Twisted Was Kind of Wicked, Really...

NOT A SPOILER FREE BLOG

So yesterday in the grand ole USA was Thanksgiving. Over here, it was just another Thursday of me washing my hair and having a two hour Spanish seminar. Not much to look forward to and definitely not enough turkey involved. That was until I remembered that Team Starkid would be posting their brand new musical Twisted:The Untold Story of a Royal Vizier which is Wicked meets Aladdin - basically.

The premise is great - take a well known story from our childhood and spin it on its head. It's exactly what Gregory Maguire did with The Wizard of Oz and now our favourite musical theatre company has done it with Aladdin. Not an easy task, one might think. Aladdin is everyone's choice street rat, lovable rogue and Jafar had not one redeeming quality about him in the 1992 Disney classic. 

But Starkid does it again, they did it with Voldemort and now they've done it with Jafar. Made a villain into a hero. Made us empathise and relate to the point where you kind of forget the original story and are convinced that Jafar's just misunderstood and Aladdin is a creep that you don't want to bring home to meet your parents. 

Twisted lives up to its name with enough twists in the story to keep audiences engaged and re-watching repeatedly. The addition of the romantic interest for Jafar, who incidentally turns out to be the Princess Jasmine's real father, is a human quality which adds sympathy to the character and once again we got to see the wonderful chemistry between Dylan Saunders and Meredith Stepien that we fell in love with in Starship. 

Dylan was fantastic, as ever his voice is so pure and untouchable that every lyric sung sounds beautiful. It was so great to see him in a main role, allowing his light to truly shine. Team Starkid favourites Joe Walker, Jaime Lyn Beatty and Lauren Lopez were seen taking more minor roles but once again their talent knew no bounds and even the smallest of parts were played by great comedic actors. 

Rachael Soglin as the Princess was a wonderful addition to the cast. I'm normally quite wary of newbies to Starkid, which I think is understandable, but Rachael blends right into the Team with her quirky acting style and beautiful voice. Her over-the-top adolescent is reminiscent of the stubborn Princess Jasmine but with enough humour to separate her from Disney. Her defiance against Aladdin and true heart towards Jafar makes Jasmine a strong, empowering character without the bratty attitude overwhelming her role. 

Robert Manion is also a great addition proving there are no small parts only genius actors, who take one liners and make them fantastic. Hoping to see more of this guy in future productions! 

I grew completely attached to Jeff Blim after Holy Musical B@man and here again he plays to perfection. His inversion of the pure-hearted, innocent street urchin into kind of a huge stereotypical arsehole was sort of genius, making Aladdin a character we were willing to dislike, particularly with the song 'Take Off Your Clothes' which remains a highlight of the piece. Probably for the wrong reasons. 

Starkid has a talent for injecting references and parodies into all its productions - and I don't just mean the part where the Djinn only speaks in film quotes. Almost all the songs - wonderfully written by A.J Holmes (we love you A.J, you are so talented) and Kaley McMahon - were evocative of classic Disney songs of the past. Look out for allusions to A Whole New World, Part of Your World and Belle all tweaked to have that Starkid humour and glamour. 

And yet despite each reference and mockery, the songs are still independent and fantastically written, able to stand alone - and stand out - amongst the vivacious stage that is Twisted. 

So that's Team Starkid, giving us something to be thankful for no matter where you are on the globe. They may have started out as a group of college kids doing a parody of Harry Potter but now there is magic in every musical they do - parody or otherwise. So I'm gonna take advantage of my free afternoon and indulge in something a little more Twisted... I advise you do the same... 

But if not, you can always just imagine you're watching Jeff Blim... not that I'm trying any subliminal messages or anything ;) 

Satisfied? I am. 

We Can't Stop... But Please Do

We all saw it. That performance. Miley's 2013 VMA performance will go down in infamy, like the Madonna/Britney Kiss or Kanye vs. Taylor. What is it about the VMAs that spark this lust for notoriety that seems to explode from celebrities - namely teen celebrities. 

Because that's what the huge controversy is about. Miley Cyrus is a girl who we all first knew as Hannah Montana. She performed as a country sweetheart who captured the heart of millions with her platinum blonde wig. (Maybe she's trying to recapture that with her ice blonde Draco Malfoy-esq hairdo? Maybe not.) But then, she outgrew Hannah and wanted to be Miley. Which is absolutely fine. 

And it got me to thinking about all the other teen idols we've looked up to who've been led astray. The most obvious example and the best for me is Britney. Britney is my Miley. 

She was a star, America's Sweetheart and she crumbled. But the fact is, even in her worst times she was never quite as exhausting and horrifying as Miley. In my contemplation and comparison of the two I looked back on both Britney and Miley's pasts - good and bad. 

I remembered my favourite performances: It's 2001 and Britney is dancing with a snake. In 2009 Miley is rocking some cowboy boots and singing about Partying in the USA. 

And I remembered the worst. If this VMA performance for Miley is her worst, we surely know which one was Britney's. 2007. That's all I need to say.

But as I rewatched that video I realised, even in her most cringy and embarrassing performance, Britney was still better than Miley. Britney attempted to keep up with dance moves that were sexy without being tacky. And Miles, nothing is tackier than fake penises and grinding up on a married man who probably didn't ask for a twenty year old's bottom on his crotch. Britney's outfit, though not one of her best, was typical to Britney's signature style. No-one quite does the crop top like Ms. Spears. Miley wore rubber. RUBBER. And she couldn't even keep her bottom in the knickers. Britt was overweight at the time and still managed it. 

So I'm not a Miley hater. I'm a Miley commentator. That performance was embarrassing to watch and if she turns up with a shaved head soon, I won't be surprised. I only hope that she takes the lead from our beloved Britney and comes back with a bang. Britney does things with grace and class these days and she will always be the Princess of Pop with her beautifully choreographed dances and her fierce wardrobe. Whereas Miley looks like she's trying too hard. 

See, here's the thing. She wants to reinvent herself. I get that. She wants to make sure Hannah Montana is left in Montana (wherever that may be.) I understand. I had a middle parting age 12 that I'm desperately trying to forget. This, I imagine, is similar for Miley. 

But nothing in her performance makes sense. Why bears? Why the foam finger? WHY THE RUBBER CLOTHES THAT DON'T FIT? But it's 'art' they may say. Why not, they may ask. This doesn't make her cutting edge. It just makes her bizarre. 

Someone on Buzzfeed epitomised it for me. The look/feel/act she was going for: Stripper Chic. 

Hell, every female pop-star in the world does Stripper Chic. Hello?! Christina Aguilera, Dirty: Stripper Chic. Rihanna, S&M: Stripper Chic. Britney Spears, Slave 4 U: STRIPPER CHIC. 

And Miley, all you did at the VMAs was stick your tongue out and rub a foam finger on your crotch. That's not attractive, nor is it sending the message that girls can be sexy and still have some element of sophistication. 

Well, you achieved your goal. You stole the show and you put Hannah Montana in the past. Well done. But you also ruined yourself in the process. You're not a Pop Princess anymore. You're just a girl who's not yet a woman and in the development process, you're trying too hard. I'm sorry Miley, but you went too far. 

It makes me kind of miss the days of TCAs when she danced on a pole. Or that lesbian kiss on BGT. 

All you want to do is grow up Miley - but to do that, you need to have some maturity. So please, take out the little bunches that make you look like an animal off Arthur, put your tongue away, get off Robin Thicke (he is mine, back away) and go and find your cowboy boots. 

We loved you then and we're sad for you now. 

Don't Stop Believing: A Comment on Cory Monteith

I've been silent for the last month since Cory Monteith's death - which might be surprising to some, considering my relationship with Glee and more significantly its star, Lea Michele. People who know me well, know that I am a huge fan of both the show and her and subsequently, Cory Monteith comes into that support. 

It's been a month since we found out about Cory's death and last night at the Teen Choice Awards, Lea made her first public appearance with a beautiful speech thanking her fans and remembering Cory. She won Choice Comedy Actress in a TV Series with the cast of Glee winning 4 awards altogether (Choice Comedy Show, Choice Comedy Actress, Choice Breakout Star - Blake Jenner - and Choice Scene Stealer - Chord Overstreet.) Together with Lea, original Glee club members Kevin McHale (Artie), Amber Riley (Mercedes) and Jenna Ushkowitz (Tina) made grateful and honourable speeches.

Now I personally thought this speech by Lea was outstanding. There are those out there who disagree and still continue to be rude and disgraceful regarding the death of Cory Monteith. I would like to make a few comments in response and in celebration of this wonderful man and his wonderful girlfriend. 

Firstly - yes, the circumstances in which Cory died are not at all pleasant. But those who say he had an 'amazing life and threw it away' evidently don't understand Cory Monteith at all. Cory began using drugs when he was 12 years old. He was expelled from many schools and was a Walmart greeter before he turned to acting. He understood the troubles and plight of those less fortunate than him, because he was one of those people. Acting saved him. He took his passion for acting and channelled it into becoming a better person and using his impact as a celebrity to support charities such as Glaad, Project Limelight and Virgin Unite. 

Unfortunately, an addiction is still an addiction and some say that he had friends and family who could have helped him. This much is true and they did. They staged an intervention with Ryan Murphy saying after his death that the people who 'loved him were actively involved in trying to get him better' (The Hollywood Reporter, 20/7/13.) But sadly Cory's illness was a disease which overcame him too soon. How people can be so cruel regarding his death is beyond me. A death is still a death - a mother has lost a son, a girlfriend has lost her love and we - his fans - have lost a light. 

I agree that his death should not be celebrated but his life certainly should, for all the good he has done and and the pure joy and pleasure he brought to so many lives through his work on Glee. So thank you Cory for 'Jessie's Girl' and 'More than a Woman' and 'Don't Stop Believing' and Finn Hudson. 

Now turning to Lea Michele. 

I believe that her response to the tragedy has been admirable. She stayed inside for two weeks to have her own private grieving. Then she slowly appeared out with friends, supporting them in important circumstances (Jamie Lynn-Siegler's baby shower, for example) and last night she made her first public appearance at the TCAs. She appeared with grace and class and gratitude for her fans and for her Cory. 

I cannot comprehend how some people continue to say she is 'milking' his death or that - disgracefully - the tears in the above speech are 'crocodile tears'. Anyone who has seen Glee knows that Lea can 'cry on demand' and has fully seen her forced tears in action. This speech? This was real, from her heart and her soul. The breathlessness, the attempts to smile, the broken voice - this was a speech of a broken woman, standing strong for her fans. 

Both her speech and the speeches of Amber, Kevin and Jenna were supportive of the fans, thankful for the fans and touching to the heart. They were not excessive, they were not over the top and they were not drawing attention to themselves in any way. This death is not about Lea Michele. It's about Cory Monteith, the attention on her is simply a by-product and it is shameful that some cannot see this.

Yes, she is going back to work and being seen in public. People grieve differently. Perhaps for Lea, going back to work - to her routine and to her friends - is the best thing for her. She can't stay inside forever. Maybe she needs to be around people feeling the same things as she. We should be thankful that she is a) looking out for the fans of Glee by continuing the show, b) looking out for the workers on Glee by keeping their jobs and c) not turning to something which could ultimately cause her own death. 

I applaud Lea Michele in this time and her castmates for their honour of Cory, their respect for him and their gratitude for fans like me who have stood by them since the day they first appeared in red T-shirts singing Journey. 

Cory's death was a tragedy. But the real tragedy is the ignorance of the public who cannot see a woman grieving, a family grieving, a multitude of fans grieving behind the photos, videos and newspaper articles. 

We will miss you Cory and we will never stop believing in the power of Glee and the power of music. 

Jenna Ushkowitz, Amber Riley, Kevin McHale and Lea Michele hug after Michele's acceptance speech at the 2013 Teen Choice Awards. 

A Glee group hug is necessary right about now... 

RIP Cory Monteith (1982-2013)

Gatsby, What Gatsby?

THIS IS NOT A SPOILER FREE BLOG. 

I studied The Great Gatsby for AS Level and was unimpressed upon the first reading. After the second reading, I fell absolutely in love with it. The hidden messages, the incredible writing, the beautiful symbols and the wonderful love story. So being taken from page to screen was going to be a huge task. 

Baz Lurhmann is well known as the 'Marmite Director' - you either love him or hate him. I personally am a huge fan of his work, but even I know that he has a tendency to go too far into the imaginative and bizarre world of his mind. So though I was thoroughly excited for the prospect of The Great Gatsby on screen developed by a marvellous directer, there was still an element of hesitancy. 

But I was not disappointed.

There has been much criticism for Lurhmann's work and this film in particular, but I shan't take any of that into account. This film lived up to my expectations and beyond. 

The casting was perfection: Tobey Maguire is pensive and cautious and inexplicably Nick - I thought the addition of his character in an institution was a little uncalled for, but the development of him writing a book was much better, in particular as some of my favourite quotes flashed up on the screen in front of me. That final quote is haunting and enchanting and seeing it appear on screen added much emphasis to Fitzgerald's work. 

Carey Mulligan is effervescent and iridescent - her voice is full of money and she exudes beauty in every movement she makes. But what truly captures the audience is the pain and emotion written in her eyes from the very moment she utters that she wishes her daughter to be a beautiful little fool. 

As for Leonardo DiCaprio, I cannot imagine anyone more perfect than he. He has the character of Gatsby written within him and the strive and the dream is so built up with his characterisation and the absolute focus on his Daisy with each intense stare leaves us wanting Leo even more than we did in Titanic. And it was just as hard watching him die this time as back then. 

For the part of the soundtrack, it is just as incredible as has been discussed. I rather liked the use of modern music intertwined with the flapper lifestyle, epitomising that the raucous party never really dies, it simply transcends generations. Then again, our chart topper Crazy In Love re-imagined in a swing style, fitting with the era, is simply fantastic. The spin on this classic undoubtedly is a creative genius, particularly apt for the scene in which is it placed. However, the winner for me is Lana Del Ray's Young and Beautiful. It is captivating and delicately beautiful that in a way highlights the very theme of The Great Gatsby - time and love and how they affect each and every person. It is incredibly powerful and I am very grateful to have heard it. 

As for Lurhmann's direction, in fact his wild and vivacious imagination fits the fantastical '20s world rather well. The outrageous parties are captured wonderfully in his vivid style - both Gatsby's party and Myrtle's. But when it came to the serious parts, Lurhmann still succeeds. In fact, in my opinion, this film is not as 'bizarre' as some of his others. At times, though I adore it, Moulin Rouge is a little 'too much' but this interpretation of The Great Gatbsy highlights both the extravagance and the nuances of Fitzgerald's story. 

This was an incredible film, beautifully shot and fantastically created. I applaud everyone involved and implore people to see it. If not purely for Leonardo DiCaprio who should finally get his Oscar for this role. 

Gatsby is, at last, truly great. 

The First Step is Admitting You Have a Problem

So it's been in the media that Cory Monteith (of Glee fame) has admitted himself to rehab for substance abuse. As an avid fan of Glee and Monteith's partner, Lea Michele, I was shocked at the news but so wonderfully pleased at the reaction of Michele and Monteith's other co-stars. 

We were seeing tweets such as the following: 

Kevin McHale:  'Love u @CoryMonteith, so proud of you :) 

Harry Shum, Jr.: ' Supporting @CoryMonteith for his courageous decision. Get well soon my friend! Proud of you!'

Jenna Ushkowitz: 'Sending lots of love and light to @CoryMonteith. We love you.'

Amber Riley: 'I support you big bro, love you to life. So proud of you @CoryMonteith get well soon'

Chris Colfer: 'Anyone who helps themselves is a hero in my book.'

Dot Marie Jones: '@CoryMonteith Sweetest man, so proud of you taking care of you. We are and will always be here for you. I love you always, stay strong'

Iqbal Theba: 'I love u Cory @CoryMonteith and support u all the way.. c u on the set, soon.'

and Michele's own words of comfort: ''I love and support Cory and will stand by him through this. I am grateful and proud he made this decision.'

I was aware of Monteith's history of substance abuse knowing that in his teenage years he suffered addiction and it led him down various unhealthy paths. But then and now he has done something about it. He spoke of acting helping him and I believe the decision he has made to be highly courageous and worthy of support. 

He might have ended up like other substance abusing celebrities we've seen such as Lohan or Bynes in recent months. But Cory has gone and done something to help him before allowing his fans or the public at large to see him out of control. 

As I was reading an article about it this morning, I was dismayed reading some of the comments. One in particular stood out to me. 

Blah blah blah, iv got loads a money a beautiful girlfriend a great job but poor me! Yeah right try minimum wage at Walmart mate then you will realise your life isn't so bad. Actors...pathetic wanton creatures.

- Holographic Universe , Manchester, 02/4/2013 11:57

And the worst part is that I knew that Monteith was a Walmart greeter, earning minimum wage before he found acting. 

I was unable to reply to this comment but in my mind I was desperate to call this to peoples' attentions. Actors do not live in some kind of blissful fantasy life. They are human too. 

We have a huge problem in global society of ignorance. People thinking that actors, celebrities, famous people are immune to life's challenges. They have issues with conceiving children, addictions, family deaths, money problems - things that affect the average Joe affect Mr Hollywood also. We, as humans, can't escape these demons. 

I wish people would take a step back and look at this from Cory's point of view. He's struggled with this addiction his whole life and battled against it, through acting, to get to where he is today. He's worked in rubbish jobs for rubbish pay and risen to the top. And now, when he's off his game slightly, he's been active in his wish to correct his mistakes and make his life better.

That's something to admire - not his 'loads a money a beautiful girlfriend a great job' - his dedication to himself. 

Ignorance is bliss, but it's also the greatest problem in our society. We have a problem and I'm admitting to it. If only there were rehabilitation for addiction to ignorance. 

At The End Of The Day, You're Another Day Older

THIS IS NOT A SPOILER FREE BLOG

After a few long months, I think it's time I dust off this once loved blog and write a little more. And what better way to make a comeback than with a review of the most highly anticipated film of the year? 

I am of course talking about Les Misérables. 

We have all been waiting in anticipation for many months for Tom Hooper's adaptation of the much loved musical and for me, it did not disappoint. I am a huge fan of the musical and have followed the progression of the film from the outset, knowing that parts I would adore and parts would fail to quite live up to seeing it in live theatre. 

The very opening of the film gave me shivers: the wonderful shot of the camera sweeping over the boat descending down on Jean Valjean was amazing. I have to commend the cinematography; producing a film in this way gives so many more opportunities that the stage show does not - this dramatic opening being one of them. The small moments which focused in on close shots of characters gave an elevated appreciation of the acting which is more available than in live theatre. 

As for the casting - and Hooper's choice of live singing - I was not disappointed. 

Jackman's Valjean was superb. Although I must admit I was not entirely a fan of his staccato take on some of the bigger songs - note 'Who am I? I'm Jean Valjean' - when he went for the huge notes, he was incredible and the acting choices made were phenomenal. For a Hollywood film, I could not have asked for a better Valjean, though having said that my preferences in the theatre would lean more to the likes of Boe and Wilkinson. 

Speaking of, casting Colm Wilkinson as the Bishop was possibly the best casting decision made in this film. It was at the moment he first appeared on screen that I shed my first tear. His voice is simply beautiful and it was so wonderful to have him be part of this production. The passing of the candlesticks to Jackman was an almost 'passing the torch' moment which was truly touching and his appearance at the end to the spirit of Valjean nearly sent me over the edge. A wonderful addition and much appreciated by a fan of his. 

Valjean's counterpart Javert, played by Russell Crowe, was sadly the weak link in this film. I'm sad to say that Crowe just could not hold the same notes that we are used to and his rendition of 'Stars' left me wanting more and aching for a more powerful voice. Though he improved by 'Javert's Suicide' I was still left feeling empty by Crowe's performance and sadly, he was not the imposing then conflicted Javert we are so used to, he was simply an actor playing a role. 

The same cannot be said for Anne Hathaway. When I first read about her dedication to the part - to the point where her hair was cut live on set - I knew that her commitment to this role would be the key to her success. I rather enjoyed the displacement of 'I Dreamed A Dream' to after her decent; it gave the song much more depth and pain and Hathaway's rendition was truly heartbreaking. Though she only featured for a mere 15 minutes, each was precious and each was phenomenal. 

Her daughter, Cosette, was played by two actresses - both equally commendable. Isabelle Allen as the young Cosette gave a wonderfully haunting performance of 'Castle on a Cloud', in particular the scene in the woods in which she first encounters Valjean. Her chemistry with Jackman and Sacha Baron Cohen (Thénardier) was greatly executed and she may well grow up to be a lovely young actress. As for Amanda Seyfried, her voice gives me such pleasure. When she hit those high notes, it was beautiful to hear. She played Cosette extremely well and with conviction and she too had great chemistry with her leading men - Jackman and Eddie Redmayne. 

Redmayne's Marius was equally fantastic. Though I'm yet to fully read the novel - I'm still lingering in the early chapters - I'm lead to believe that the film added parts of the story taken from the original book, most notably the addition of Marius' grandfather. This, I thought, was an excellent addition, giving Marius a rather deeper character than the loved-up one we are so familiar with. Redmayne's acting is superb and though at times he could be vocally weak, 'Empty Chairs at Empty Tables' had me sobbing throughout, as did 'A Little Fall of Rain'. His eyes were so expressive, the emotion leapt directly off the screen. 

But credit for this must also be given to Samantha Barks as Éponine. I have always been attached to Éponine's character and the despair linked to her, making her story only more tragic. We all knew that Barks would not disappoint vocally, having played Éponine many times before; however in the film, she was given the opportunity to add nuances previously unheard due to the necessity to project. I could not have asked for a better Éponine - although I was lobbying for Lea Michele during casting - and I wish Barks much success in her future. 

The revolutionary leader, Enjolras was played by the wonderful Aaron Tveit. As a huge Tveit fan, I was hoping for him to stand out and prove to those with me why I adore him so much. And he did not fail me. He was so convincing as a leader that I felt myself edging closer to the screen and wanting to join in with 'Do You Hear the People Sing'. Though the displacement of this song to after 'One Day More' was a little confusing, I thought the way it was amalgamated with Lemarque's funeral was incredible. The parade down the street, singing on the tomb was incredibly moving and Tveit's vocals were so powerful. Hooper's choice also to have Enjolras shot through the window holding the flag was also inspired - whether this comes from the novel or not, I do not know - it was an image that will haunt us forever. 

I cannot continue without a mention of Daniel Huttlestone as Gavroche. The cheeky, Cockney quality that Cameron Mackintosh describes in relation to the street urchin was epitomised by Huttlestone's performance, in particular the scene with the hand over of the letter to Valjean. I loved 'Little People' and found Gavroche's death equally moving, so I must commend Huttlestone for his fantastic work. 

Finally, I must conclude my analysis of characters with the incredible Thénardiers. Sacha Baron Cohen and Helena Bonham Carter make the most wonderful duo on screen adding the humour that in a despairing musical is so sorely needed. I thought they were fantastic together and loved the interaction and chemistry between the two: 'Master of the House' will forever be remembered for their comic timing and skill. 

I believe that we were ready for a film of Les Misérables to be made and I believe that Tom Hooper was the right one to do it. I was in awe of his directing choices and the nuances that tugged at our heartstrings and made a huge fan of the musical feel at home. I would go back to see it in a heartbeat and I would cry equally loudly the second time and nobody could stop me. I was that impressed. I'm sure this is not the only opinion, there are many who won't agree, but I loved the film and hope that it wins the awards it deserves. 

After all, the musical will live forever - something with such power and so many followers cannot die away - and now we have a new, exciting, cinematic adaptation that I for one can watch every day on DVD. From the opening shot over the boat to the final shot of the ensemble - which felt very theatrical - I was in awe. Thank you Cameron Mackintosh for bringing Les Misérables into our lives and thank you Tom Hooper for bringing it to our cinemas. 

Until the moment I can relive it, I will remain here, curled up in my duvet, sobbing to myself at the wonderful spectacle I have witnessed, moments of which will remain engrained on my brain forever along with the haunting melodies that already do so.