dimanche 26 janvier 2025

I'll become a villainess that will go down in history

Miffy janvier 26, 2025 0 Comments

I'll become a villainess that will go down in history

I was looking for a cute romance and fantasy anime, with an interesting character - i am tired of the little girls being completely seduced by the male protagonists without any efforts so to speak. This is how I ended up watching this anime in a week.

The anime was at first a web novel called I'll become a villainess who goes down in history: it seems turning into a high-born baddie makes the prince all the more lovestruck (and then they dare say Lana makes too long titles for her songs?) in December 2018. A manga adaptation was released in May 2020, and the anime started in October 2024.

About The Anime

The story follows a protagonist who is reincarnated into her favorite fantasy dating game, not as the heroine, but as the villainess, Alicia Williams. Embracing this unexpected role, Alicia is determined to become the world's greatest villainess and leave her mark on history. However, her attempts at villainy have an unintended effect: the more she tries to be evil, the more the prince becomes enamored with her. This twist leads to a comedic and romantic narrative as Alicia navigates her new life, striving to fulfill her villainous ambitions while dealing with the prince's growing affection.

The Story

-spoiler free- The plot in itself was quite predictable but I still love the way they made the characters evolve throughout complicated missions and events to surmount! The only thing which was a bit off-putting for me was the relationship with the Prince that was a bit... Abusive. But apart from that the story was great!

The Characters

Alicia Williams: The protagonist of the series, Alicia is a noble from the House of Williams in the kingdom of Durkis. Reincarnated into her favorite dating game as the villainess, she is determined to become the greatest villainess in history. Despite her intentions, Alicia often displays compassion.

Prince Duke: The prince of the kingdom, Duke harbors feelings for Alicia but struggles to express them. Unlike other potential suitors for the game's heroine, Liz, Duke finds Liz's naivety off-putting and tends to avoid her.

Liz Cather: The game's designated heroine, Liz is sweet-natured but dangerously naïve. She believes that crises can be resolved simply by "having faith" and unknowingly possesses a powerful charm magic that influences others to act according to her expectations. This naivety leads to situations where she inadvertently endangers others, including Alicia.

Gill: an outcast, having been almost beaten to death in his village, who finds solace and protection under Alicia's care. Despite his difficult past, Jill is loyal, determined, and looks up to Alicia as a mentor. Alicia's kindness and strength inspire Jill to grow and develop confidence, becoming an important ally in Alicia's journey to become a legendary villainess.

Overall Thoughts

At first I was quite conflicted over this anime - especially regarding the romance: it has a lot of issues. If you watch it, please be aware that you will probably cringe and revolt over a lot of actions from the main romance lead - the prince Duke.

However, and this is why I would still praise this anime, everything came to a good resolution in the last episode. It can feel a bit rush out, but they only had twelve episodes to follow a girl from 7 years old to her 15-16 birthday (i think?), so they had to rush it a bit. I thought the plot was predictable, but I was agreeably surprised by the plot twist in the end!

I really hope we get a second season!

Recommendations if you liked this anime...

7th Time Loop: The Villainess Enjoys a Carefree Life Married to Her Worst Enemy!

snow-white with the red hair

vendredi 24 janvier 2025

Company: a musical

Miffy janvier 24, 2025 0 Comments

Company: A Presentation

1. Introduction

Overview:

It is one of the first concept musical to be created= a musical where themes and characterisation of the characters become more important than the plot, which is not lineary.
Company is considered as one of Sondheim's master piece.

Key Themes:

Marriage and Commitment – The show explores the complexities of relationships, marriage, and the fear of settling down. Through the protagonist Bobby's interactions with his married friends, the musical examines both the joys and struggles of long-term commitment.
Loneliness and Connection – Bobby's journey highlights the tension between solitude and the desire for meaningful connections, as he navigates his single life while observing the relationships around him.
Fear of Intimacy – A recurring theme in Company is Bobby's hesitation to fully engage in deep relationships, reflecting a broader anxiety about vulnerability and emotional dependence (Barcelona)
Modern Love and Relationships – The musical portrays love and relationships in a contemporary urban setting, addressing the evolving nature of romance and companionship in a fast-paced society.
Identity and Self-Discovery – Bobby's internal struggles with commitment lead him to question his identity and what he truly wants from life and love.
Urban Isolation – Set in New York City, Company explores the paradox of being surrounded by people yet feeling isolated, a reflection on city life and human connection.
Change and Growth – The show ultimately presents personal growth and change as essential to finding fulfillment, with Bobby realizing the importance of opening himself up to love and relationships.

2. The Storyline

Setting: Company is set in contemporary (1970s or modern, depending on the production) New York City. The story unfolds in various locations within the city, primarily in the apartments and homes of Bobby’s married friends, as well as urban social settings like bars and nightclubs. The setting reflects the bustling, often isolating nature of city life, emphasizing themes of connection and loneliness.

Main Characters:

Bobby (Robert)
- Charismatic, charming, and likable but emotionally detached and commitment-phobic.
- He is surrounded by married friends and struggles with the idea of settling down.
- Throughout the show, he grapples with questions about love, relationships, and his own desires for companionship.
Sarah and Harry

A married couple who present a humorous but complex relationship dynamic.
Sarah is on a diet and practices martial arts; Harry is trying to quit drinking.
Their interactions highlight marital compromise and underlying tensions.

Susan and Peter

A seemingly perfect couple who end up surprising Bobby by getting divorced amicably.
Their relationship explores the theme of appearances versus reality in marriage.

Jenny and David

A conservative couple who provide comic relief.
Jenny is sweet but anxious, while David is more relaxed and experimental.
Their interactions with Bobby reveal generational and personality contrasts regarding marriage and personal growth.

Amy and Paul

Engaged and preparing for their wedding, though Amy has cold feet.
Amy's famous patter song Getting Married Today showcases her fear of commitment.
Their story examines pre-marital doubts and the pressures of commitment.

Joanne and Larry

An older, wealthier couple with a cynical outlook on relationships.
Joanne is acerbic, sharp-witted, and delivers the iconic song The Ladies Who Lunch.
Larry is kind and patient, accepting Joanne’s critical nature with grace.
They represent a more mature perspective on relationships and self-awareness.

Bobby’s Girlfriends:

April – A flighty but kind-hearted airline stewardess, representing a simple, carefree love that Bobby cannot fully embrace.
Kathy – A down-to-earth woman with whom Bobby has real potential, but she ultimately leaves New York to settle down elsewhere.
Marta – A quirky, free-spirited New Yorker who loves the city, representing Bobby’s struggle with deeper connections.

Plot Summary:The musical follows Bobby, a single man living in New York City, as he celebrates his 35th birthday. Unlike his friends, who are all married or in serious relationships, Bobby remains noncommittal and struggles with the idea of settling down. The show is structured as a series of vignettes rather than a traditional linear narrative, with Bobby interacting with five married couples who each offer different perspectives on love, marriage, and commitment.
Throughout the musical, Bobby also dates three women—April, Kathy, and Marta—each representing different aspects of his romantic and emotional dilemmas. As he observes his friends’ marriages, ranging from affectionate to dysfunctional, he questions whether relationships bring happiness or merely compromise.
The musical doesn’t provide a clear resolution but instead focuses on Bobby’s emotional journey as he confronts his fears of intimacy and loneliness. By the end, Bobby reaches a moment of self-awareness, realizing that love and relationships, despite their imperfections, are essential for a fulfilling life.

3. Musical Elements

Score and Style: Company features a groundbreaking score by Stephen Sondheim that blends elements of traditional Broadway with contemporary influences, reflecting the urban and sophisticated atmosphere of New York City life. The music is known for its wit, complexity, and emotional depth, with lyrics that are sharp, introspective, and often laced with irony.

Conceptual and Fragmented Structure:
- The score reflects Bobby's emotional journey through different styles and tones that shift with each vignette.
- Unlike traditional musicals, Company is a concept musical, meaning the songs do not necessarily advance a linear plot but instead explore themes and character emotions.
Varied Musical Influences:
- The score incorporates elements of jazz, pop, vaudeville, and classical Broadway styles.
- Rhythmic complexity and unexpected harmonic shifts are hallmarks of Sondheim’s work in Company, often used to reflect Bobby's inner conflict and the fast-paced city life.
Clever Wordplay and Rhythms:

The lyrics are known for their intricate wordplay, internal rhymes, and conversational phrasing.
Many songs feature fast-paced, rhythmic lyrics that mirror the characters' neurotic and anxious personalities.

Instrumentation and Orchestration:
- The original orchestrations (by Jonathan Tunick) feature a blend of traditional Broadway orchestral elements—strings, brass, and woodwinds—combined with modern instrumentation like electric guitar and contemporary rhythms.
- The use of syncopation, layered harmonies, and counterpoint in the orchestrations enhances the show’s modern feel.

Notable Songs:
- “Company” –A lively opening number that sets the tone, with driving rhythms and energetic orchestrations reflecting Bobby’s social life and the expectations of his friends.
- “The Little Things You Do Together” –A witty, cynical commentary on marriage, performed in a cabaret style with biting humor and irony.
- “Sorry-Grateful” –A heartfelt ballad sung by Bobby’s married friends, expressing the conflicting emotions of love and commitment. Features lush harmonies and introspective lyrics.
- “You Could Drive a Person Crazy” –A playful, Andrews Sisters-inspired trio sung by Bobby's girlfriends, featuring tight harmonies and jazzy rhythms.
- “Another Hundred People” –A fast-paced, contemporary piece that captures the energy and isolation of city life with syncopated rhythms and a repetitive, pulsing accompaniment.
- “Getting Married Today” – One of Sondheim’s most famous patter songs, featuring rapid-fire lyrics and comedic timing to convey a character’s cold feet on their wedding day.
- “Side by Side by Side” – A classic Broadway-style number with a vaudevillian feel, celebrating friendship and companionship.
- “The Ladies Who Lunch” – A dramatic, cabaret-style number filled with biting social commentary, performed with a mix of bitterness and vulnerability.
- “Being Alive” – The emotional climax of the show, a soaring ballad that explores Bobby’s longing for meaningful connection and his struggle to embrace vulnerability. Features a powerful build in orchestration and emotional intensity.
Choreography: The choreography in Company varies depending on the director and choreographer's vision for each production, but it generally reflects the show's sophisticated, urban, and introspective themes. Since Company is a concept musical rather than a traditional plot-driven show, the choreography often emphasizes stylized movement that enhances the themes of isolation, relationships, and city life.
- Minimalist and Symbolic Movement:
  - Rather than large, elaborate dance sequences, Company often features stylized, minimal movement that underscores the emotional states of the characters.
  - Gestural choreography is frequently used to highlight themes of connection and disconnection, such as characters moving in and out of Bobby’s space to represent his inner turmoil.
- Fosse-Inspired Jazz Elements:
- Vaudeville and Broadway Jazz:
- Expressive Partner Work: In group numbers involving couples, choreographers often use partner work to reflect the dynamics of relationships—sometimes fluid and harmonious, other times awkward or disconnected, mirroring the themes of commitment and uncertainty.
- Choreographers of Note: Over the years, various productions of Company have brought different choreographic interpretations:

Songs and changes

Company - Robert and Company
The Little Things you do together Joanne and Couples
Sorry-Grateful - Harry, David and Larry
You Could drive a person crazy - Kathy, April and Marta
Have I got a girl for you - Larry, Peter, Paul, David, Harry
Someone is waiting - Robert
Another hundred people - Marta
Getting married today - Amy, Paul, Choirgirl (often Susan or Jenny), and Company
Marry me a little - Robert (was restored in the 1990s and added in the revivals of 95 and 2006)
Act 2
Side by side/What would we do without you - Robert and Couples
Poor baby - Sarah, Jenny, Susan, Amy, Joanne
Have I got a girl for you (reprise) - Larry Peter, Paul, David, Harry (added in 1995)
Tick-Tock - Kathy (instrumental) (abridged in the first Broadway revival, and afterwards completely deleted. But it has been restored in 2004, 2011, and 2021)
Barcelona - Robert and April
The ladies who lunch - Joanne
Being Alive (before it was supposed to be "Multitude of Amys" as the finale. The first few performances had "Happily Every After" has the finale, but then they picked Being Alive)
Finale - Company

4. Production History

Background

George Furth wrote 11 one-act plays for Kim Stanley. Anthony Perkins wanted to direct it and contacted Sondheim, who asked Prince his opinion, and Prince adviced to make a musical of it.

Development:

Instead of following a traditional narrative structure, Sondheim and Furth decided to focus on a central character, Bobby, whose experiences with his married friends would serve as the thematic glue for the piece. This structure allowed for a non-linear, episodic format where scenes and songs functioned as vignettes rather than a continuous storyline.
Sondheim experimented with different song placements and rewrote several pieces to better fit Bobby’s emotional arc. Key songs like Being Alive went through significant revisions to clarify Bobby’s journey.
Before opening on Broadway, Company had an out-of-town tryout in Boston, where structural adjustments were made based on audience reactions. Concerns were raised about the lack of a traditional plot, but the creative team remained committed to their innovative vision.

First Productions:

Book: George Furth
Lyrics and music: Sondheim
Directed: Hal Prince
Stage: Michael Bennet
Opened in Boston and then on Broadway at the Alvin Theatre on April 26 1970 - 1972 => was recorded by D.A. Pennebaker

Dean Jones (replaced Anthony Perkins)=> then left in 1970 and was replaced by Larry Kert
Donna McKechnie
Susan Browning
George Coe
Pamela Myers
Barbara Barrie
Charles Kimbrough
Merle Louise
Beth Howland
Elaine Stritch

List of Revivals and others productions

First national tour: 1971-1972

Original London production - 1972

Directed: Harold Prince
Choreography: Michael Bennett
Larry Kert, Elaine Stritch, Joy Franz (Susan), Beth Howland (Amy) and Donna McKechnie (Kathie)

Australian production (1986)

Directed: Richard Wherrett
Bobby: John O'May
Joanne: Geraldine Turner
Tony Sheldon, Simon Burke, Terence Donovan, Barry Quin

1993 reunion concerts: Elaine Stritch

most of the original Broadway cast
Robert: Dean Jones
Sarah: Barbara Barrie
Harry: Charles Kimbrough
Susan: Merle Louise
Peter: John Cunningham
Jenny: Teri Ralston
David: George Coe
Amy: Beth Howland
Paul: Steve Elmore
Joanne: Elaine Stritch
Larry: Stanley Grover
Marta: Pamela Myers
Kathy: Donna McKechnie
April: Susan Browning

the first version i watched of Company. I couldn't really understand everything over the laughs and applause of the public, but I still felt the rythm of the musical, and I loved it so much! They are just people living their life, and sharing their experiences of love - but the message is still here: can a human being really live without love, without company? The cast was so full of joy it was really cute, I hope they all had a nice time being able to perform with each other once again, twenty years later.

I was impressed by the performance of Dean Jones who played the insensible character all along, as if he was completely fine alone - but at the end he breaks, and he shows with beautiful candor how needed a company is - how much we all need someone.

1995 Broadway revival

Directed by Scott Ellis
Choreographed Rob Marshall
Bobby: Boyd Gaines
Kate Burton
Harry: Robert Westenberg
Diana Canova
Joanne: Debra Monk
Marta: LaChanze
Charlotte d'Amboise
Jane Krakowski
Paul: Danny Burstein
Amy: Veanne Cox

In this video unfortunately we do not have all the numbers but we still have some:

1) Opening: I feel like Boyd Gaines doesn't hold the same intensity that Dean Jones had, but the whole number in general sounds more joyful with the colourful dresses too. I like the stage decision that they are all standing over Bobby on a sort of bridge when they tell him to "come over" and that they have been "trying to reach [him]". And then it's Bobby's turn to stand over the rest, to truly mark the fracture between him and the rest of the group.

2) You could drive a person crazy: with the original performers it felt more funny, like they made fun of themselves; but here it feels more like they are completely personifying the cliché of the annoying ladies without making fun of themselves - even though the song does make fun of them - so it turns the characters more funny and annoying

3) Another hundred people: Marta is sitting on a bench where she is supposed to be among a lot of other people, but somehow she sings alone and it feels like she is alone among "another hundred people". It holds at the same time joy for the amount of people being around her, and a certain sadness. La Chanze is beautiful in it.

4) Getting Married Today: Veanne Cox is so good! I think I prefer this one over the original, because I feel like she follows the music best. She also seems really terrified and anxious while in the original version it seemed more funny. Her little white dress is also very funny she looks like a doll that has been dressed but she didn't want it. When she goes on her knees and continues singing on four legs and she keeps singing so well excuse me??? She is also using more the fourth wall and directly addressing the audience to save her.

5) What would we do without you? The stage is a mess it's so funny I love it, they seem to have so much fun. The choreography is excellent.

6) Tick-Tock: she is starting up on the bridge and it's really jazzy and so impressive!

7) Barcelona: they are both in the bed and he's definitely not getting up lol

8) The Ladies who Lunch: compared to the rest of the tone of this revival, this number feels much more depressing or fatalistic - and in the end she is angry

9) Being Alone: I'm really not a big fan of Boyd Gaines, I feel like he doesn't have the grip. He makes his character much more pathetic.

10)Finale: they sing the last song after the bow

1995-1996 London revival => video tape

Directed: Sam Mendes
Bobby: Adrian Lester (first black actor to play Bobby in a major production)

2002 Kennedy Center in Washington DC

Directed: Sean Mathias
Robert: John Barrowman
Emily Skinner, Walter Charles, Alice Ripley, Lynn Redgrave
they used the original book instead of the 1995 revision

2006-2007 Broadway revival => filmed and broadcast in 2008

Bobby: Raul Esparza
Joanne: Barbara Walsh
Directed and choreographed by John Doyle
the actors provided the orchestral accompaniment
won Tony Award for best revival of a musical

Barbara Walsh is impressive but most of all I AM IN LOVE WITH RAUL

2007 Australian production

"However, the production caused major controversy when Whelan was out sick for one performance and (with no understudy) Kookaburra chief executive Peter Cousens insisted the show be performed anyway, but without the character of April. This involved cutting several numbers and scenes with no explanation, and that night's performance ended twenty minutes early. Following complaints from the audience, there was considerable negative press attention to the decision, and Sondheim threatened to revoke the production rights for the show.^[43]"

2011 New York philharmonic concert => filmed

Directed: Lonny Price
Robert: Neil Patrick Harris
Harry: Stephen Colbert
Peter: Craig Bierko
David: Jon Cryer
Amy: Katie Finneran
April: christina hendricks
paul: aaron lazar
jenny: jennifer laura thompson
larry: jim walton
kathy: chryssie whitehead
joanne: patti lupone

my teacher asked us to watch this version for class because he thinks it's the best - but I do not agree. I don't like this version. In general I absolutely love Neil Patrick Harris... but this time I feel like he didn't really understand the character. I mean it's his own understanding but I prefered Raul Esparza's. However I really like that they put back the Tick-Tock choreography, and the way they did it. But the end, with the supposed meaning that Robert is finally better on his own without anyone? No I don't like it, I preferred when it was an open ending.

2018-2019 West End gender-bent production => filmed

Directed: Marianne Elliott
they changed the gender of a lot of characters
Bobby -> Bobbie: Rosalie Craig
same sex couple: Jonathan Bailey (Jamie - Amy) and Alex Gaumond (Paul)
"It's thrilling from beginning to end. And the last scene of Act I (which is now two guys) will completely shatter you, as well as it being one of the funniest scenes on record. All due to [Jonathan Bailey], the guy who plays Jamie, the Amy-equivalent. I only wish George Furth [the book's writer] could see it, as it definitively proves what Judy Prince said about him: he's J. D. Salinger."
–Stephen Sondheim after watching the first gender-swapped production of Company in the West End in 2018^[50]

2021 Broadway gender-bent revival

Directed by Marianne Elliott again
Joanne: Patti LuPone
Katrina Lenk: Bobbie
Choreography: Liam Steel
"Five days before he died, Sondheim discussed the revival's change of the lead character's gender from male (Bobby) to female (Bobbie). He expressed how theater is distinguished from film and video because "you can do it in different ways from generation to generation… What keeps theater alive is the chance always to do it differently, with not only fresh casts, but fresh viewpoints. It's not just a matter of changing pronouns, but attitudes."^[58]"
Won five tony awards

Others:

"Sondheim approached William Goldman to write a screenplay adaptation of the musical; the director Herbert Ross reportedly talked Sondheim out of doing the film.^[101] Speculation arose in 2010 about Neil LaBute working on a film version of the show.^[102]"

Quick review and notation:

Every time I hear Being Alive from Raul Esparza I cry.

⭐⭐⭐⭐⭐/5

The Secret Life of the American Musicals

Company’s opening

“combines both genres—giving voice to the full ensemble of the show as well as to its leading character as a soloist. The time is the present (that would be 1970); the place is New York, whose heartbeat, one character says, is “a busy signal”—this was before call-waiting was invented. And, indeed, the opening number pulses like a busy signal.” (59)
““Bobby, come on over for dinner!” and we come to quickly understand that all these couples are, for some reason, obsessively interested in the life of someone named Bobby, whom we haven’t met yet” (59)
“When he bursts onto the scene, singing, “Phone rings, door chimes, in comes company!” we may be puzzled—he seems like an ordinary fellow, maybe an adman or a business executive, but that’s about it. And what he’s telling us is a big distance from “there’s a bright golden haze on the meadow,” though, interestingly enough, it’s just as redolent of his time and place. And that’s the point. He’s nobody special. He’s the focus of a lot of needy people who project their hopes, dreams, fears, and anxieties on a blank slate of a man who, whatever else he does, appreciates the attention.” (60)
“The number is so propulsive, and it attacks the audience with so much nervous energy, that we also come to understand that this is a show about a Manhattan gripped by its careening—if sometimes pointless—pace. There’s no time to stop and think; there’s no time for anything except “come on over for dinner.” (60)

The end of an era (of Rodgers and Hammerstein ethos)

“its greatest contribution to the development of musical theater in America may simply have been that it was gimlet-eyed: it didn’t promise a happy ending. It had propulsive energy but no simple joys. It used musical theater conventions for ironic commentary, not simply to gin up the audience. It cast a jaundiced eye on urban Americans and found them wanting. There was no propaganda about our can-do, communitarian population.” (60)

On Sondheim

“Sondheim wasn’t heard as a composer on Broadway again until 1970’s Company, which, while greeted ecstatically in some corners, was viewed with suspicion by Clive Barnes of the Times; the music rattled him.” (152)

jeudi 23 janvier 2025

Cabaret

Miffy janvier 23, 2025 0 Comments