andreas Bieber, Viktor Gernot, Else Ludwig
https://www.mediafire.com/file/fagi9ctooeq2y11/Elisabeth-Original_German_Cast.rar/file
Vienna revival cast recording (2006)
Maya Hakvoort, Mate Kamaras, Serkan Kaya, André Bauer, Fritz Schmid, Else Ludwig
https://www.mediafire.com/file/7wpqbotp8oszzz3/Elisabeth_-_2006_Vienna_Cast.rar/file
Sweeney Todd
2000 Concert Cast Recording
George Hearn, Patti LuPone, Davis Gaines, Heidi Grant Murphy, Paul Plishka, Audra McDonald, Standford Olsen, Neil Patrick Harris, John Aler
Pretty sure this isn't on Spotify, which is a real shame given its cast. So enjoy! EDIT: Someone pointed out to me that the recording is incomplete - probably a result of the Great Hardware Crash of 2016, so until I get the full version, this will probably stay incomplete. Sorry about that!
https://www.mediafire.com/file/ywoiqe5bnlzr7bs/Sweeney_Todd_2000_New_York_Concert_Cast.rar/file
#phantom of the opera#les miserables#elisabeth das musical#sweeney todd#too many people to tag lol#audio gift#video gift#musical trading
216 notes
·
View notes
Note
If you had the opportunity to have some voice actors casted for your iterations of Lois, Clark, Jimmy, Connor, Lex, Livewire, Rudy, and Brainiac (Basically the superman characters you've remixed so far) who would be perfect casting for each?
OOH YES here's some fancasts for my remix:
David Corenswet as Clark Kent! This is a really hard pick for me, I'm attached to Tim Daly's STAS voice for him but if I had to pick someone younger I guess this David Corenswet guy from the upcoming film looks pretty good? At least from clips I've seen of him he's got a good voice.
Brianne Tju as Lois Liando! She's a Chinese Indonesian actress and while she's young I think she's got the range. I'd love to see her twist on Dana Delaney's STAS performance because Delaney's got a fantastic hardened sassy woman voice. Tju's voice sounds great in this interview.
Haley Tju as Lucy Lane! Brianne has a sister which is PERFECT for Lois' sister Lucy! I heard Hayley's voice in Arlo the Alligator Boy as the tiger cat character and I think she sounds neat.
Michael J Woodard as Jimmy Olsen! Similarly as Haley I heard Woodard's voice on Arlo the Alligator Boy, he's the lead there as Arlo. His voice is high energy and fun! Plus he can SING which is great because I imagine Jimmy as a jack of all trades artist and shenanigans coupled with musical numbers would be perfection.
Dave Fennoy as Lex Luthor! This is locked and loaded for me. It frustrates me that no one has seen the vision here. This is the second coming of STAS Lex but BETTER. Just!! Listen to him as Bluebeard from the Wolf Among Us. This is phenomenal, the perfect voice already exists.
Toks Olagundoye as Lena Luthor! She's voiced Martha Wayne in Batman Unburied, and Cat Grant in Reign of Supermen among many roles. She'd bring the elegance Lena would need. I love her accent,,,
Donald Glover as Conner Kent/Luthor! Granted I would love a teen that can bring what he brought to Marshall Lee on Adventure Time but that performance is the Conner energy I want.
Gr33dyjay/Jhas Ean Prescott Corbitt as Rudy Jones/Parasite! While I love the Brion James' STAS voice for Parasite, I have become attached to Gr33dyjay's take on my version of Parasite. If you can bring a performance that can make me laugh like that, you're golden. If he brought just a bit of New York accent into it, even better.
ProZD/Sungwon Cho and Ellen McLain as Brainiac! I want these two to talk interchangeably and in synchronization for Brainiac. Cho serving Brau1589 realness and McLain bringing the GlaDOS good stuff. Heaven would open its gates if we ever heard a Brainiac voice like this, I believe that.
Nicole Sullivan as Livewire! This one is so, so difficult because the original Lori Petty voice for Livewire is essentially perfection. I think future takes need to find a distinct and youtuber bombastic charismatic voice for making a potentially unlikeable character fun to watch. Sullivan famously voices Shego on Kim Possible, and I think her voice has the uniqueness and sass that could revitalize Livewire. She just needs to do a version of the accent and energy.
AJ Michalka as Kara Zor El! I know Michalka's voice as Stevonnie on Steven Universe and Catra from She-Ra. I like her performance in both, it stands out and the lil rasp in her voice adds something. That gives Kara that kind of jaded world weary but still young voice. I know I haven't drawn Supergirl yet, but I've got plans.
Thanks for this ask! While I'm not familiar with tinsel town people in general, this was like a fun scavenger hunt, haha.
#askjesncin#if any of you say michelle yeoh for Ella Lane (Lois' mom) I'll beat you up. absolutely not#you'll notice STAS voices bias because the voice actors there are SO peak#the MAWS voice actors are terrible I'll say it. Did not think I would find Clark's voice grating but I did#MAWS has very uninspired choices for the rogues voice actors especially
23 notes
·
View notes
Text
I guess I’m one of those weirdos who so deeply feels the essence of an instrumental leitmotif from a film score associated with a particular character or couple, that I start associating said leitmotifs in my head with ANOTHER character from an entirely different film/book/series. And I’ve built up a whole library of leitmotifs for LOTR characters even though I ADORE Howard Shore’s original score for the trilogy. I consider these leitmotifs to be add-ons, NOT replacements.
Nor do I intend to completely dissasociate all of these themes from their intended films/characters; some of them are perfect fits for the films they were written for. It’s just my mind going wild like usual. (But I admit, in some cases, the pieces are from films I dislike, and thus I would rather see these great songs associated with something of LOTR quality rather than what they were actually stuck with, especially when the lack of lyrics gives you the freedom to let the melody take you wherever it takes you, personally.)
In the case of Silmarillion characters and relationships, well, it’s a different story - it really is my attempt to cobble together what could be a hypothetical score, if it were brought to the screen. Obviously it’d never be this exactly, but I would hope a composer for a potential screen adaptation of The Silmarillion might be inspired by themes like these.
In some cases, the characters these themes were originally written for don’t resemble the corresponding LOTR characters very much, or at all. Also some of them have titles that by themselves could not be more different from and unfitting for Tolkien’s world. It’s just the melodies on their own, without context or even name, performed by these gorgeous orchestras, that have come to remind me of particular Tolkien figure(s).
I also have found lots of “love themes”, both romantic and platonic, for character relationships, as you’ll see. I’ve included romantic themes for canonical couples, as well as for pairings that I personally ship. I know Shore already gave Aragorn and Arwen a theme, but as I said, these are all extra additions and not replacements.
And yes I have a lot of Star Wars stuff in here, because I love Star Wars…but I love Tolkien more.
For the heck of it I’ll share some of these, with links to each song on YT. It’s hard to explain why I made these choices/associations, but maybe you’ll get it if you listen to some of them.
CHARACTER THEMES
Frodo = “Romeo” by Nino Rota
Sam = “Rey’s Theme” by John Williams
Aragorn = “The John Dunbar Theme” by John Barry
Gandalf = “Yoda’s Theme” by John Williams
Legolas = “Rose Tico” by John Williams
Lúthien = “Once Upon a Time in the West” by Ennio Morricone
Éowyn = “Marion’s Theme” by John Williams
The Valar = “Guardians of the Whills Suite” by Michael Giacchino
THEMES FOR LANDS/LOCATIONS
The Undying Lands = “Out of Africa” by John Barry
ROMANTIC LOVE THEMES
Frodo x Sam = “Love Theme from Ben-Hur” by Miklos Rozsa
Beren x Lúthien = “Love Theme from The Godfather” by Nino Rota
Faramir x Éowyn = “Han Solo and the Princess” by John Williams
Aragorn x Arwen = “Love Theme from Cinema Paradiso” by Ennio Morricone
Sam x Rosie = “Love Theme from Dances with Wolves” by John Barry
Bilbo x Thorin = “Wuthering Heights” (1970) by Michel Legrand
Thingol x Melian = “Indecent Proposal” by John Barry
Fingon x Maedhros = “Wuthering Heights” (1939) by Alfred Newman
Finrod x Bëor = “Somewhere in Time” by John Barry
Aegnor x Andreth = “Laura” by David Raksin
Túrin x Beleg = “Across the Stars” by John Williams
Tuor x Idril = “Conversation Piece” by Bernard Herrmann
Eärendil x Elwing = “Tennessee” by Hans Zimmer
PLATONIC RELATIONSHIP THEMES
Legolas & Gimli = “Rain Man” by Hans Zimmer
Boromir & Faramir = “Luke and Leia” by John Williams
Bilbo & Frodo* = “The Mother’s Love” by Miklos Rozsa
Elrond & Elros = “Brothers” by Hans Zimmer
I may add to this as I think of more, or even replace certain songs entirely if I come across a better match.
* Bilbo & Frodo’s melody is heard in the first minute of the linked track, 0:00–1:01, and again at 1:48. Also, the love theme I associate with Frodo & Sam starts playing at 1:03, making this whole thing fit all the hobbits even better.
#lotr#jrr tolkien#lotr books#lord of the rings#film music#frodo baggins#samfro#frodo x sam#bagginshield#bilbo and frodo#legolas and gimli#eowyn x faramir#eowyn#aragorn#gandalf#luthien tinuviel#beren and luthien#aragorn x arwen#boromir#faramir#valinor#nienna#the valar#bilbo x thorin#farawyn#leitmotif
37 notes
·
View notes
Text
It was 7.30pm, on 6 July 1972...
“Starman” is David Bowie’s Christmas carol. It offers a promise of deliverance, that the human race has been redeemed by greater powers, with a chorus built for a crowd to sing it... 'Starman' entry on Pushing Ahead of the Dame
Handwritten Starman lyrics
“Starman” seems like a revision of “Space Oddity”—“Space Oddity” had placed a frail human figure against the unfathomable expanse of space and cast him loose to drift into the unknown. It was submission to the void, the human race reaching its limits. In “Starman” the unknown is domesticated: the alien comes to visit us, in our homes, whispering through our radios, speaking softly, promising release. The stoicism of “Planet earth is blue/and there’s nothing I can do” is replaced by “he’s told us not to blow it/’cos he knows it’s all worthwhile.” ... “Starman” is also a pop song about pop music…it’s how pop music can instantly create secret societies, break up the tedium of your life, liberate you from your parents. Starman' entry on Pushing Ahead of the Dame
The essential moment comes when Bowie starts to sing the first chorus and Ronson tentatively approaches the mike. Bowie notices him and sweeps his arm over Ronson’s shoulder, pulls him to the mike. It’s a sweet moment of inclusion, the alien embracing the rocker, and, by proxy, all of the nation’s misfits. “Starman” left community in its wake; its promise came true. Starman' entry on Pushing Ahead of the Dame
"I immediately put on some of my older sister’s make-up. I loved how odd it made me look, and the fact that it upset people. You put on eyeliner and people started screaming at you. How strange, and how marvellous.” -Robert Smith, The Cure
”I was hooked. The Top Of The Pops performance changed lives. In 1972, I’d get girls on the bus saying to me, ‘Eh la, have you got lippy on?’ Until he turned up it was a nightmare. All my other mates at school would say, ‘Did you see that bloke on Top Of The Pops?’ He’s a right faggot, him!’ And I remember thinking, ‘You pillocks’, as they’d all be buying their Elton John albums, and Yessongs and all that crap. It made me feel cooler.” -Ian McCulloch, Echo and the Bunnymen
"The way Bowie pointed that finger, smilingly draped an arm around Mick Ronson, and looked beyond the camera to engage the audience sitting at home, stickily hemmed in by disapproving members of their immediate family, seemed of a piece with the new Ziggy Stardust persona we’d been reading about. It felt like an arrival long delayed." David Hepworth, The Guardian
“I just couldn’t believe how striking he was. That ambiguous sexuality was so bold and futuristic that it made the traditional male/female role-play thing seem so out-dated. Bowie was the catalyst who’d brought a lot of us, the so-called Bromley Contingent, together. And out of that really small group of people a lot happened.” Siouxsie Sioux, Siouxsie and the Banshees
Starman page from Bowie: Stardust, Rayguns and Moonage Daydreams by Michael Allred
"I remember the first time Bowie appeared on TV ... Suddenly, here comes a guy dressed as a gay alien from outer space, singing gay alien songs from outer space .... I remember TOTP was family viewing, and I remember watching it with my Mum and Dad. "Oh, shouldn’t be allowed". And there was one bit in the chorus when Bowie puts his arm round Ronson’s neck and they sing together? My Dad was like "Poofter" ... My mother’s intense disapproval made me think ‘Well, there must be something GREAT going on here"...
youtube
(maybe people who celebrate song's birthdays are cringe but fuck that post and happy birthday to the broadcast of this song)
#david bowie#starman#top of the pops#mick ronson#i wish i could have found more quotes that weren't from blokes tho#personally i wasn't born iin 1972 but when i first watched the video#new years eve 2004#it felt pretty electric#still does
110 notes
·
View notes
Text
The word “great” is somewhat promiscuously applied to actors. But it was undoubtedly deserved by Sir Michael Gambon, who has died aged 82 after suffering from pneumonia.
He had weight, presence, authority, vocal power and a chameleon-like ability to reinvent himself from one role to another. He was a natural for heavyweight classic roles such as Lear and Othello. But what was truly remarkable was Gambon’s interpretative skill in the work of the best contemporary dramatists, including Harold Pinter, Alan Ayckbourn, David Hare, Caryl Churchill and Simon Gray.
Although he was a fine TV and film actor – and forever identified in the popular imagination with Professor Albus Dumbledore in the Harry Potter franchise – the stage was his natural territory. It is also no accident that, in his private life, Gambon was an expert on, and assiduous collector of, machine tools and firearms for, as Peter Hall once said: “Fate gave him genius but he uses it as a craftsman.”
Off-stage, he was also a larger-than-life figure and a superb raconteur: a kind of green-room Falstaff. I have fond memories of an evening in a Turin restaurant in March 2006 on the eve of Pinter’s acceptance of the European Theatre prize. Gambon kept the table in a constant roar, not least with his oft-told tale of auditioning for Laurence Olivier as a young actor in 1963 and cheekily choosing to do a speech from Richard III; but the next night Gambon gave an explosive rendering of Pinter’s poem American Football that threatened to blow the roof off the Turin theatre.
However, Gambon’s bravura was also mixed with a certain modesty. In the summer of 2008 I met him for tea in London and found him eagerly studying the script of Pinter’s No Man’s Land, in which he was scheduled, several months later, to play Hirst. He told me that he had started work on it so soon because he found it difficult to learn lines at his age.
“Sometimes,” he said, “I sleep with a script under my pillow, or just carry it around in my raincoat pocket, in the hope the lines will rub off on me.” I think he was genuine; but with Gambon, one of life’s great leg-pullers, you were never entirely sure.
Gambon achieved greatness without either the formal training or genetic inheritance that are often considered indispensable.
He was born into a working-class Dublin family that had no artistic background; his mother, Mary (nee Hoare), was a seamstress, and his father, Edward, an engineer. When the family settled in Britain after the second world war, the young Gambon went to St Aloysius school for boys, in Somers Town, central London. On leaving at the age of 15 he signed a five-year apprenticeship with Vickers-Armstrongs, leading to a job as a tool-and-die maker. With his mechanical aptitude, he loved the work. But he also discovered a passion for amateur theatre and, having started by building sets, eventually moved into performing. “I want varoom!” he once said. “I thought, Jesus, this is for me.”
With typical chutzpah, he wrote to the Gate theatre in Dublin, creating a fantasy list of roles that he had played in London, including Marchbanks in Shaw’s Candida; in the end, he made his professional debut there in 1962 as the Second Gentleman in Othello. His best decision, however, on returning to London, was to sign up for an improvisational acting class run by William Gaskill at the Royal Court.
Gaskill was about to join the newly formed National Theatre company at the Old Vic and recommended Gambon for an audition: hence the celebrated story of Gambon’s first encounter with Olivier, which ended with the young actor, in his excess of zeal, banging his hand on a nail in an upstage column and bleeding profusely. Far from being the nail in Gambon’s coffin, this led to a productive four years with the National in which he progressed from walk-ons to substantial roles such as that of Swiss Cheese in Gaskill’s revival of Mother Courage.
On Olivier’s advice, however, Gambon left the National in 1967 to hone and pursue his craft at Birmingham rep – a shrewd move that saw him, at the astonishingly early age of 27, playing his first Othello. He moved on later to the Royal Shakespeare Company, and in 1968 made his first foray into television with the leading role in a BBC adventure series called The Borderers.
However, it was through working on another TV series, The Challengers, that he made a contact that was to transform his career. His fellow actor Eric Thompson was moving into directing, and in 1975 was set to do an Ayckbourn trilogy, The Norman Conquests, at the Greenwich theatre. He cast Gambon, against type, as a dithering vet.
He revealed, for the first time, his shape-shifting gifts; and the sight of him, seated at a dinner table on a preposterously low stool with his head barely visible above the table’s edge, remains one of the great comic images of modern theatre.
This led to a highly productive working relationship with Ayckbourn including key roles in Just Between Ourselves (Queen’s theatre, London, 1977) and Sisterly Feelings (National, 1980).
At the same time, Gambon began an association with Gray by taking over, from Alan Bates, the role of the emotionally detached hero in Otherwise Engaged (Queen’s theatre, 1976).
That was directed by Pinter, for whom in 1978 Gambon created the part of Jerry in Betrayal at the National. It was a production beset by problems, including a strike that threatened to kibosh the first night, but Gambon’s mixture of physical power and emotional delicacy marked him out as a natural Pinter actor. That power, however, manifested itself in the 1980s in a series of performances that staked out Gambon’s claim to greatness.
First, in 1980, came Brecht’s Galileo at the National: a superbly triumphant performance that brought out the toughness, obduracy and ravening intellectual curiosity of Brecht’s hero. It was a measure of his breakthrough that, as Gambon returned to his dressing room after the first night, he found the other actors in the National’s internal courtyard were shouting and roaring their approval. Two years later, Gambon returned to the RSC to play both a monumental King Lear and a ravaged Antony opposite Helen Mirren’s Cleopatra.
But arguably the finest of all of Gambon’s 80s performances was his Eddie Carbone in Arthur Miller’s A View from the Bridge, directed by Ayckbourn at the National (1987). It helped that Gambon actually looked like Miller’s longshoreman-hero: big and barrel-chested with muscular forearms, he was plausibly a man who could work the Brooklyn docks.
Gambon also charted Eddie’s complex inner life through precise physical actions. He stabbed a table angrily with a fork on learning that his niece had got a job, let his eyes roam restlessly over a paper as the niece and the immigrant Rodolpho quietly spooned, and buckled visibly at the knees on realising that a fatal phone-call to the authorities had ensnared two other immigrants. In its power and melancholy, this towering performance justified the sobriquet once applied by Ralph Richardson of “the great Gambon”.
When you consider that the decade also saw Gambon playing the psoriasis-ravaged hero of Dennis Potter’s TV series The Singing Detective (1986), you realise his virtuosity and range.
And that became even clearer in 1990 when he played the mild-mannered hero of Ayckbourn’s Man of the Moment (Globe theatre, now Gielgud, London), had another crack at Othello for Ayckbourn in Scarborough and appeared, in 1989, as a romantically fixated espionage agent in Pinter’s TV adaptation of Elizabeth Bowen’s The Heat of the Day: that last performance, alternately sinister and shy, was one of Gambon’s finest for television and deserved a far wider showing.
In later years Gambon successfully balanced his stage career with an amazingly prolific one in film and television. In Hare’s Skylight at the National in 1995 he combined the bulk and weight of a prosperous restaurateur with a feathery lightness – a skipping post-coital dance across the stage with the balletic grace often possessed by heavily built men.
Gambon was equally brilliant as a disgusting, Dickensian, accent-shifting Davies in a revival of Pinter’s The Caretaker (Comedy theatre, 2000), as a perplexed bull of a father in Churchill’s A Number (Royal Court, 2002), as a Lear-like Hamm in Beckett’s Endgame (Albery, 2004) and as a brooding, alcoholic Hirst in Pinter’s No Man’s Land (Duke of York’s, 2008). Even if Gambon’s Falstaff in a 2005 National Theatre production of Henry IV Parts One and Two did not quite match expectations, his work for the theatre revealed an ability to combine volcanic power with psychological depth and physical delicacy.
Ill health and increasing memory problems forced him to retire from stage acting in 2015, but not before he had given memorable performances in two Beckett plays: Krapp’s Last Tape (Duchess, 2010) and All That Fall (Jermyn Street theatre, 2012), where he played, opposite Eileen Atkins, the sightless but stentorian Mr Rooney.
He also continued to work in television and film for as long as possible. He belied the whole notion of the small screen by giving large-scale performances as the black sheep of a big family in Stephen Poliakoff’s Perfect Strangers (2001) and as a reclusive plutocrat in the same writer’s Joe’s Palace (2007).
He was nominated for awards for his performances as Lyndon Johnson in an American TV movie, Path to War (2002), and as Mr Woodhouse in a BBC version of Jane Austen’s Emma (2009). Later TV series included The Casual Vacancy (2015), Fearless (2017) and Little Women (2017).
In film, he had a rich and varied career that ranged from the violent hero of Peter Greenaway’s The Cook, the Thief, His Wife and Her Lover (1989), to a heavyweight mafia boss in Mobsters (1991), the aged Lord Marchmain in Brideshead Revisited (2008), a cantankerous old director in Dustin Hoffman’s Quartet (2012) and the bearded Hogwarts headteacher (whom he privately referred to as “Dumblebore”) in six of the eight Harry Potter films, taking over the role for Harry Potter and the Prisoner of Azkaban (2004) following the death of Richard Harris.
He also provided the narration for the Coen brothers’ Hail, Caesar! (2016) and voiceovers for the two Paddington films (2014 and 2017).
But Gambon brought to everything he did, in life as well as art, enormous gusto, a sense of mischief and a concern with precision: he was almost as happy restoring old firearms as he was working on a new role.
In 1992 he was appointed CBE, and six years later was knighted.
He married Anne Miller in 1962, and they had a son, Fergus. From a subsequent relationship with Philippa Hart, whom he met on the set of Gosford Park, he had two sons, Michael and William.
He is survived by Anne and his three sons.
🔔 Michael Gambon, actor, born 19 October 1940; died 27 September 2023
Daily inspiration. Discover more photos at Just for Books…?
50 notes
·
View notes
Note
I just wanted to say thank you so much for the way you respond to all your asks. It can be very hard to answer something when you have a strong opinion/belief that you are sure of but explain things in a way that is neutral too but you always do it.
I've been so on the fence about believing what's going on with Michael and David but a lot has happened in such a short space of time. The soft way they looked at each other when Michael saw David perform Macbeth was the start of my doubts about just friendship. I think it's safe to say that whatever they are to each other, there is absolute love there and it's beautiful to see. Your explanations have made a big difference in how I view things too so thank you for the clarity you provide. You do a great service to a lot of people.
This is the kindest ask, thank you so much ❤️ I actually felt such a relief reading this. Thank you 😭
I’ve been trying really hard for my answers to be exactly that so I’m glad it’s working ❤️
I’m aware that we are judging on just the little that’s shown to us (or should I say quite a lot lately), and our judgment is often based on our life experiences, so I know that I might simply be wrong and I won’t have a problem admitting it if at any point I am - hence always giving my thought process and why I think what I think - but I always want people to feel free to make their own conclusions. There are many things I’m not super sure about and that’s when you can see when I ask questions myself and I simply say I am just not sure because it could be this or that.
People’s sensitivity regarding this is also why I always keep my posts out of tags and created my own to block and usually put answers under ‘keep reading’ and stopped the posts from being rebloggable so if people don’t want to see any of this they don’t have to.
I was having some gentle question marks in my head after watching a few interviews with MS/DT and following MS on Twitter but I wasn’t really getting into it all. But when MS posted the “I set David on fire fairly regularly” I went “oh come onnnn” and finally gave in, especially considering the context of when he said it. When he went a little insane that day and then dead quiet, I thought this is it, things will change.
I even posted a little cryptic tag then 😏
And then the fairy light pic and Macbeth happened and I thought Here. We. Go.
I kept on saying damage control will come at one point but we are not exactly getting it for months now and I dare to wonder… what’s next.
And this is it really - no matter what it all exactly is the love is there and that’s beautiful - just like you said.
19 notes
·
View notes
Text
Was doing some research and discovered there have actually been several ballet adaptions of Dracula:
Michael Pink's Dracula - this version was developed in 1997 for the book's centennial, and also happens to be the version I'm familiar with (it's great 🦇). Follows a streamlined version of the book plot, Quincey is there, Seward gets combined with Van Helsing. There's a cool bit of choreography in the middle where Dracula goes upside-down climbing some scaffolding.
Krzysztof Pastor's Dracula - based off of Coppola's film Bram Stoker's Dracula (which greatly deviates from the book plot). Mina is a reincarnation (?) of Dracula's long-lost wife from before he became a vampire. Has won multiple performing arts awards.
Ben Stevenson’s Dracula - Set entirely in Transylvania in the 1800s (although Renfield is still there). Vampire brides fly around the stage, and Dracula gets sone epic bat wings.
Gary Taylor's Dracula - like Pastor's version, this is a Dracula/Mina love story from Dracula's POV.
David Nixon's Dracula (Northern Ballet) - Sexy Dracula TM. Opens with Dracula emerging nude from his coffin. Also features the blood transfusion and a Seward & Renfield number.
Lynne Taylor-Corbett’s Dracula - Inspired by the 1931 Bela Lugosi film, though costumes definitely taking their own route. Designed to accompany a ballet adaptation of The Masque of the Red Death by Edgar Allen Poe.
William Starrett's Dracula: Ballet with a Bite - Execution style varies from year to year (at least one year took a modern dance approach), though the storyline remains consistent. Includes Lucy getting staked.
Gonzalo Galguera's Dracula - another Sexy Dracula adaptation, although less Halloween-store-variety and more leather.
Honorary mention: Dracula, Pages from a Virgin's Diary - a Dracula ballet in movie form, shot silent-film style. Switches the order of Lucy and Johnathan's encounters.
If anyone knows of any additional versions out there, let me know and I'll add them to the list!
#also lmk if you have any additional performance comments! I only know the Pink version directly#dracula#dracula daily#dracula ballet#bram stoker#coppola
281 notes
·
View notes
Text
Okay, I doubt anyone’s ever gonna read this, but I just need to write down my thoughts on Good Omens Season 2. (Beware of spoilers)
The Characters
First of all, I love, love, LOVE the writing and especially the acting of everyone involved! Both Michael Sheen and David Tennant (and everyone else) gave absolutely stunning performances! I also like that the main cast was a lot smaller than in season 1, so everyone had more time to shine. Great choice! (I did however kinda miss God’s narration and meta commentary).
My favourite new character is Muriel by far. She is like Aziraphale's cute, naive, dorky little sister or niece and I had the biggest smile on my face whenever she was on screen! I hope to see more of her in season 3 (which we probably will since she now runs the bookshop).
What I also liked was that Nina and Maggie don’t just magically fall in love in the end. I mean, they barely know each other and Nina is still in a relationship for most of the season.
I liked that they even call out Crowley and Aziraphale for trying to force a romance between them instead of treating them like real humans with free will. (Was that a slight call-out to shippers in fandoms? Who knows lol) I hope they'll find love along the way, but I'm glad they were portrayed as realistic human beings.
Gabriel goes from smug, condescending asshole everyone loved to hate to adorkable himbo and I'm all for it! lol I wasn't in the fandom back in the day, but apparently Gabriel x Beelzebub was a popular ship and I can only imagine how happy the fans must be now that it became canon! I didn't see it coming at all, but it played out really well and didn't come across as forced.
I just found it a bit funny and sad that these two fell in love and decided to break away from Heaven and Hell to be together in only a couple of years whereas Crowley and Aziraphale haven't managed to do that in more than 6000 years.
Which brings me to...
The Last Episode
We all know the last 20 minutes of episode 6 were absolutely heart-wrenching, but I wouldn't have it any other way! It was the perfect ending/cliffhanger in all regards and both their decisions make perfect sense. I wouldn't have wanted Crowley and Aziraphale to get their happy end at this point in the story because they're simply not there yet, character-wise.
Also, then a huge plot point and conflict would miss from the final 3rd season. I live for the angst and the drama and I can't wait for satisfying character development and the ultimate, heartfelt conclusion. (Please, Neil! ;__;)
Character Analysis
Crowley:
The most interesting things for me were the several hints that Crowley used to be a very high-ranking and powerful angel before he fell (maybe Gabriel’s predecessor?).
In S2-1 Aziraphale already knows who Angel Crowley is and looks at him with awe and admiration. (In German we have the great expression "jemanden anhimmeln" - roughly meaning sth like "to admire someone as if they came from heaven")
Crowley was part of the designer team of the universe and worked together closely with the higher-ups. He was also entrusted with starting the engine of a quadrant.
He is a creator and visionary who loves the stars, the planets, the whole universe and sees the big picture. He also uses critical thinking and encourages others to do the same.
The miracle he performs with Aziraphale to hide Gabriel’s identity is so strong that Heaven thinks the most powerful of Archangels must have done it. Since Aziraphale hides Gabriel from Hell and Crowley hides him from Heaven, but the alarm only goes off in Heaven, we can assume that Crowley had a bigger part in the miracle.
He can somehow deceive other angels from recognizing him as a demon: Gabriel, Michael & Co. in the Ijob episode and later Muriel when she first comes to observe Aziraphale.
He can change the weather and cause fire or lightning at will.
He still has access to classified files for dominions or above.
He literally brings the guy who was killed by the demon horde back to life like it's nothing. Short update: Neil recently said that Mr. Brown wasn't actually dead but only held captive during the battle. Well, Crowley at least healed Mr. Brown's injuries and removed his traumatic memories.
He is the only one in a room full of high-ranking angels who recognizes Metatron as what he is.
But it’s also implied that Crowley may have memory loss after he was kicked out of heaven because the angels did to him something similar to what they want to do to Gabriel now.
He doesn't remember working on the universe with Saraqael.
He remembers being in the Great War, but not battling right beside Furfur.
He vaguely remembers discussing gravity with the other angels, but he doesn’t remember why it was a good idea.
He seems to know exactly what the amnestic Gabriel is going through (the empty house metaphor, the physical pain of trying to remember etc.)
Crowley is hiding a huge trauma and it becomes really obvious how hurt and lonely he really is.
In S1-5 we learn Crowley was tortured by being thrown into a pool of boiling sulfur, just because he dared to ask a few questions and make suggestions. Heaven is cruel beyond all measure! (But because of their chronic lack of communication I doubt Aziraphale knows exactly how much Crowley suffered both physically and mentally.)
At the end of the Ijob episode in season 2 he laughs at the distraught Aziraphale because he knows what it’s really like to have fallen. The thought of someone like Aziraphale going to Hell is ridiculous to him. And he wouldn’t wish something so terrible on anybody anyway, especially not Aziraphale. He knows first hand what Heaven does to “traitors”.
He’s been tortured and kicked out of Heaven, but he doesn’t resent creation itself like the other demons do, quite the contrary. He often goes out of his way to help humans, even if it means punishment from Hell.
Because both Heaven and Hell are cruel and toxic, he decides he doesn’t want to be on any side in this eternal and pointless conflict. This, of course, leads him on a very, very lonely road.
Maybe this is why he (consciously or unconsciously) latches onto Aziraphale so much: He notices Aziraphale’s own doubts about the heavenly plan really early on. So he constantly encourages him to question his beliefs and own morals.
I don’t think he does it for overly selfish reasons, he just wants to show someone else that not everything is black and white and that Heaven’s plans are not always as good as they want to come across. But of course he also doesn’t want to be all alone anymore.
Aziraphale:
Aziraphale is, first and foremost, a guardian, a protector. But we can’t forget he is also a warrior and a leader.
In the beginning he was wielding a flaming sword, in S1-5 he is supposed to lead the heavenly troops into battle, in 1941 we learn he owns and knows how to use a gun. In S1-6 he is willing to shoot the Antichrist (who is in the body of a child I might add!!), but Madame Tracey stops him.
He likes spending his time helping others and indulging in his quirky little hobbies, but if he needs to, he steps up and becomes a leader (e.g. the stand-off in S2-6 when the demons and angels shout at each other and he takes control of the situation).
Aziraphale embodies many positive core values: Love, loyalty, politeness, kindness, forgiveness - which sometimes lets him come across as naive. He is also a big people pleaser.
In Season 2 we once again see how much Aziraphale values and loves humanity (more than we deserve tbh). His heart is so big and full of love for them. He is his best self when he can do good for humans and he thrives off it. The thought of innocent people, especially children dying is really the only thing that ever convinces him to go against Heaven’s rules/orders (seen in the entirety of season 1 and in season 2 in the Ijob and graverobber episodes).
But because of these core values he sometimes acts pretty holier-than-thou and hypocritical: He tends to try to make others do the dirty work so that he can wash his hands of responsibility.
We also learn that he sometimes abuses his heavenly powers to get what he wants. I mean, organizing a ball itself is a very wholesome idea, but he literally manipulates everyone’s clothes, feelings and behaviours, making them do or feel things they wouldn’t normally do in this situation. Nina is the one affected by this the most: She just got dumped and is sad and angry, but Aziraphale’s magic doesn’t allow her to feel those very valid emotions. He only means to do good, but ultimately he forces his will on the participants of the ball. And he doesn’t even realize it! This is not okay.
There is this one very meaningful line in Season 1 where Aziraphale says: "You go too fast for me, Crowley". And it really shows in every aspect of his personality and character design.
Aziraphale always wears similar, familiar clothes and barely changes his hairstyle over the centuries. Crowley on the other hand looks completely different in each time period we see him. Crowley lives in the present, goes with the time, Aziraphale lives in the past, can’t catch up.
No matter how often Heaven disappoints and mistreats him, he still desperately clings to the idea that their plans and institution are good at their core. Even after more than 6000 years Aziraphale is still so obsessed with the idea of good vs. evil, Heaven vs. Hell and to an extent even Aziraphale vs. Crowley. Yes, the two have become visibly closer and more familiar with each other since season 1, but Aziraphale still thinks in the good side vs. the bad side ("my people" vs. "your people", “Of course you said no to Hell, you [not “THEY”!!] are the bad guys!”) absolute, whereas Crowley has distanced himself from both sides long ago and only wants to be with Aziraphale.
Besides their lack of communication this is their biggest problem: Aziraphale can’t accept Crowley for what he is - or is not anymore.
First there is some sort of resentment and caution towards this fallen angel, of course. But Aziraphale wouldn’t be Aziraphale if his big loving heart held onto those feelings for long. He quickly sees that Crowley isn’t purely evil as demons are supposed to be. He likes and WANTS to see the good in everything and everyone.
Aziraphale begins to enjoy Crowley’s company over the centuries and eventually trusts him completely. But due to his indoctrination by Heaven he still unconsciously believes that Crowley, as an evil demon, is beneath him, Aziraphale, who is a righteous and morally superior angel. And while he has compassion and sympathy for Crowley and his terrible fate - he also somewhat pities him. (And being pitied is certainly nothing Crowley wants.)
This is the reason he is so incredibly happy about the thought that he could give Crowley his angel status back. As sad as it is to see how little Aziraphale understands Crowley after all those millenia, it feels completely in-character why he wants Crowley to be an angel again. He sees that there is still so much good left of the former angel he admired so much. He witnessed how brilliant Crowley used to be, an angel who loved creating and gazed at the universe with such exaltation. How happy he was, how bright, how enthusiastic in what he was doing!
This plays right into Metatron’s hands in the last episode.
Early in the season Crowley is offered a huge promotion in Hell if he finds Gabriel. And Crowley doesn’t even consider it for a single second - even though he hates Gabriel (He still clearly remembers the "Shut your stupid mouth and die" and all the other horrible things).
When Aziraphale is offered the new position as Supreme Archangel he hesitates at first, but as soon as Metatron suggests reinstating Crowley to angelic status, he agrees in delight. Aziraphale thinks now they wouldn't have to be separated, they could even be together officially and it wouldn’t be reprehensible anymore because they’d now both be angels, both on the “good” side. They’d finally be equals and could even do good together, change the system.
So of course, from Aziraphale��s perspective, making Crowley an angel again would solve all of their problems (or what he perceives as problems). He, Aziraphale, wouldn't have to have a bad conscience anymore for spending time with someone who should be a mortal enemy. He could finally “fix” Crowley, make him truly good again. But of course it backfires horribly.
Their relationship:
As much as I loved the funny banter, the wholesome and adorable slice-of-life moments, this season made one thing really obvious to me: There is a big power-imbalance (for the lack of a better word) between them in their relationship.
As far as we've seen, Crowley is almost always the one who gives, Aziraphale is almost always the one who takes. When Aziraphale wants something (e.g. protect Gabriel, take the Bentley to Edinburgh, have Crowley take care of the bookshop in his absence, organize a dance etc.), Crowley initially refuses - but in the end always gives in to what Aziraphale wants.
Aziraphale is very outgoing, has a whole little community with the vendors in his street, actively mingles with humans and has hobbies (reading, collecting books, eating at fine restaurants, listening to music, practicing magic, going on little detective adventures etc.). What I’m saying is: Aziraphale has a life for himself, even after becoming a persona-non-grata in Heaven.
Crowley on the other hand... He either goes along with what Aziraphale does/wants or sleeps in his car (and takes care of his plants I guess). That's pretty much it. He doesn’t get any new tasks from Hell and only communicates with Shax on occasion when she brings him his mail or random news. He is so isolated from Hell, Heaven and Earth that literally his only reason for existing at this point seems to be Aziraphale. He practically has no ambitions or life of his own. Aziraphale always lets Crowley be his rescuer because it makes Crowley happy. But isn’t it sad that Crowley is only ever happy when he can protect and be around Aziraphale? Crowley’s whole life revolves around him and nothing else. This is not healthy!
Think back to season 1 when the bookshop burns down and Crowley thinks he’s lost Aziraphale forever. He is a mess, he screams and cries and breaks down. It was only for a couple of hours, but he’s experienced what a life without his one true friend is like and the loss hits him so hard, it hurts even us as an audience!
And the worst thing: I don't think either of them really notice all that - because they don't TALK! Nina and Maggie were so right: The two idiots never really talk to each other about their true thoughts and feelings.
There is so much miscommunication and misunderstanding of each other's needs because of that:
Aziraphale is internally conflicted about what he wants (be a good angel of Heaven vs. be with the enemy, an "evil" demon).
Crowley knows exactly what he wants (to be with and ONLY with Aziraphale), but he can’t muster up the courage to say it. After all, the last time he spoke freely about his thoughts, he was branded a traitor, tortured and cast out by Heaven.
So they constantly fail to find a solution that both of them are happy with:
Both in Season 1 and 2 Crowley asks Aziraphale to leave everything behind and run away with him, not acknowledging Aziraphale's undying love for and loyalty to humankind. And he gets rejected for it both times.
In S2-6 Aziraphale asks Crowley to come to Heaven with him, not acknowledging how Heaven has hurt Crowley, not accepting him for who he is. Instead he wants to fix him. Over the years he has also become so used to Crowley always being there for him, he takes his help for granted. So when Crowley actually stands his ground for once and refuses to do what Aziraphale wants, it shocks Aziraphale to his core. He’s never been rejected like that.
They aren’t humans, they are both ageless, sex- and genderless, asexual, otherworldly beings, so human relationship standards don’t apply to them. We can also see that in Gabriel’s and Beelzebubs relationship. Their love is something emotional, not physical. They don’t kiss or even hug, they just look at each other and sing "Everyday" - their personal love song - before they go off together.
Crowley and Aziraphale have spent so much time away from Heaven and Hell and lead almost human-like lives on Earth. So in a desperate, last ditch effort Crowley chooses to show his emotions in a very physical, human way, a way that beings like them wouldn’t normally do. But it’s his very last chance to make Aziraphale understand. So he kisses him. It’s an angry, sad, messy, utterly unpleasant kiss, it’s painful to look at.
Aziraphale doesn’t kiss back, his hands are erratic. He is so torn. His heart and his brain tell him two different things. He needs Crowley, but Crowley refuses to come to Heaven with him.
And what is the first thing that comes to Aziraphale’s mind after the kiss? “I forgive you!” Because that’s what he’s good at, right? Forgiveness. He told Maggie that in the first episode of the season. I don’t know what exactly he wants to forgive and I’m not sure he knows himself.
When they part they’re both in emotional agony, they both feel betrayed. Crowley storms out, but still waits outside his car. He still has this tiny bit of hope left that Aziraphale will come with him after all. He only gets in and drives off once he sees the doors to Heaven close behind Aziraphale and Metatron.
Metatron’s plan
I read some theories that Metatron poisoned Aziraphale’s coffee, but I really, REALLY hope that this isn’t true. It would take away all the gravity of Aziraphale’s decision if he is just drugged to go along with Metatron and comes to his senses once the drug wears off. That would be boring and lame!
I also don’t think that Crowley and Aziraphale switch appearances again as they did in Season 1: Clearly Metatron would be able to see through the disguise, he is much more powerful than the angels after all.
No, I think Metatron cleverly manipulates Aziraphale by giving him the opportunity (or rather the illusion thereof) to make changes in Heaven with Crowley at his side. Aziraphale is so convinced that Crowley would be full of joy and gratitude at the prospect of becoming an angel again. He once again fails to understand that this is the exact opposite of what Crowley wants.
Metatron on the other hand appears to know Crowley much better in that regard. He remembers how powerful Crowley is and how far he fell for asking the wrong questions. He loathes Crowley and would never want him in a position of power in Heaven ever again. So from the outset Metatron knows that Crowley would not agree to become an angel again, that’s why he makes that specific offer to Aziraphale in the first place. It’s his clever way to make the two fall out with each other, to separate them and still win Aziraphale over for his plan.
I just wonder what his real goal is here. Michael or Uriel seem like a much more logical choice for Supreme Archangel if he really only wants to go through with the next Armageddon. That can’t be everything, right? He knows that Aziraphale actively worked on preventing the first Armageddon. Why would he think Aziraphale would now be on board for the second one? Metatron can’t underestimate Aziraphale that much, right? He’s way too cunning to believe that Aziraphale is weak-minded and gullible.
I mean, I’m not too versed in religious mythology, but doesn’t the Second Coming of Christ mean Judgement Day and that God’s kingdom takes over the world after smiting all enemies? That doesn’t sound like something Aziraphale wants (especially the smiting of all enemies which would include Crowley). So why does he still agree to go with Metatron after learning about this???
Does Aziraphale think he can outsmart Metatron and all the other high-ranking angels and avert the end of the world when he’s in a position of power? I mean, he is intelligent, he must have a plan after hearing about the Second Coming, right? That would at least somewhat explain his very weird and uncanny smile during the credit roll. I just don’t know what to think about all this.
My best guess is that Aziraphale will first try to undermine Metatron and speak to the Almighty Themselves (something he already wanted to do in season 1 but was denied), and also to make positive reforms in Heaven. But Metatron sees this coming of course. To make Aziraphale his obedient puppet he will simply threaten to erase Crowley from the Book of Life should Aziraphale ever dare to step out of line.
Crowley never told Aziraphale about what he and Muriel found out in Heaven - that Michael & Co. were actively planning Armageddon 2.0 before Gabriel went renegade. But now Crowley can’t do anything to help prevent it because he knows that Aziraphale is completely at Metatron’s mercy.
I’m dying to see how this will all play out, but at this moment I’m just confused and unsure about all of this.
So what do I want/expect from season 3?
I want Crowley to overcome his trauma, his pain, his trust issues, all the rejection and loss he faced. I want him to be able to be himself: Free, loved, respected, cared for, accepted. I want him to live a happy life with, but not live FOR Aziraphale. I want him to make other meaningful connections. Maybe with Muriel? She is the only other kind and good-hearted angel we see in the show and a friendship would benefit both of them greatly in my opinion.
I want Aziraphale to fight for Crowley, to protect him for once. When they meet again I want him to do the stupid apology dance for three hours. I want him to finally accept Crowley as his best friend, his soulmate, his true love, his equal. I want him to take Crowley’s glasses off, look him in the eyes and then be the one to lean in for a kiss. A kiss that isn’t forceful and desperate, but heartfelt and genuine.
As for the plot of season 3… I’d really like to see a flashback of the often mentioned Great War between the angels and soon-to-be-demons. I’d also like characters from season 1 to make a cameo appearance if possible. Apart from that I don’t have any predictions or big ideas (as I said before, still very confused about Metatron’s plan).
I will put my faith in Neil Gaiman and Wait and See (TM) what he ultimately comes up with. :’)
55 notes
·
View notes
Text
It's not a want, your honor, IT'S A NEED
Okay, okay, okay.
Y'all, I'm snowed into my house after Iowa just got slammed by a lot of snow, so I predict some cabin fever mess to spew from this page (I'm sorry).
ANYWAY
So, we all know how Michael Sheen was on the celebrity episode of the Great British Bake Off, and he was an absolutely chaotic and competitive little shit. Michael always jokes about his competitiveness, but he just came out of the gates swinging, acting like the chaotic little Welshman he is. And we loved it. How could we not? Michael is so loveable, even when he's causing chaos and making Wales 4 Ever treats. That being said, I vote Michael comes back for another episode.
But Giantmushyfriend, I hear you ask, won't that be repetitive and boring?
No, because not only is Michael unpredictable and very funny, but also because two other people would be joining him: his TV husband, David Tennant, and Neil Gaiman, the destroyer and repairer of all hearts.
There are so many different ways this potential episode could play out, and it is the best thing the Great British Bake Off could produce. Because just think about it.
Michael would inherently go back to being the chaotic menace we all know he will be. He'd come in with the attitude, "I performed great the last time I was here, and I am going to do great again, and if I don't, then at least I'll be cute."
David would come in, and everyone would expect him to be all nice because he's practically known as the Patron Saint of Pleasantness in the acting world, but he turns out to be a menace. I can picture David either trying to create an alliance with Michael, trying to impress Michael, or trying to demolish Michael. There would be no in-between. In the case of the third scenario, I can practically hear David saying, "Listen, Michael Sheen is a dear friend who I love immensely. Top of the line, man, Michael. However, I am going to annihilate him- exterminate him." Because, as Georgia has warned us, he would be insufferable.
Either way, every compilation of David and Michael acting like a married couple for X minutes would get new content, and Anna and Georgia would get a good laugh.
And then there's Neil, the mastermind. Neil would be a more secretive, chaotic force brewing beneath the surface. He would seem all nice and just happy to be there, enjoying making some goods and having fun. But behind the scenes, he's turning people against each other and watching them take each other down. Because Neil is an evil mastermind, we've seen it with all of his works. He's a writer. He knows how to cause conflict. And he will wipe the floor with David and Michael, alongside everybody else. There would be a slew of "Neil Gaiman Big Brain" compilations and edits all over the Internet, all of which would be retweeted by Michael, who is salty about it. And we would relish in it.
Listen, this would be my Roman Empire. I don't know who I need to write for this to happen. I don't know how hard I need to grovel at God's feet for the Earth to be blessed with this, but I need it so biblically. I'll grovel harder than Aziraphale, but for the love of all things both Holy and Unholy, P L E A S E
@goodomensonprime
P L E A S E
#neil gaiman#michael sheen#michael sheen being a menace to society#david tennant#david tennant being a menace to society#chaotic welshmen#the old man of port albert#neil gaiman being a mastermind#the great british bake off#but not really#celebrity great British bake off#I am foaming at the MOUTH#GBBO celebrity#not a good omens post#Ik#shocking
22 notes
·
View notes
Note
just started watching gen v so i started to navigate into the fandom and can’t help but feel a little jealous… we know that bc of the strike actors cant post pictures of themselves on set so the gen v cast have reunited a lot and they’re so close and post picture together as much as they can also the show got renewed. i know comparing the bond of a cast from a tv show and the cast of a movie is not fair but the difference with rwrb cast is so big and they’re both from prime so it’s very sad
I'm honestly in the same boat as you 😞
I stumbled across compilations of fun moments between Michael Sheen and David Tenant (still haven't watched Good Omens yet, sorry) with titles like "Michael Sheen and David Tenant acting like an old married couple for xxx minutes" and despite not really knowing them, I watched the videos and had a great laugh, and I was reminded that I actually really love watching cast moments and interviews.
Then the same realization as you had hit me as I wondered how much fun the RWRB boys would be to watch if their very limited interviews were anything to go by, and I was kind of sad for the rest of that night
It's really such a pity with the timing of everything, but I'm trying to be a little optimistic: Matthew said the people at Amazon told him that the film was over-performing; Prime is still releasing RWRB content (admittedly quite slowly), and the film has a growing fanbase, and still have people's attention after two months. It's a great film, and that brings money. As greedy as it sounds, Amazon's not gonna let an opportunity like this go to waste.
So hopefully after the strike is resolved, they're gonna go as full-out as they possibly can with the cast. We'll just have to wait and see, and have our fingers crossed in the meantime.
#rwrb#red white and royal blue#rwrb movie#firstprince#nicholas galitzine#taylor zakhar perez#rwrb cast#rwrb thoughts#anon ask#answered
20 notes
·
View notes
Text
Today - February 8th, 1975 - Queen Story!
Cleveland, OH, USA, Music Hall
'SHeer Heart Attack' tour
📸 Photographer © Janet Macoska
🔸Rock photographer Janet Macoska photographed Queen five different times as the band toured through Northeast Ohio, starting with a show Feb. 8, 1975, at Cleveland Music Hall. She says that Queen, and specifically singer Mercury, put on some of the best live performances she's ever photographed.
"Freddie Mercury was so charismatic and powerful onstage," she said. "There was no doubt that he was in command of the band, but more precisely he was in command of the audience ... As soon as he got onstage, all eyes were riveted on Freddie and he commanded your attention. That's what we got from the very beginning. We knew that."
Macoska, who has photographed rock 'n roll greats like David Bowie, The Clash and Led Zeppelin over the years, said that Queen stands out. (She even said that Mercury and Michael Jackson are the two best live stage performers she's ever seen.)
She was also at Queen's Nov. 27, 1977 concert at the Richfield Coliseum. A massive snowstorm hit during the show, causing dangerous traffic problems on the highways outside of the venue.
Once, she got to go backstage and talk with Brian May about photos she'd taken of Queen. She later met up with May when he was promoting a book in Sandusky.
However, she never got to meet Mercury, who died in 1991
Source ↘️
#sheer heart attack tour#sheerheartattackalbum#1975sheerheartattacktour#1975#london#zanzibar#legend#queen#brian may#john deacon#freddiebulsara#queen band#roger taylor#freddie mercury#usa#cleveland#janet macoska
14 notes
·
View notes
Last Seen Blogs
sarahpollinnew-blog
Untitled
thewildwilds
the woods are lovely, dark, and deep
topherpikebooks
Topher Pike
dreambelievetravel
Hope is important.