So this is Anna’s power…being a bad*** mother ****** http://t.co/7hUTeZSYAg
What you missed watching Frozen - Imgur
Explains everything! Elsa was able to survive with no food by freezing herself, which slowed down her metabolism.
On Sunday April 20, 2014, I attended a matinee performance of Les Misérables at the Imperial Theatre in NYC. I had been excited for months and was not disappointed. I had perfect seats, the top billing cast all in attendance, it should have been a perfect experience…but it wasn’t. For the entire first act, 4 or 5 teenage girls were eating candy, rattling their wrappers, and throwing their trash on the floor. I was annoyed after about the first 20 minutes, but gradually filtered it out. At the intermission my mother, who was in attendance with me, walked over to the usher and the guardian of the girls and kindly asked them to finish their candy. Needless to say those girls were horribly embarrassed, and rightly so, and I would expect no less from my mother, whom at times like this I remember she is a terrifying Northport High alumni (Yes, that Northport high). To make a long story short, the usher refused to talk to the theatre manager and talk to the girls. I am somewhat numb to rudeness, but when I thought about the disrespect towards the actors, including a Tony winner, many actors of high esteem and new and bright faces, my numbness faded away. I was, for lack of a better word, pissed. The majority of people who work on stage or behind the scenes do not make a lot of money. The complete lack of respect appalled me. I have been attending theatre since I was five years old (If you want to be technical I kicked my mother’s bladder during a performance of Phantom, while she was heavily pregnant with me). Whether you are a regular theatre goer or go on occasion, it’s common sense to respect others. The complete lack of respect is a more sestemic problem, but that’s an argument for another day. When my mother called the Imperial today, she was told by an attendant that they sell candy and things are what they because they’re near Times Square, further saying that’s why she goes to the opera. So, according to her Broadway actors do not deserve the same respect as someone performing at the MET…let that sink in. Well, my mother and I had a bit of a problem with that. The staff offered tickets to another performance, which sticking to her principles my mother refused. I know the same thing will just keep happening if something is not done. Broadway is not the only place of disrespect, the West-End has had issues with people eating and using electronic devices in the middle of a performance. Have we really reverted to pelting fruit on stage similar to Shakespeare’s era? The theatre is not a dumpster, a coffee shop, it is a place where people pay good money to watch live theatre and actors do their best 8 shows a week. I am urging everyone to let theatre owners know that the audience will refuse this injustice given to these talented individuals. This is not about me being annoyed by some ignorant children, this is about giving performers respect, they should not have to ask for. Please spread the word by using #RespectTheatrePeople and demanding theatre owners to revise their policies of food in the theatre and more policing on the use of electronic devices. Don’t protest theatre, but tell owners that we refuse to not enforce theatre etiquette because of the almighty dollar.
My mom’s friend adopted this lovely dog after he was abandoned by his previous family. His name is Shaun. Shaun had always been very good at eating all his food. Every last bit that was, he ate it. One day he started leaving a little bit behind. He wouldn’t eat everything, no matter what. He always left a little behind. Every morning when my mom’s friend checked Shaun’s bowl, the food was gone. That was very strange, because Shaun always spent the night by her side.
One night she decided to investigate the food situation. She waited quietly by the food bowl and then, in the middle of the night, a cat came through the window and ate the remaining food. She noticed the cat was actually pregnant. A week or so later the cat came into her house and gave birth to 6 little kittens. Shaun took care of them as if they were his own babies. My mom’s friend adopted the cat too (her name is Meow) and they took care of the kittens until they all found a loving home. Nowadays Meow and Shaun live happily together as a family and they each have their little bowl of food.
You know the music, You know (and hopefully follow) the story, and the tragedy. Often dubbed (in both comedic and completely honest terms) as “the musical where everyone dies,” Les Misérables is one of, if not the most well-known musical in the world for almost three decades. With it’s ups and downs over the years (talking to you Russell Crowe), numerous touring and international productions,10th and 25th anniversary concerts, the 2012 Academy Award® winning film adaptation, and an ill-fated, premature Broadway revival in 2006, only three years after the end of its original Broadway run, the history of Les Misérables is almost as tumultuous as the history of country it takes place in. Les Misérables has been adapted and reproduced in practically every format imaginable. So the question becomes, “How can Les Miz be re-invented yet again?”
That challenge was answered by directors Laurence Connor and James Powell. This production of Les Misérables takes the notes given to it by its 2010 National Tour counterpart and the result is a reboot that the show needed and deserved. With added non-gratuitous violence and cruelty, Victor Hugo inspired sets and backgrounds, and new robust orchestrations, needless to say this is not your mother’s Les Miz. This latest production has one of the best ensembles of Les Miz in years, in which it can stand on the same pedestal of the original West-End and Broadway productions. There are certain things that I will both agree with and disagree with the critics on, but I didn’t feel that anyone was miscast or didn’t deserve to be on the stage.
The somewhat controversy of Nikki M. James’ (The Book of Mormon) portrayal of Éponine is undeserved. Ms. James may not be the most vocally diverse Éponine, but she more than makes up for it by providing what had been missing from the character of Éponine for years…realism. Over the years the portrayal of the character of Éponine has been watered down from tragic, (likely) sexually abused street waif, (perfectly portrayed by Frances Ruffelle in the original West-End and Broadway productions) into your cliché “90s Disney Princess-esque” teenager, who acts like the poor misunderstood high schooler who didn’t get asked to the prom by the captain of the football team. This Éponine is part of the action, you believe she is from the streets of 1830s Paris, and Ms. James gives a much needed subtlety to a character that is often over-acted and viewed as one-dimensional. Other than the very intimate and reserved performance of A Little Fall of Rain, one of my favorite bits from the show is when Éponine pulls what appears to be a knife or small crowbar on Thénardier (Cliff Saunders) and his gang during the Attack on Rue Plummet sequence. It is done in a way that is threatening and is completely faithful to the character. Unique to this production is the way that Éponine meets her unfortunate and tragic end. In most productions of the show, Éponine is shot off stage and either climbs over the barricade or runs onto the stage from stage right. However in this version Éponine makes it back in one piece, but while attempting to climb down the barricade to talk to Marius (Andy Mientus), she is shot (facing away from the audience). Another character later in the show (for those who have seen the show will know who I am referring to) dies in a similar fashion, falling dead into the arms of Enjolras (Played with ferocity by Kyle Scatliffe).
The real star of the show was Ramin Karimloo, making his Broadway debut as Jean Valjean. Karimloo is worth the price of admission alone. Even if you personally hate the production (which I highly doubt true “Mizzies” and those who are versed in the history of the show will) no one can hate this man’s performance. Say what you will about the film version, I thought for what it was, Hugh Jackman did an amazing job. But compared to Mr. Karimloo, Mr. Jackman’s portrayal of 24601 was a bit above an amateur production of Les Miz. There truly are no words in the English language or any other language to describe the pure craftsmanship of his performance other than “Why is he just debuting on Broadway now!?” Anything I write now will just be an injustice to his performance. Recently both Karimloo and Colm Wilkinson (The original Jean Valjean in both the West-End and Broadway productions) were on stage for a one-night charity performance. Karimloo in all honestly is perhaps the only Valjean that is on the same level as Wilkinson. This may sound like “fangirling” which may beg my judgement and credibility, but I am willing to risk that in order to reaffirm that statement.
This was also the most ethnically and sexually diverse cast. There was at least one cast member with backgrounds from every major ethnic background in the world. In a world where we claim to promote diversity in our entertainment, it was nice to see that actually happen. The women were also far more active, including at the barricade at least one woman firing at the French army and a lot of the dialogue traditionally spoken by male cast members, was spoken by the female revolutionaries.
The overall production added depth to characters and the acting was spot on, and in particular I was impressed with the child actors who were all into 110% and were enthusiastic during curtain call (particularly young Éponine played by Mckayla Twiggs in this performance, who was encouraging the audience to applaud for the cast). The acting of Joshua Colley (Gavroche) rivaled many of his adult cast mates.
My only criticism is that this production is more visually violent and far more darker than previous incarnations of Les Miz (Which is saying something). I personally think this adds to the story and adds a dimension previously unseen in the show, however some individuals may disagree with me. It is important to note that the violence works in the context of the story and characters, but it is incredibly uncomfortable at times, which it should be. The amount of violence may be too much for some viewers and I would not recommend bringing someone under the age of 15 to the show, because the violence is that realistic and intense. Nothing is implied and there are numerous beatings and throw downs on stage, so again I cannot stress this enough DO NOT bring young children to this show. This production is far more catered to adults and there is a lot of sexual innuendos and gestures that may disturb some viewers. There are numerous more “family-friendly” shows such as The Lion King, Matilda, and Cinderella (which happens to be playing at Les Miz’s original Broadway home, The Broadway Theatre). Other past productions may have been more “passable” for older children, but I would strongly caution parents to talk to their children before and after the show if they decide to go.
I have a few nitpicks here and there which aren’t bad per say but doesn’t work in the overall feel of the show, which I believe overtime will be cut.
I could honestly go one and on discussing and analyzing the entire show, but that would spoil the show, which would destroy the purpose of writing the review to recommend people seeing the show. Overall I give this latest revival of Les Misérables 4 out of 5 stars.
Les Misérables is currently playing at the Imperial Theatre located at 249 W 45th St, New York, NY 10036
If anyone wants more in depth details about the show, please comment below and I will respond in a away that avoids as many unwanted spoilers as possible.
Easter eggs Broadway style part 2
#3-4 Les Misérables
Easter Eggs Broadway style Part 1
#1-2 Book of Mormon
#3-4 Phantom of the Opera
#7-8 Avenue Q
#9 The Lion King
#10 Tkts booth Times Square