stage production

anonymous asked:

I've rewatched El Dorado recently and remembered that Dreamworks wanted to make Tulio and Miguel (two main *coughcough* red and blue coded *cough* characters) gay and partners but they got scared and abandoned the idea in later stage of production (and added a female love subject) bUT WELL it was 17 years ago. The point is: if Dreamworks wanted to make two main characters gay in 2000, then I don't see why they wouldn't go with it now (but this time for real, w/o gettin scared)

*crosses fingers*

Stages of McElroy Hell
  • Stage 1: Finding a McElroy product you find funny. Watching that particular product
  • Stage 2: Finding out there's multiple McElroy products and many more McElroys than you first thought
  • Stage 3: Watching upwards of 3 McElroy products
  • Stage 4: Listening to MBMBAM weekly
  • Stage 5: Working through MBMBAM's backlog
  • Stage 6: Can finally differentiate between Travis and Justin's voices
  • Stage 7: Adopting their syntax
  • Stage 8: IDK I think at this point you become an amiibo vorer
The Penumbra Musical

I decided that 2Mask2Murderous needs to be made into a stage production. Specifically a musical. This needs to happen. Between Juno’s genre savvy, Peter’s con artistry, and the Kanagawas careers as entertainers, pretty much everybody knows that they’re in a musical.

(Ridiculousness under the cut)

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Sadly in the London Production [the chandelier] falls very slowly because of Health and Safety. I always wanted to have a block of seats in the middle of the stalls that were 50p each and you had to sign a form, saying “I sit in this seat at my own risk” and really have the chandelier belting down.

In the Australian Production - naturally, them being Australians - the chandelier comes down at a hundred miles an hour and stops an inch above the heads of the audience, and is much more exciting.

I’ve seen chandeliers fall now at productions all over the world and you can kind of tell which country you’re in by the speed of the chandelier.

—  Richard Stilgoe, Co-Lyricist on Andrew Lloyd-Webber’s Phantom of the Opera [in regard to his feelings on the Falling of the Chandelier and International Productions]

Me at 84, probably: why was Bahorel not included in the stage production of Les Mis, why was Bahorel not included in the French productions of Les Mis, why was Bahorel not included in the various adaptations of Les Mis, why was Bahorel not included in the—

Boston Post, Massachusetts, March 3, 1921 

Marguerite is wearing a “Benda” mask, here’s a couple higher quality images of one:

From Wikipedia: Władysław Teodor “W.T.” Benda (January 15, 1873, Poznań, Poland (Posen, German Empire) – November 30, 1948, Newark, New Jersey, United States) was a Polish painter, illustrator, and designer.

Beginning in 1914, Benda was also an accomplished mask maker and costume designer. His sculpted, papier-mâché face masks were used in plays and dances and often in his own paintings and illustrations. They were used in masques or miracle plays in New York City at venues like the New York Coffee House. Benda also created the masks for stage productions in New York and London for such writers as Eugene O'Neill and Noël Coward. He became so well known as a mask maker that his name became synonymous for any lifelike mask, whether it was of his design or not. Benda also created “grotesque” masks, which were more fantasy or caricature in nature. Benda created the original mask design for the movie The Mask of Fu Manchu, which was originally published as a twelve part serial in Collier’s from May 7, 1932 through July 23, 1932. The cover of the May 7 issue presented a stunning portrait by Benda. In the latter stages of his career, Benda spent less time doing illustration and more time making masks.

Suga Kenta and Kimura Tatsunari
Livedoor Interview Translation

Translation continues under the Read More.  It’s important to note the actual interview took place about a month ago, it’s just this second part is now finally published.

Q: This will be my third interview with the two of you after the re-run “View from the Top,” and “Karasuno, Revival!” 

Kenta: Whoo! [applause] Thank you each and every time!
Tatsunari: That’s right, and for this particular production…
Kenta: Whoah whoah, no, too fast! [laughs] They haven’t asked us anything yet!

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For my fifty-sixth Evangelion book review, here is Evangelion Shin Gekijouban: Q E-conte Shuu (Evangelion New Theatrical Edition: Q Storyboards Collection), published by Groundworks.  This is a new book that just came out this week, and it is devoted to storyboards for the Evangelion: 3.0 movie.  (If you also want to see storyboards for the Evangelion: 1.0 and 2.0 movies, check out my fifty-fourth and fifty-fifth book reviews.  Or for storyboards from the original Evangelion TV series, take a look at my twenty-seventh review!)

This book is not available in English or French, but there are plenty of pictures.  It also has a removable dust jacket, however there isn’t any alternate cover art hidden underneath.  But that’s okay, because the book has plenty of interesting stuff inside, such as this lovely scene when Shinji sees Kaworu playing the piano:

The column on the left is for dialogue (or other sometimes other audio for the scene), the column in the middle is rough sketches of the visuals for the scene, and the column on the right has additional instructions such as camera directions.  However, as you can see above, sometimes the visuals are just too big to be contained in only one column… the topmost shot of Kaworu at the piano was so large that it extended into the left and right columns!

Keep reading for the rest of the book review, plus a few more pictures!

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anonymous asked:

So I know there have been some game changing properties that altered the pop culture landscape. Like Superman kind of killing pulps and Star Wars ushering out the thoughtful Sci-Fi of the early 70's for spectacle. Are there other lesser known but as important things out there? Was there something that suddenly caused everyone to go gaga for pulp heroes, that kind of thing?

Here’s one off the top of my head that is overlooked: Eric van Lustbader’s thriller novel, Ninja. It’s amazing to think about, but before the early 1980s, nobody even knew what a ninja was…except for maybe Kurosawa film devotees or people who read Black Belt magazine.

It’s funny how something can be unknown one minute and then a household word the next. Here’s a fun fact to blow the mind of people under 30: before the 1970s, most Americans had no idea what yogurt was. It was considered a bizarre foreign food popular in the middle east and Europe. 

Like yogurt, ninja were utterly unknown until the 1980s. Then came a 1980 thriller, Eric van Lustbader’s Ninja, which sold over 18+ million copies, and was something like the Da Vinci Code of its day. It was like a monster movie where the monster was a Ninja. The novel sold so well that suddenly, a word and a concept existed that wasn’t there before. Suddenly, Ninja were everywhere. One of my favorite signs of 80s Ninjamania was how many martial arts schools, “McDojos,” switched to black uniforms. 

Another pop culture game changer that is overlooked is Fred Saberhagen’s 1975 novel, “The Dracula Tape,” which introduced the concept of vampires as sexy, sympathetic, and misunderstood outsiders. In the 1970s, Saberhagen was considered one of the three biggest scifi writers alive, but nobody reads him much today. Saberhagen’s Dracula Tape kicked off the entire trend: the next year, 1976, you had a market that hungrily received Anne Rice’s Interview with the Vampire, and the year after that, you had the 1977 Broadway stage production of Dracula with Frank Langella (his understudy was some lesser known New York actor named Raul Julia) where Dracula became the ultimate lover. All of these were possible because of the approach taken in Saberhagen’s novel, which, despite the way his star has dimmed today, was a really, really big deal: it was widely talked about and a top seller.