vendredi 21 février 2025

Starmania, a musical

Starmania, a musical

février 21, 2025 0 Comments

 

Starmania : A presentation




1. Introduction

Overview: Starmania is a French rock opera (or pop musical) created in 1978 by Michel Berger (music) and Luc Plamondon (lyrics). It is one of the most famous French musicals and has had numerous adaptations over the years.

Key Themes: 

1. Power and Totalitarianism: The musical portrays a world where authoritarian figures, like Zéro Janvier, use fear and propaganda to gain control. His campaign for a "stronger" society mirrors real-world political extremism and the rise of authoritarian leaders.

2. Terrorism and Rebellion: Johnny Rockfort and "Les Étoiles Noires" represent the radical opposition to the system. The musical questions whether violent rebellion is justified when fighting oppression and highlights the dangers of extremism on both sides.

3. Media and Celebrity Culture: Through Cristal, a popular TV host, Starmania critiques how mass media manipulates public opinion, glorifies violence, and shapes political outcomes. The obsession with fame and spectacle is a major theme.

4. Loneliness and the Search for Meaning: Many characters struggle with personal emptiness despite their social roles:

  • Stella Spotlight, a former movie star, searches for love and purpose.
  • Zéro Janvier’s assistant sings Le Blues du Businessman, expressing regret over sacrificing artistic dreams for financial success.

5. Gender and Identity: The character Ziggy explores themes of gender identity and nonconformity. The musical subtly addresses societal struggles with acceptance and self-discovery.

6. Love and Betrayal: Romantic relationships in Starmania are often tragic or destructive, emphasizing the difficulty of genuine connection in a corrupt world. Cristal falls in love with Johnny, but their love leads to tragedy, while Sadia betrays Johnny for power.

2. The Storyline

Setting: The setting of Starmania is Monopolis, a dystopian, futuristic metropolis dominated by capitalism, mass media, and political unrest. The city is filled with neon lights, skyscrapers, and underground hideouts, reflecting a dark, cyberpunk-like atmosphere.

Key Locations in Monopolis

  • The Golden Tower – A luxurious skyscraper where Zéro Janvier, a powerful businessman and presidential candidate, resides. It symbolizes wealth, power, and authoritarian control.
  • Underground Café – A small, hidden café where Marie-Jeanne works. It serves as a gathering place for outsiders and ordinary people, contrasting with the city's elite.
  • Naziland – A flashy, controversial nightclub that represents excess, decadence, and the entertainment-driven society of Monopolis.
  • The Streets of Monopolis – A chaotic environment filled with protests, political propaganda, and violent clashes between Zéro Janvier’s supporters and Johnny Rockfort’s anarchist group, "Les Étoiles Noires."

Plot Summary: 

First version (1979): Set in a dystopian future, Starmania takes place in "Monopolis," a totalitarian city, capital of the "Occident" which is now unified in an only state. However, the city is preocupied by a terrorist group called "Etoiles Noires". The leader is Johny Rockfort who is influenced by Sadia, a student from high-society and a travesti. We are also being put inside the Undeground Café where a waitress, Marie-Jeanne, listens to the news from Roger Roger on the chain Télé-Capitale. 

On the top of this coffee shop there is the Golden Tower where Zéro Janvier, a billionaire and ex-military lives. He is running for President and we understand that he wants a racist, liberal and securitalist society. His main opponent is Goubou Marabout who wants to return to nature. 

On Télé-Capitale we meet Cristal who presents the show Starmania where you can be a star for just one night. Ziggy, a gay vinyl seller whom Marie-Jeanne is in love with, wants to go to Starmania. Sadia hears about it and stoles his idea, putting Johnny on the show - but Johnny and Cristal fall in love and Cristal run away, but everyone think she was abducted. During a debate between Goubou Marabout and Zéro Janvier, the terrorist group takes control of the TV to show that Cristal is now part of the group.

At the same time, Stella Spotlight, a famous cinema star, announces the end of her carrer - Zéro Janvier decides to take profit of it and ask of her to appear publically with him. However, Stella has a lot of psychological issues and participates in therapy/orgie sessions held by Gourou Marabout. Zero asks her to marry him: they celebrate the news in his private club - Naziland. Meanwhile, Johnny and Cristal are putting a bomb inside the tower. Ziggy has become a DJ in Naziland. Sadia learns about the bomb and tells everything to Zéro Janvier who chases the terrorist group. Cristal is being thrown above the tower and dies. Marie-Jeanne decides to leave her job and the underground. 

Zéro Janvier is elected President and Johnny tries to kill him but is being shot instead. We see his spirit being taken to the skies while the earthians sing about the despair of their condition.

Characters

The story follows several intertwined characters, including:

  • Cristal, a TV host who falls in love with Johnny and joins the rebels.
  • Stella Spotlight, a fading movie star seeking meaning in her life.
  • Marie-Jeanne, a waitress at the Underground Café, observing the chaos around her.
  • Sadia, Johnny’s manipulative right-hand woman, who later betrays him.

3. Musical Elements

Score and Style: The score of Starmania is a fusion of rock, pop, disco, and symphonic elements, reflecting the futuristic, dystopian atmosphere of the story. Michel Berger's compositions blend powerful ballads with energetic rock anthems, making the musical both emotionally intense and rhythmically dynamic.

  • Rock Opera Influence – Inspired by musicals like Jesus Christ Superstar, Starmania features a sung-through format with minimal dialogue, relying on music to tell the story.
  • Disco and Pop Sounds – Songs like Quand on arrive en ville and Besoin d’amour have strong disco beats, reflecting the late 1970s musical landscape.
  • Orchestral and Synth Arrangements – The score includes lush orchestrations combined with synthesizers, creating a dramatic and futuristic feel.
  • Emotional Power Ballads – Songs like Le monde est stone and SOS d’un terrien en détresse are deeply melancholic, showcasing the vulnerability of the characters.

Choreography: The choreography of Starmania has varied across different productions, but it generally reflects the musical’s futuristic, rebellious, and emotionally charged atmosphere. The dance styles blend elements of jazz, rock, contemporary, and even disco, aligning with the diverse musical influences of the score.
  • Dynamic Group Numbers – Large ensemble pieces like Quand on arrive en ville feature bold, energetic movements that reflect the rebellious spirit of Johnny Rockfort’s gang.
  • Mechanical and Stylized Gestures – Some productions use robotic or synchronized movements to enhance the dystopian, futuristic setting, especially in scenes involving media and politics.
  • Emotional Solos – Ballads like Le Monde est stone or SOS d’un terrien en détresse often feature minimalistic movement, relying on the performer's presence and expression rather than complex choreography.
  • Disco and Pop Influences – Given the musical’s 1970s origins, some numbers incorporate disco-inspired dance moves, particularly in scenes set in Naziland, the flashy nightclub of Monopolis.
Choreographers across different productions:
  • Original 1979 Version – Featured more theatrical staging than heavy choreography, focusing on the rock opera aesthetic.
  • 1988 Revival (Canada, France) – Introduced more jazz and contemporary dance, choreographed by Louise Lecavalier and Édouard Lock (of La La La Human Steps).
  • Recent 2022 Revival – Choreographed by Sidi Larbi Cherkaoui, this version incorporates fluid contemporary dance, urban influences, and highly visual staging to enhance the sci-fi aesthetic.

4. Production History

Background: Initialement, Michel Berger voulait créer Angélina Dumas en 1974, qui traite du syndrome de Stockholm et de l'enlèvement de Patricia Hearst: héritière d'un homme d'affaire connu de la presse (William Randolph Hearst) et parfois actrice, elle est enlevée à 19 ans en 1974 par l'Armée de libération symbionaise (extrême gauche américaine), avant de décider de faire partie du groupe.
Cependant Angelina Dumas est un échec quand le titre sort en 1975. France Gall travaille avec lui pour trouver un auteur et ils découvrent Luc Plamondon après avoir écouté Diane Dufresne. La rencontre entre les deux artistes se fait en 1976 à Montréal. 

Development: Starmania est le premier opéra rock créé originellement en français. Michel Berger et Luc Plamondon ont eu beaucoup de mal à trouver un producteur parce que personne "ne croit au succès de ce genre de spectacle en français de ce côté de l'Atlantique" (La Vie).  In the recorded version, before the development of the show, a song called "Air de l'extraterrestre" was introducing another character which sung about human vanity, but it was deleted in all the representations of the show (except Quebec 1980).
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mardi 18 février 2025

A chorus line

A chorus line

février 18, 2025 0 Comments

 a chorus line by Richard Attenborough | film Review



A chorus line by Richard Attenborough
Released in 1985
Actors: Pam Klinger, Michael Douglas, Charles McGowan, Vicki Frederick, Michael Blevins, Gregg Burge, Alyson Reed, Justin Ross...
Genre: Musical, Drama


A Chorus Line (1985) is a film adaptation of the hit 1975 Broadway musical of the same name, directed by Richard Attenborough. The story follows a group of dancers auditioning for a Broadway musical, with the demanding director, Zach (played by Michael Douglas), pushing them to reveal personal stories about their lives, dreams, and struggles.

As the audition progresses, each dancer shares intimate details about their past—why they started dancing, personal hardships, and aspirations—highlighting themes of passion, sacrifice, and the uncertainty of a performer's life. One of the key emotional arcs revolves around Cassie (Alyson Reed), a former star dancer who had a relationship with Zach and is now struggling to find her place in the chorus line.

The film explores the harsh realities of show business, where talent isn't always enough, and not everyone makes the cut. The final selection process is both heartbreaking and exhilarating, culminating in the iconic number One, where the chosen dancers perform in perfect unison, emphasizing that despite their individual stories, they ultimately blend into the ensemble.

The film was met with mixed reviews, especially from fans of the original stage production, as it altered or omitted certain songs and character moments. However, it remains a nostalgic look at the struggles and triumphs of performers in the theater industry.

I really loved the film! I haven't seen the stage production yet so my opinion is probably biased and I can't say anything about the numbers that might have been deleted or altered but 

1. I am in love with young Michael Douglas

2. I want to be a stage performer

3. I cried like a baby at the end

What to watch if you liked this film: 
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dimanche 16 février 2025

Sunday in a park with George, a musical

février 16, 2025 0 Comments

 

Sunday in the park with George: A presentation


1. Introduction

Overview: Sunday in the Park with George is a musical by Stephen Sondheim and James Lapine that explores the struggles of artistic creation, the sacrifices made for one’s craft, and the lasting impact of art. Inspired by Georges Seurat’s painting A Sunday Afternoon on the Island of La Grande Jatte, the show is structured in two acts, each set a century apart.

Key Themes: 

The Struggles of Artistic Creation – The musical explores the sacrifices artists make for their work, including personal relationships and emotional well-being. Georges Seurat's dedication to his art isolates him from those who love him.

Art vs. Life – The tension between pursuing artistic vision and engaging in personal relationships is central to the story. Dot loves Georges but cannot compete with his obsession with painting.

Legacy and Influence – The second act examines how art endures over time, questioning whether innovation is enough to leave a lasting impact. George, Seurat’s great-grandson, struggles to find meaning in his own work.

Perception and Innovation – Seurat’s pioneering pointillist technique was misunderstood in his time, reflecting how true innovation is often unappreciated until much later. Similarly, modern George struggles with the expectations placed on artists in a commercialized world.

Isolation and Human Connection – Both Georges and George struggle with feeling disconnected from others. Their search for meaning in art mirrors their longing for deeper personal connections.

Commercialization of Art – The second act critiques the modern art world, where success is often dictated by trends, funding, and public approval rather than artistic passion.

Time and Memory – The musical reflects on how art preserves moments in time. The past lingers in the present, as seen when Dot and other figures from Seurat’s life reappear in George’s journey.

"Order, Design, Composition, Balance, Light, and Harmony" – These artistic principles, repeated throughout the show, represent both the technical elements of painting and the broader search for structure and meaning in life.

2. The Storyline

Setting: The musical is set in two distinct time periods, each reflecting a different stage in the evolution of art and its impact on the people who create it. The first act takes place in 1884 on an island in the River Seine just outside Paris, where Georges Seurat is painting A Sunday Afternoon on the Island of La Grande Jatte. The setting is both literal and symbolic, capturing a tranquil yet meticulously structured scene of Parisian society while also representing the isolated world of the artist, who observes rather than participates. The second act shifts to 1984, primarily in an art gallery and later in the same location where Seurat once painted, now a historical site. This modern setting contrasts the artistic struggles of the past with those of the present, emphasizing the changing nature of art, its reception, and the challenge of maintaining creative integrity in a commercialized world.

Plot Summary: In Act 1, set in 1884, Georges Seurat is obsessed with perfecting his groundbreaking pointillist technique while painting A Sunday Afternoon on the Island of La Grande Jatte. His dedication to his art alienates those around him, especially his lover, Dot, who longs for his attention but ultimately leaves him for a more stable life in America. Despite personal sacrifices and a lack of recognition, Seurat completes his masterpiece, immortalizing the people and moments that surrounded him.

Act 2 takes place in 1984, where George, Seurat’s great-grandson and a contemporary artist, is struggling to find inspiration in an art world dominated by commercialism and technology. Searching for a connection to his past, he travels to the island where his ancestor once painted. There, the figures from the painting appear, including Dot, helping him rediscover his artistic purpose. The musical ends with George embracing the possibilities of creation, echoing his great-grandfather’s artistic vision.

3. Musical Elements

Score and Style: The score of Sunday in the Park with George is one of Stephen Sondheim’s most intricate and innovative works, reflecting both the meticulous technique of Georges Seurat’s pointillism and the emotional depth of the characters. Musically, it blends traditional lyricism with fragmented, almost painterly motifs that mirror Seurat’s precise brushstrokes.

In Act 1, the music is highly structured, often using short, overlapping phrases to capture the process of artistic creation. Songs like "Color and Light" showcase Seurat’s obsessive focus through staccato rhythms and layered harmonies, while "Finishing the Hat" is a deeply introspective piece that reveals his emotional isolation. The ensemble numbers, such as "Sunday in the Park with George", build gradually, much like the painting itself, as voices weave together to create a complex sonic landscape.

Act 2 shifts to a more contemporary sound, reflecting the modern art world. The music becomes more fluid and dissonant, emphasizing George’s creative frustration. "Putting It Together" satirizes the commercialization of art with a sharp, rhythmic drive, while "Move On" offers a moment of emotional clarity, encouraging the protagonist to embrace uncertainty in his work. The final reprise of "Sunday" brings both acts together, blending past and present in a moment of artistic transcendence.

Sondheim’s score, combined with James Lapine’s book, creates a unique theatrical experience where music and storytelling mirror the themes of art, legacy, and human connection.

Instrumentation and Orchestration: The orchestration of Sunday in the Park with George, originally arranged by Michael Starobin, is as innovative and intricate as Sondheim’s score, reflecting both the precision of Georges Seurat’s pointillist technique and the emotional depth of the story. The instrumentation is relatively small but highly detailed, featuring a mix of traditional orchestral elements and more contemporary textures. Strings, woodwinds, and brass provide warmth and lyrical beauty, while synthesizers and electronic elements add a modern edge, especially in Act 2. The orchestration often mirrors Seurat’s painting process, using short, staccato bursts of sound that layer and build, much like individual dots of color forming a complete image. One of the most distinctive aspects of the orchestration is its use of repeating, overlapping motifs to reflect Seurat’s meticulous brushwork. In songs like "Color and Light", the instrumentation is fragmented and precise, capturing his obsessive focus, while in "Sunday", the lush, swelling harmonies create a sense of unity and grandeur, mirroring the completion of his masterpiece. Act 2 introduces a more contemporary sound, incorporating sharper rhythms and more percussive elements, particularly in "Putting It Together", which satirizes the modern art world. However, the orchestration ultimately returns to the sweeping, ethereal quality of Act 1 in the finale, reinforcing the timeless nature of artistic creation.
Choreography: The choreography in Sunday in the Park with George is not as central as in traditional dance-heavy musicals, but it plays a crucial role in shaping the movement and staging, particularly in how characters interact with Seurat’s artistic vision. Rather than featuring large dance numbers, the movement is often stylized, precise, and carefully structured to reflect Seurat’s methodical, pointillist approach to painting.
In Act 1, the blocking and movement of the ensemble mimic the careful placement of figures in the painting A Sunday Afternoon on the Island of La Grande Jatte. Characters frequently pose in static or deliberate, measured motions, as if they are gradually becoming part of the artwork. Their transitions between naturalistic movement and frozen tableau create a sense of the painting coming to life. During "Sunday in the Park with George", the cast assembles in the final positions of the painting in a breathtakingly choreographed moment of stillness and composition.
Act 2 takes a more contemporary approach, particularly in numbers like "Putting It Together", where movement is sharper and more dynamic, reflecting the fast-paced, commercialized art world. The staging often contrasts the structured, deliberate aesthetic of Seurat’s world with the frenetic energy of modern artistic spaces.
The overall choreography, while not traditionally dance-focused, is integral to the storytelling, reinforcing the themes of artistic construction, perception, and the passage of time. It serves as a visual extension of Seurat’s technique, emphasizing the relationship between movement, composition, and art.

Songs and changes
    • Sunday in the Park with George, Dot and Georges Seurat
    • No life - Jules, Yvonne
    • Color and Light - Dot, Georges
    • Gossip - Celeste 1 and 2, Boatman, Nurse, Old lady, Jules, Yvonne, Dot
    • The Day off - Georges, Nurse, Frieda, Franz, Boatman, Company
    • Everybody Loves Louis - Dot
    • The One on the left - Soldier, Celeste 1 and 2, Georges
    • Finishing the hat - Georges
    • The day off (reprise) - Company
    • We do not belong together - Dot, georges
    • Beautiful - Old lady, georges
    • Sunday - Georges, Company
    • It's Hot up here - Dot, yvonne, louise, franz, nurse, Celeste 1 and 2, Frieda, Jules, Soldier, Old lady, boatman, louis
    • Chromolume #7 - Orchestra
    • Gossip (reprise) - Harriet, Billy, Bob, Charles, Betty, Alex, Naomi
    • Putting it together - George, Marie, Bob, Harriet, Billy, Elaine, Charles, Naomi, Lee, Dennis, Betty, Alex, Blair
    • Children and Art - Marie, George
    • Lesson #8 - George
    • Move On, George, Dot
    • Sunday (reprise) - george, dot, company

4. Production History

Background : The idea for Sunday in the Park with George began in the early 1980s when Sondheim and director James Lapine were brainstorming for a new collaboration. The concept came from Sondheim’s fascination with the pointillist technique used by French painter Georges Seurat, particularly in his famous painting A Sunday Afternoon on the Island of La Grande Jatte. Sondheim was intrigued by Seurat’s obsession with detail, his dedication to his art at the expense of personal relationships, and the idea of time and perception in art. Lapine, who had previously collaborated with Sondheim on Into the Woods, was brought on board as the director, and together they began developing the musical’s concept.

The musical’s structure—splitting the narrative between Seurat in 1884 and his great-grandson George in 1984—was a significant artistic choice that allowed the story to explore both the creation of art and its legacy. The juxtaposition of the two time periods gave the musical a sense of timelessness and allowed for a reflection on how art evolves over time.

  • Development:

Sunday in the Park with George had its first workshop in 1983, where the show underwent several revisions before it premiered in 1984. The early drafts included songs and sequences that would later be cut or significantly changed. One notable revision was the transformation of the character Dot, who was initially written as a more passive figure, into a stronger, more independent character with a distinct voice. Similarly, the role of George’s great-grandson, the modern artist in Act 2, was further developed to create a more direct connection to the legacy of Seurat's work.
The musical had its world premiere at the Playwrights Horizons theater in New York City in May 1984, a well-regarded Off-Broadway venue. It received positive early reviews for its innovative approach to storytelling and its unique blend of music, art, and history. The production was well-received, and this positive momentum helped the show move to Broadway.
    • Off-Broadway production: 
      • Mandy Patinkin and Bernadette Peters
      • July 1983 - 25 performances
      • Only the first act was performed
      • Leonard Bernstein wrote to Sondheim: "brilliant, deeply conceived, canny, magisterial and by far the most personal statement I've heard from you thus far. Bravo."
      • Three performers did not make it to Broadway: Kelsey Grammer (soldier); Mary Elizabeth Mastrantonio (Celeste 2/Linda), and Christine Baranski (Blair/Clarisse => Yvonne)
  • First Productions (1984 - 1985)
    • Music and Lyrics: Sondheim
    • Book: James Lapine
    • the first Broadway show to utilise projection mapping and high powered lasers that broke the 4th wall
    • Cast
      • Georges: Mandy Patinkin (and Robert Westenberg, Cris Groenendaal, Harry Groener, Jeff Keller (u/s), Howard McGillin)
      • Dot: Bernadette Peters (Betsy Joslyn, Maryann Plunkett)
      • Old Lady: Barbara Bryne
      • Jules: Charles Kimbrough (Jeff Keller)
      • Yvonne: Dana Ivey
      • A soldier: Robert Westenberg (Cris Groenendaal, Howard McGillin, Jeff Keller)
      • The boatman: William Parry
      • Nurse: Judith Moore
      • Franz: Brent Spiner (Bruce Adler, Cris Groenendaal (u/s), Jeff Keller)
      • Celeste 1: Melanie Vaughan (Betsy Joslyn)
      • Celeste 2: Mary D'Arcy (Betsy Joslyn)
      • Frieda: Nancy Opel
      • Louis: Cris Groenendaal (Jeff Keller)
      • Mr: Kurt Knudson
      • Louise: Danielle Ferland
    • Critical responses: "I do know... that Mr. Sondheim and Mr. Lapine have created an audacious, haunting and, in its own intensely personal way, touching work. Even when it fails—as it does on occasion—Sunday in the Park is setting the stage for even more sustained theatrical innovations yet to come." (Frank Rich, New York Times)
    • May 15th 1994: tenth anniversary concert


  • List of Revivals and others productions

    • Original London production - 1990
      • George: Philip Quast (won the award for Best actor in a musical)
      • Dot: Maria Friedman
    • London Revival - 2005
      • George: Daniel Evans
      • Dot: Anna-Jane Casey (then Jenna Russell)
      • Direction: Sam Buntrock
      • Set and costume: David Farley
      • New orchestration: Jason Carr
      • Won five olivier award 
    • Broadway Revival - 2008
      • From the 2005 London production so:
        • George: Daniel Evans (tony award)
        • Dot: Jenna Russel (tony award)
        • Direction: Sam Buntrock
      • Jules/bob: Michael Cumpsty
      • Yvonne/Naomi: Jessica Molaskey
      • Mr/Charles Redmond: Ed Dixon
      • Old Lady/Blair: Mary Beth Peil
      • Boatman/Dennis: Alexander Gemignani
      • Franz/Lee: David Turner
    • Broadway Revival - 2017
      • Four-performance concert as part of New york city center's 2016 gala.
        • George: Jake Gyllenhaal
        • Dot/Marie: Annaleigh Ashford
      • Then a limited-run revival was presented on Broadway based on the concert's reception
        • Mr/Charles: Brooks Ashmanskas
        • Boatman/Lee: Philip Boykin
        • Soldier/Alex: Claybourne Elder
        • Mrs/Harriet: Liz McCartney
        • Frieda/Betty: Ruthie Ann Miles
        • Franz/Dennis: David Turner
        • Louis/Billy: Jordan Gelber
        • Yvonne/Naomi: Erin Davie
        • Old Lady/Blair: Penny Fuller
        • Jules/bob: robert sean leonard 
        • Director: James Lapine's niece Sarna Lapine



  • Others: 
    • Eisenhower Theatre - 2002
      • As part of the Kennedy Center Sondheim Celebration
      • Directed: Eric D. Schaeffer
      • Georges: Raul Esparza
      • Dot/Marie: Melissa Errico
      • Original broadway cast member Cris Groenendaal: Jules/Bob
    • Chicago Shakespeare Theatre - 2002
      • Directed: Gary Griffin
      • George: Jason Danieley
      • Dot: Carmen Cusack
      • Old Lady: Linda Stephens
    • Ravinia  Festival - 2004
      • Georges: Michael Cerveris
      • Dot/Marie: Audra McDonald
      • Yvonne/Blair: Patti LuPone
    • Seattle's 5th avenue theatre - 2009
      • Georges: Hugh Panaro
      • Dot/Marie: Billie Wildrick
      • Yvonne/Naomi: Patti Cohenour
      • Harriet: Anne Allgood
      • Bob: Allen Fitzpatrick
    • Théâtre du Chatelet - 2013
      • Directed: Lee Blakeley
      • George: Julian Ovenden
      • Dot/Marie: Sophie-Louise Dann
      • Michael Starobin reworked his musical arrangments from 11-piece chamber orchestra to a full orchestra 

    • Pasadena Playhouse - 2023
      • 2017 Broadway revival production
      • same production team
      • Georges: Graham Phillips
      • Dot: Krystina Alabado 

Quick review and notation: 


⭐⭐⭐⭐⭐/5
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mardi 11 février 2025

Fun Home: a musical

Fun Home: a musical

février 11, 2025 0 Comments

 

Fun Home: presentation



1. Introduction

Overview: Fun Home is a musical adapted from Alison Bechdel’s 2006 graphic memoir Fun Home: A Family Tragicomic. With music by Jeanine Tesori and book and lyrics by Lisa Kron, the musical explores themes of identity, family, and self-discovery through a deeply personal and nonlinear narrative.

Key Themes: 

  • Identity and Self-Discovery – The musical explores Alison Bechdel’s journey of understanding her sexuality and finding confidence in her identity as a lesbian.
  • Family and Secrets – The Bechdel family, particularly Alison’s father Bruce, harbors deep secrets that shape their relationships and interactions.
  • Sexuality and Repression – Alison embraces her sexuality, while Bruce struggles with his, leading to a tragic contrast between acceptance and denial.
  • Memory and Perspective – The nonlinear storytelling reflects how memories shift and evolve, as Adult Alison reconstructs her past to make sense of her father’s life.
  • Parental Influence and Expectations – Bruce imposes his own desires and frustrations onto his children, while Alison seeks to break free from his expectations.
  • Life and Death – The setting of the family-run funeral home ("Fun Home") provides a backdrop for themes of mortality, grief, and the weight of unspoken truths.
  • Art and Storytelling – Alison’s work as a graphic novelist becomes a way to process her past, highlighting the power of art in understanding personal history.

2. The Storyline

Setting: The story follows Alison at three different stages of her life—Small Alison, a child growing up in her family's funeral home; Medium Alison, a college student coming to terms with her sexuality; and Adult Alison, a graphic novelist looking back on her past. As Alison pieces together memories of her childhood and her complex relationship with her father, Bruce Bechdel, she uncovers the truth about his hidden life as a closeted gay man. His struggle with his identity contrasts with Alison’s journey of self-acceptance, leading to a poignant and emotional exploration of their connection.

Main Characters:

Alison Bechdel – The protagonist, shown at three different ages. She is a graphic novelist reflecting on her past and her relationship with her father. Small Alison – A curious and artistic child growing up in her family's funeral home. Medium Alison – A college student discovering her sexuality and coming to terms with being a lesbian. Adult Alison – The narrator, looking back on her past to make sense of her father's life and death.

Bruce Bechdel – Alison’s father, a high school English teacher and funeral home director. He is a closeted gay man struggling with his identity, leading to a strained and complex relationship with his daughter.

Helen Bechdel – Alison’s mother, a reserved and often emotionally distant woman who sacrifices her happiness for her marriage, struggling with Bruce’s secrets.

Joan – Medium Alison’s confident and self-assured college girlfriend, who helps her embrace her sexuality.

Christian and John Bechdel – Alison’s younger brothers, who provide moments of childhood playfulness and humor in the musical.

Roy and Other Male Figures – Various young men with whom Bruce has secret relationships, including Roy, a former student and babysitter.

3. Musical Elements

Score and Style: The score of Fun Home, composed by Jeanine Tesori with lyrics by Lisa Kron, blends elements of traditional musical theater with a more intimate and introspective storytelling style. The music is deeply character-driven, reflecting Alison’s memories and emotions as she navigates different stages of her life.

The style of the musical is non-linear, mirroring how memories work. It shifts fluidly between past and present, with the music underscoring these transitions seamlessly. This structure allows Adult Alison to interact with her younger selves, creating a layered and deeply personal narrative that resonates with audiences on an emotional level.

Instrumentation and Orchestration: 

Musically, the show features a mix of styles, including folk, pop, and contemporary Broadway, with influences from classical and jazz. The songs are structured organically, often feeling like internal monologues or fragmented memories rather than conventional show tunes. The harmonies are intricate, particularly in family-centered numbers, which emphasize the tension and emotional distance between the characters.
The orchestration is relatively light and chamber-like, reinforcing the musical’s intimate nature. Instruments like the piano, strings, and woodwinds contribute to the reflective and sometimes melancholic atmosphere. Unlike large-scale Broadway productions with grand, sweeping numbers, Fun Home relies on nuanced, conversational lyrics and melodies that evolve with the characters’ emotions.

Choreography: Fun Home is not a traditional dance-heavy musical, so it does not feature elaborate choreography in the way that many Broadway shows do. Instead, the movement in the production is subtle and naturalistic, designed to support the emotional depth and intimate storytelling of the show.
Some musical numbers, particularly those featuring Small Alison and her brothers, incorporate light, playful movement. For example, “Come to the Fun Home”, where the children perform an imaginary commercial for their family’s funeral home, includes energetic, childlike choreography that contrasts with the heavier themes of the show. Other moments rely on blocking and staging to create a sense of fluid memory, as different versions of Alison exist onstage simultaneously. 

Songs and changes
    • "It All Comes Back (Opening)" – Small Alison, Bruce, Alison & Company
    • "Sometimes my father appeared to enjoy having children..." – Alison, Bruce & Helen
    • "Welcome to Our House on Maple Avenue" – Helen, Alison, Small Alison, Christian, John, Bruce & Roy
    • "Not Too Bad" – Medium Alison
    • "Just had a good talk with Dad..." – Alison, Medium Alison, Bruce, Pete, Small Alison, John & Christian
    • "Come to the Fun Home" – John, Christian & Small Alison
    • "Helen’s Etude" – Alison, Roy, Bruce, Small Alison, Helen, John, Christian & Medium Alison
    • "Thanks for the care package..." – Medium Alison, Joan, Small Alison & Bruce
    • "Party Dress" – Small Alison, Bruce, Medium Alison, Alison
    • "Changing My Major" – Medium Alison
    • "I leapt out of the closet..." – Alison, Small Alison, Bruce & Helen
    • "Maps" – Alison
    • "Read a book..." – Bruce, Small Alison, Alison & Helen
    • "Raincoat of Love" – Bobby Jeremy & Company
    • "Clueless in New York…" – Alison, Small Alison & Bruce
    • "Pony Girl" – Bruce
    • "A flair for the dramatic…" – Alison, Joan, Medium Alison & Bruce
    • "Ring of Keys" – Small Alison & Alison
    • "Let me introduce you to my gay dad..." – Joan, Medium Alison, Alison, Bruce & Small Alison
    • "Shortly after we were married..." – Helen & Medium Alison
    • "Days and Days" – Helen
    • "You ready to go for that drive?..." – Bruce & Alison
    • "Telephone Wire" – Alison & Bruce
    • "It was great to have you home..." – Bruce & Alison
    • "Edges of the World" – Bruce
    • "This is what I have of you..." – Alison
    • "Flying Away (Finale)" – Alison, Medium Alison & Small Alison

4. Production History

Background : Fun Home was developed from Alison Bechdel’s acclaimed 2006 graphic memoir, Fun Home: A Family Tragicomic. The idea to adapt it into a musical came from playwright Lisa Kron and composer Jeanine Tesori, who saw the potential to transform Bechdel’s deeply personal story into a theatrical experience.

Development:

The musical was developed through a series of workshops at the Sundance Institute Theater Lab, where Kron and Tesori experimented with how to translate the nonlinear, memory-driven nature of the book into a stage production. One of their major innovations was the use of three different actresses to portray Alison at different ages, allowing the audience to see her growth and self-discovery unfold in real time. The development took over five years, and was first workshopped at the Ojai Playwrights Conference in 2009; then staged read at The Public Theatre 2011 (only Judy Kuhn and Beth Malone kept their role). Another workshop with Raul Esparza was done in 2012 at the Sundance Institue's Theatre Lab.

Fun Home had its world premiere at The Public Theater in New York City in 2013, directed by Sam Gold. The production received widespread critical acclaim for its unique storytelling, emotional depth, and intimate staging. It was a finalist for the Pulitzer Prize for Drama and won the Lucille Lortel Award for Outstanding Musical.

There was a controversy in which South Carolina wanted to punish the College of Charleston for choosing the graphic novel of Fun Home as a reading selection for freshmen, and the off-broadway cast answered by presenting a concert of songs in Charleston, South Carolina.

    • Cast:
      • Alison: Beth Malone
      • Bruce: Michael Cerveris
      • Helen: Judy Kuhn
      • Small Al: Sydney Lucas
      • Med Al: Alexandra Socha
      • Christian: Griffin Birney
      • John Bechdel: Noah Hinsdale
      • Joan: Roberta Colindrez
      • Roy/Mark/Pete/Bobby/Jeremy: Joel Perez
List of Revivals and others productions
Broadway's Circle in the Square Theatre (2015-2016)
      • Direction: Gold
      • Same cast except for the roles of Medium Alison, John and Christian Bechdel
US National Tour (2016)
      • Alison: Kate Shindle
      • Bruce: Robert Petkoff
Makati, Manila, Philippines (2016)
      • Alison: Cris Villonco
      • Helen: Lea Salonga
      • Bruce: Eric Kunze
      • Direction: Bobby Garcia 
US Regional production - Millbrook Playhouse, Pennsylvania (Bechdel's childhood home) (2017)
Singapore's Pangdemonium theatre company (2017)
      • Adrian Pang and Monique Wilson
California (2018)
      • Directed: Stephen Moorer
      • Choreographed: Sam Trevino
Canadian (2018)
Off West End (2018)
      • Direction: Gold
      • Alison: Kaisa Hammarlund
      • Bruce: Zubin Varla
      • Helen: Jenna Russel
Barcelona (2018)
Australian (2021-2022)
      • Directed: Dean Bryant
      • Choreographed: Andrew Hallsworth
      • Alison adult: Lucy Maunder
      • Bruce: Adam Murphy
      • Helen: Marina Prior
Austria (2023)
Ireland (2023)
      • Adult alison: Frances McNamee
      • Bruce: Killian Donnelly
      • Helen: Nichola MacEvilly
Others: 
    • Film adaptation in development by Amazon? 

Quick review and notation: 

DNF. I've never liked the album on Spotify and I couldn't finish the slime recording on Youtube... I'm sorry but the musics just aren't for me.
⭐⭐/5
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vendredi 7 février 2025

the discreet charm of the bourgeoisie

the discreet charm of the bourgeoisie

février 07, 2025 0 Comments

 le charme discret de la bourgeoisie by luis bunuel | film Review



Le charme discret de la bourgeoisie by Luis Bunuel
Released in 1972
Actors: Fernando Rey, Paul Frankeur, Delphine Seyrig, Stéphane Audran, Bulle Ogier, Jean-Pierre Cassel
Genre: Comedy, Surrealist


The Discreet Charm of the Bourgeoisie (1972), directed by Luis Buñuel, is a surrealist satire about a group of upper-class friends who repeatedly try—and fail—to have a meal together.  

Their attempts are constantly interrupted by bizarre and unexpected events, blurring the lines between reality and dream.

They need an army. They need power. They need magic. And they need the one thing only Violet can find—the truth.

Through its absurd and dreamlike structure, the film critiques the hypocrisy, emptiness, and self-importance of the bourgeoisie, using humor and surreal imagery to expose their privilege and detachment from the real world.

For a long time, I thought I hated surrealists because I didn't like Dali. But then one day I watched Bunuel's Belle de Jour and understood how much I actually loved surrealism. Le charme discret de la bouregoisie is one more example of how much I love Bunuel's late work: the alternation between dream and reality (or is there really a difference between the two), this form of hypnosis he puts you under so that you feel compelled to watch the film and don't know what to do after it - and most of all the way he uses sudden noise to cut out conversations (gosh I love that).

Bunuel was looking for a subject on the theme of repetitions. He took something his productor Serge Sliberman had said at one moment and decided to make the opening of the film on it. The idea of the bourgeoisie only came very late in the process of the scenario-making. They mostly filmed the film in Paris or les Yvelines. The film received the Oscar of the best foreign film in 1973, le Prix Méliès in 1972; and Bunuel said of the film: "je fus particulièrement satisfait de pouvoir donner dans ce film ma recette du dry martini" (Luis Bunuel, Mon dernier soupir, 1982, 306).

I have been obsessed with the scene that happens in what I would call the underworld, but which is probably more the limbo world. The scene were they end up on stage, with someone saying the lines, and everyone runs off stage was also incredible.

What to watch if you liked this film: 
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jeudi 6 février 2025

Luis Buñuel: a biography

Luis Buñuel: a biography

février 06, 2025 0 Comments

 Luis Buñuel: a biography

Life 

Luis Bunuel was born in Aragon, Spain on February 22nd 1900. His father was working in hardware business in Cuba where he made a fortune before retunring to Calanda in 1898. At that time, he married an eighteen year old girl, Maria Portolés Cerezuela, who gave him seven children: Luis was the oldest. 

In Calanda, "the Middle Ages lasted until World War 1" - Luis Bunuel, My Last Sigh, 1983.

When he was very young (only four months old), Luis moved with his family to Zaragoza, and he went to the private Colegio del Salvador - very strict Jesuit education from seven to fourteen years old. When he was young he was very religious, but at some point discovered what he perceived as "the illogicality of the Church, along with its power and wealth" and rejected it deeply. (Ruth Brandon, Surreal Lives: The Surrelaists 1917-1945, 1999).
He got kicked out of school and refused to go back - he lied saying he had been expelled when in truth he had received the highest grade on the world history exam. He went to a public highschool and graduated at sixteen years old. He already liked cinema a lot and played the violin and did boxing. At 17 years old he dated Concha Mendez, future poet and dramatist, but she broke up with him after five years.

He went to the University of Madrid in 1917 where he studied agronomy, then industrial engineering, and finally philosophy. He created friendship with Salvador Dali and Frederico Garcia Lorca - they became "La Generacion del 27" (La Generacion del 27: Dali, Bunuel, and Lorca. Poets.org. 2013). He was very taken with Garcia Lorca, but was much more jealous of Dali, who was also very close of Lorca. As a student, he proclaimed himself an accomplished hypnotist and he said that watching movie was a form of hypnosis: "This kind of cinematographic hypnosis is no doubt due to the darkness of the theatre and to the rapidly changing scenes, lights, and camera movements, which weaken the spectator's critical intelligence and exercise over him a kind of fascination."Buñuel, Luis (1983). My last sigh. New York: Knopf"

He moved to Paris in 1925 as a secretary in the International Society of Intellectual Cooperation. He went to movies very often (as three times a day) and met with other artists such as the pianist Ricardo Vines. He decided to focus on cinema and went to a private film school run by Jean Epstein. He then started to work as an assistant director for Jean Epstein on the films Mauprat, La chute de la maison Usher; and for Mario Nalpas on La Sirène des Tropiques. He also made an apparition on screen in Carmen (1926). He met his future wife in 1926, Jeanne Rucar Lefebvre, who had won a bronze medal at the 1924 Paris Olympics. They got married in 1934 and remained married all his life. They had two sons, Jean Luis and Rafael.

Around 1927, Bunuel got into a fight with Epstein because he refused to work with his mentor, Abel Gance. Epstein told him ""How can a little asshole like you dare to talk that way about a great director like Gance?" (Taléns, Jenaro (1993). The Branded Eye: Buñuel's Un Chien Andalou. Minneapolis: University of Minnesota Press) and then "You seem rather surrealist. Beware of surrealists, they are crazy people."De La Colina, Jose (1994). Objects of Desire: Conversations with Luis Bunuel. Marsilio Publishers. p. 80". 

He worked then as a film critic for La Gaceta Literaria and Les cahiers d'art. He was exchanging in periodicals with Dali, writing essays on cinema and theatre. He collaborated with Ramon Gomez de la Serna on the script of Los Caprichos. 

With the war in Spain in 1930, Dali became "very excited about politics and the ideas that were everywhere in pre-Civil War Spain" (Rucar de Buñuel, Jeanne (1990). Memorias de un mujer sin piano.) - but later in his life he denied being a Communist. In 1932, he was invited as a film documentarian for Mission Dakar-Djibouti led by Marcel Griaule, which unearthed a lot of African artifacts; but Bunuel declined. However, it got him interested in ethnography and he read Las Jurdes: étude de géographie humaine by Maurice Legendre which made him want to make a film on it: Las Hurdes: Tierra Sin Pan. The film was banned by the Second Spanish Republic and by the dictatorship of Franco.

After that, he worked in the dubbing department of Paramount Pictures and then for Warner Brothers after his marriage in 1934 because the studios were in Madrid. Ricardo Urgoiti, one of his friends, asked him to produce films for a mass audience and Bunuel accepted but at the condition that his involvment be entirally anonymous - he didn't want to change his reputation as a surrealist. It is then a supposition that these four were directed by him: Don Quintin el amargao, La hija de Juan Simon, Quien me quiere a mi? and Centinela, alerta!

During the Spanish Civil War, Bunuel worked with the Republican Government - he was asked to catalogue Republican propaganda films in Geneva and Paris. He also did some spying and supervised the documentary Espana 1936. Frederico Garcia Lorca was killed by Nationalist milita in 1936. The Spanish Ambassador asked of Bunuel to visit Hollywood to give advice on the films made on the Spanish Civil War in the US. But when they arrived in the US, the Civil War ended so the making of these films ended, and Bunuel couldn't return under Franco's dictatorship. Bunuel was "immensely attracted by the American naturalness and sociability" (Buñuel, Luis (2002). An Unspeakable Betrayal: Selected Writings of Luis Buñuel. Berkeley and Los Angeles: University of California Press)

He made friends in Hollywood with Frank Davis, MGM producer and communist, but Bunuel didn't succeed in making great projects in Hollywood because he ""had none of the arrogance and pushiness essential for survival in Hollywood" (Brandon, Ruth (1999). Surreal Lives: The Surrealists 1917–1945).  He went then to New York City where he met Iris Barry, chief curator of film at MoMA. He was then hired to produce a short version of Triumph of the Will. He stayed at MoMA, reviewing and editing anti-fascist propaganda films for Latin America. 

In 1942, Bunuel asked for American citizenship but at the same time Dali published his autobiography in which he said Bunuel was a Communist and an atheist. Bunuel resigned from MoMA and confronted Dali in New-York about his book - he shot him in the knee. He then returned to Hollywood in 1944 as a Dubbing Producer for Warner Bros. At Warner Bros Bunuel tried to develop some projects: 

- a scenario The sewers of Los Angeles 
- a piece called La novia de medianoche (later filmed by Antonio Simon in 1997)
- screenplay Goya and the Duchess of Alba that he had started in 1927

In 1945 he ended his contract with Warner Bros to "realize my life's ambition for a year: to do nothing" (Bazin, André (1982). The cinema of cruelty: from Buñuel to Hitchcock. New York). 

In 1946, his old friend and producer Denisa Tual (widow of Pierre Batcheff, leading man in Un chien Andalou) asked him to adapt Lorca's play La casa de Bernarda Alba for a production in Paris. However they had problems with Lorca's family about the rights. However he met Dancigers who ran an independant production company and they started to work on Gran Casino, a musical period piece - some called it a fiasco. Bunuel worked on the scenario of Si usted no puede, yo si, filmed by Julian Soler in 1950. He worked also with the poet Juan Larrea on Illegible, hijo de flauta. Bunuel continued working with Dancigers and developed a technique for making films cheaply and quickly by doing only 125 shots. In 1949, Bunuel renounced his Spanish citizenship to become Mexican. Because of the success of El Gran Calavera, Dancigers gave Bunuel more freedom. Because Bunuel knew Dancigers didn't like experimental films, he made a commercial project Mi huerfanito jefe! which ended up being called Los olvidados. The film was made quickly but a lot of the crew confronted Bunuel on set about the quality of the movie, saying it was a bit like garbage. The film wasn't well received - Frida refused to speak to Bunuel after the initial screening. Dancigers asked to change the ending of the film for a happy one, but it wasn't enough to save the film. However, the film was well received at Cannes in 1951 by the Surrealists (Breton et Jacques Prevert). Bunuel won Best director prize and the film was much better accepted in Mexico. The director then stayed in Mexico where he made over 21 films, all of them talking about sexual pathology, the destructive effects of machismo, the blurring of fantasy and reality, the status of women in a male-dominated culture, and the absurdity or religious-life.

However, Bunuel also interacted with the international film scene. His first color film was Adventures of Robinson Crusoe, made thanks to Dancigers' partner Henry F. Ehrlich. He also worked a lot in France on his "revolutionary triptych", in that each of the film is "openly, or by implication, a study in the morality and tactics of armed revolution against a right-wing dictatorship" (Durgnat, Raymond (1968). Luis Buñuel. Berkeley: University of California Press.)

After the release of That Obscure Object of Desire, where he had a lot of arguments with Maria Schneider because of her use of drugs, so they shot with different actresses; Bunuel retired from his career as director. He wrote his autobiography with Carrière in 1982, Mon Dernier Soupir.

Bunuel told to Carlos Fuentes: "I'm not afraid of death. I'm afraid of dying alone in a hotel room, with my bags open and a shooting script on the night table. I must know whose fingers will close my eyes."Fuentes, Carlos (18 December 2000). "The Discreet Charm of the Bourgeosie"). He died in Mexico in 1983 from diabetes.

Films 

Un chien Andalou - 1929
It was his first film that he shot and directed with Salvador Dali. It is only 16-minute short and was financed by Bunuel's mother. It was very well received by the French surrealist movement.

L'Age d'Or - 1930
Thanks to the success of Un Chien Andalou, he worked with Dali on another short film by Marie-Laurie and Charles de Noailles who owned a private cinema in Paris.

Menjant Garotes - 1930

Las Hurdes: Tierra Sin Pan - 1933

The Vatican Pio XII - 1940

Gran Casino - 1947

El gran calavera - 1949

Los olvidados - 1950

Susana - 1951

La hija del engano - 1951

Subida al cielo - 1952

Una mujer sin amor - 1952

El bruto - 1953

El - 1953

La ilusion viaja en tranvia - 1954

Abismos de pasion - 1954

Robinson Crusoe - 1954

El rio y la muerte - 1954

Ensayo de un crimen - 1955

Cela s'appelle l'aurore - 1956

La mort en ce jardin - 1956

Nazarin - 1959

La fièvre monte à El Pao - 1959

La joven - 1960

Viridiana - 1961

El angel exterminador - 1962

Le journal d'une femme de chambre - 1964

Simon del Desierto - 1965

Belle de Jour - 1967

La voie lactée - 1969

Tristana - 1970


Le fantôme de la liberté - 1974

Cet obscur objet du désir - 1977

Films, books and other media about Luis Bunuel:

 
  
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