Tag Archives: Musical Theatre

The Tailor-Made Man | Theatre Review

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The Tailor-Made Man, set in Hollywood during the 1930s, is a musical theatre show, which
still strongly maintains the quality of a play.

Exceptionally staged – at the Arts Theatre in London, West End – its creative team,
includes super talented choreographer Nathan M. Wright who, in between his many credits,
also counts the mass movement choreography of the London Olympic & Paralympics
2012.

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The stars studded musical production has brilliant actors in the leading roles: Faye Tozer, Mike
McShane and Dylan Turner. Faye Tozer (from the band pop band Steps) delivers
an outstanding and energetic performance certainly not inhibited by the vocal tone
variations the part requires and the upper class mannerism of the early 20th century. Also,
starring undying talent Mike McShane and classically, impeccably beautiful, as much as
skilled, Dylan Turner that has already landed roles in Mamma Mia! (Prince of Wales)
and Grease (Victoria Palace) just to mention a few. Full of character Bradley Clarkson
also gives a captivating and dynamic performance. Worth a mention is Kay Murphy
who gives a funny and outstandingly performance in the role of Pola Negri, the famous Polish actress.

Claudio Macor co-wrote ‘The Tailor-Made Man’ book with Amy Rosenthal, adapted
the play and directed it. ‘The Tailor-Made Man’, was nominated for Best New Play in 1995 and
for writer of the year and then some years later was made into a musical. The music is by Duncan
Walsh Atkins and Adam Meggido.

‘The Tailor-Made Man’ is a true old Hollywood story that brings back memories of when
the homosexuality was far from being socially accepted. It is the true story of William ‘Billy’ Haines who was a movie star at MGM, and then became a famous interior designer in Hollywood. It highlights the emotional difficulties, openly declared gay men had to go through including work discrimination
and episodes of verbal and physical violence, all of this surrounded by the Hollywood
creative melting pots of sophisticated artists and a bit of sentimental twist.

The musical will run for a limited eight weeks season until the 6th of April.

http://www.thetailormademanlondon.com/

Written by Paola Berta

Les Miserables Movie Musical Exclusive Review

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Les Miserables’ movie musical – screened for cast and crew members at the Odeon Cinema in London, Leicester Square on the 4th of December 2012 – soon to be released in the cinemas.

 

I was lucky enough to be invited to the cast and crew screening of ‘Les Miserables’ on the 4th of December 2012 at the Odeon cinema in London, Leicester Square.

 

 

In a speech, held before the screening, award winning British film and television director, Tom Hooper, did thank all the cast and crew in the cinema making his dream come true.

 

Sir Cameron Mackintosh admitted that it had been their dream to make a movie musical and the fact Tom Hooper asked him on this amazing project was a really good thing as the director came up with an amazing vision of how he wanted it. Tom had in fact suggested disaggregating all the scenes for filming purposes to then put them back together in the movie. Mr Mackintosh admitted making a movie and especially a movie musical takes so much more work than putting together a theatre production. He funnily mentioned how the lack of sleep was a constant thing during the production!

The film musical had just been completed before the screening and Mr Hooper ironically wished he could have had a couple of hours more to do some extra touches.

‘Les Miserables’ movie has already had the Guildhall screening in the USA where it received a great feedback but now, the main aim is to bring the production in London.

In between the mentions in Hooper’s speech, Simon Hayes and his team for the sound department and all the post production team which did an amazing work, the costume department – which had to really work out the choice of fabrics so that the microphones would not be inhibited – Steward Hilliker took care of this. The camera team which had to film several scenes with multi-cameras; it was a real challenge. Really, a great team work. Also, Hugh Jackman’s remarkable and poignant performance of Jean Valjean cannot be left unmentioned.

 

The live sung movie musical is much more emotionally bounding than the old school movie musical version where actors used to mime the singing on a pre-recorded track. I found the movie as poignant as the live staged version. In the theatre it is great to be present and literally breath the performance but unless you are sitting in the very first rows, you hardly get to see the actors expressions when in the movie musical you can clearly see their eyes and facial expressions. This works amazingly to get into the actors’ deep feelings highlighted by remarkable close ups that, on the big screen together with the musical effects, make the audience unavoidably feel exactly how the characters felt whilst singing those lines live to the cameras (see video link below).

The movie respects the same sequence of events of the original Boublil – Schönberg musical theatre score. The musical and emotional tension is not released till the ‘Master of the House’ entertaining scene where we even see a featured Father Christmas!

Pablo Bubar – one of the many cast members who attended the screening – explained to me how, for the revolution scene, he had been called on set for 6 days, working 13 to 14 hours per day. Crew members worked even more than 17 hours per day.

 

The movie produced by Working Title Films (Sarah Radcliffe and Tim Bevan) will be released on the 25th of December 2012 in the United States and on the 11th of January 2013 in United Kingdom.

Might this movie be the landmark for more live sung movie musical productions to come celebrating really good acting and filmmaking and I bet cinemas will be full again!

 

http://www.imdb.com/video/imdb/vi2587403289/

 

 

Written by Paola Berta

 

Miki Yamashita On Acting | Frost Interviews

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What made you go into acting?

I think I was interested in the arts and performing even before I was aware
of it. My mother says that as a child, I danced and sang around the house so
much that she put me in lessons as soon as I was old enough, because she
wanted me to learn how to do it right. My parents are both teachers, so their
solution for everything is education. It’s actually a pretty good philosophy.
As I grew conscious of my passions in life, I consistently made life
decisions that propelled me towards a life as a performing artist. Let’s just
say I never gravitated towards coal-mining.

Could you ever do anything else?

I guess the right answer is that I actually do many other things. Having
spent my life around many other actors, I have observed that I may be a
slightly different breed than most. I have a group of actor friends that I
started out with performing improv and sketch comedy with at Walt Disney
World, who are still doing only that; I have another group who I did a lot of
musical theatre with, who are still focusing only on Broadway; same with
opera people and comedy writers and commercial actors and episodic
television actors. I am really lucky in that I am actively able to book work in
all of these areas, and I consider that huge spectrum of interests to be my
pursuit as a whole, so if my universe is that huge, understandably there
really isn’t an “anything else” for me.

You famously said: ‘If this business kills me, it will be after everyone in it has my
headshot.’ That’s a go-getting attitude that can be missing in a lot of
performers. Do you agree?

My dear friend Bonnie Gillespie was kind enough to include that in her
brilliant book, “Self-Management for Actors.” When a newer edition came
out, she asked if she could include it again, and I said of course, except that
I didn’t want to imply that manically blanketing an acting market with
headshots was the technique I was espousing. I believe in being fiercely
motivated, but in a very focused and strategic manner. There’s a young actor
in LA, I haven’t seen him in a while, but this crazy kid literally plastered the
exterior of his car with his headshots. I swear! He drives around in this car
all day long hoping for, I don’t know, to get pulled over by a casting
director and get asked to do a monologue by the side of the road?? I don’t
know! But it’s pretty delusional and highly misguided. I guess what I meant
to say is that “If this business kills me, it will be after everyone in it whom I
have researched and targeted as potential buyers for my product has my headshot.”

Over the years, I have met so many actors; some have almost zero
motivation and ambition to do the basic work that is necessary to even have
a chance at success; others are rabidly foaming at the mouth and doing
everything they can desperately and inefficiently so that they can get ahead.
What I’ve learned from these actors is that there is a better way, there is a
sweet spot, where you have a calm, cool, focused energy that propels you
forward slowly, steadily, and intelligently. Wow, I think this is officially the
most Asian thing I have ever said!

I find you incredibly funny, has your sense of humour helped you survive in
showbusiness? Is it possible to do this without one?

Thank you! I think it’s literally impossible not to develop a sense of humor
as a professional actor. I was once asked to sing opera while running full
speed on a treadmill in a sequined gown. I was once told to continue
reciting my monologue while the casting director got on her cell phone and
ordered a chicken salad. I was once physically threatened by a male chorus
dancer. I mean, as actors, this is daily life, okay? And I think if you don’t
find it hilarious, you become seriously mentally damaged in a way that
prevents you from functioning in society as a normal adult. And then it
becomes this wonderful tool to help you consistently cope with the vast
array of indignities that actors face all the time.

What’s the hardest thing about being an actor?

The hardest thing about being an actor is when Chanel sends you so much
free couture from their latest collection that you run out of assistants to re-
gift them to. JUST KIDDING!!! That’s what most people think actors’
problems are. The general public is fed nothing but lies about our
profession, and they are only provided with the success narrative. It’s part
of the machine that allows the industry to maintain its operations, so you
have to accept that civilians are not ever going to get what most of us go
through. The most difficult thing is really how seldom we are actually able
to do our work, and that we must spend an inordinate amount of time doing
work that has nothing to do with performing in order to bankroll the pursuit
of our REAL work.

And the best?

The best thing about being an actor is getting to crash your car into an 18-
wheeler, blaming it all on your assistant, and showing up 4 hours late to set
where they will still tell you you’re the perfect choice to play Liz Taylor. HA
HA HAAA. Seriously, the best thing about this profession is that we are
constantly challenged to imagine what is possible. Every time I get an audition,
whatever it is, a commercial where I’m a pretty Asian mom, or an
opera where I’m a flying ghost bird-spirit, or a daytime drama where I’m the
secretary to the family patriarch, I get to make decisions about these
characters based on my imagination, my life experience, and what is on the
page. And no one else is going to make the same set of choices that I will.
Even if I don’t get the part, for a brief moment, for the duration of that
audition, my humanity was merged with that character, and I find great
fulfillment in my ability to execute that with consistency and quality.

What is your favourite thing that you have worked on?

My favorite thing that I have worked on is an original new work in which I
sang a principal role, with Los Angeles Opera. The piece was called “The
White Bird of Poston,” and it was newly commissioned specifically for the
purposes of educational and community outreach in the city of Los Angeles.
The opera is about the Japanese American Internment during World War II, a
very dark part of American history. The music and the story are so
beautifully written, I felt so honored to be a part of it, and I felt like it used
so many of my skills simultaneously—my classically trained voice, my
acting training, my dance training, and even a little bit of my abilities as a
comedienne. And on top of that, it had such profound cultural significance
to me as a Japanese American.

You have a great niche as an actress: you studied opera, has this greatly helped
your acting career or is it separate thing?

As I mentioned earlier, there are a lot of people that I started out with,
training and performing professionally as serious classical or musical
theatre singers, who are still completely focused on only that sector of
performance. For me, singing eventually became something glamorous and
glorious that I could just keep hidden in my back pocket, and whip it out
suddenly and just stun people with it as needed. This evolution mostly took
place because I moved from the New York acting market which is very
heavily theatre-based, to Los Angeles, which of course focuses much more
on, well, speaking and not singing. But even without the move, I think I was
really adamant about transcending musical theatre; I felt that I had more to
accomplish in other areas, and my interests had a much wider span than just
singing in musicals until I was dead.

Advice for actors?

My advice for actors is pretty depressing, but realistic. If at all possible, get
a degree in a subject that has nothing to do with drama or music. I’ve made
a lot of hideous mistakes in life, but the one thing I did right was to earn a
college degree in English literature instead of acting or vocal performance.
Even though many would say a degree in English is almost as useless, I
would have to argue otherwise. The acting business becomes more and
more competitive every day, and what sets me apart from many others is my
relentless desire to articulate my own experience. As a writer, I have a
heightened sense of power because for the most part, words on a page
cannot be refused or rejected because the writer isn’t blond or skinny. I am
shut out of thousands of performing job opportunities a day simply because
of my physical appearance, something that cannot be transformed by
“working hard.” Trust me, I’ve tried. Exercising cannot change your race!

So my advice is to find tangible skills that will enable you to support your
pursuit of acting for a very very long time.

But ultimately, have faith that you are answering a divine calling by being an
artist. And know that you are in control of what you choose to sacrifice for
this calling.

What’s next for you?

I’m about to make big changes to my online presence; a fellow LA actress,
Sarah Sido, taught me a lot about building websites, so I’m going to use
those skills to rebrand my personal page, as well as start a blog about
acting. Wow, now I’ve said it so I better do it!

FAVORITE ACTORS/ACTRESSES – I think my favorite male actor is Jim
Carrey. A lot of my earlier sketch comedy and improvisational work I did at
Walt Disney World was heavily influenced by him, and I have deep respect
for his significant capabilities as a dramatic actor. He is so interesting to
watch doing anything! Let’s say if, starting tomorrow, he stopped making
studio feature films and decided to just host a vegan cooking show on
HGTV, I would watch that.

For female actresses, I would rather be executed than name just one. Meryl
Streep seems to literally becomes other human beings, to the point where it
actually scares me. Meryl is a frightening example of sheer mastery of the
craft. I would like to see her play some kind of deep sea creature or
something, because that lady would seriously prepare for the role by eating
paramecium and withstanding 500 bars of atmospheric pressure. And that’s
entertainment, my friends.

I love Julianne Moore’s work, because I find that no matter who she plays,
her characterization is so detailed and complete that I feel like I actually
live out the movie in real time as her role. The performance is so intimate
and honest and infused with inner life that I feel like I AM her character.
Believe me, it takes skill to convince a short Asian girl that she is a white
1950’s housewife.

Photo credit: David Muller

Parade – Theatre Review

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I have wanted to see the musical ‘Parade’ for a long time. Sitting across the road from the Southwark Playhouse before the show, I overheard a man say to a woman: “Cheer up, you’re about to see the saddest musical every written!” And so I waited eagerly in anticipation.

Set in the 1910s in Georgia, we follow the tragic story of a Jewish factory owner, Leo Frank, as he is accused of abusing and murdering Mary Phagan (Jessica Bastick-Vines), a young girl who worked for him.

A drunken reporter, played by David Haydn, sobers up to return as a master of spin. He and Hugh Dorsey (Mark Inscoe), prosecution lawyer, rally up public support, and convince members of the community to bend the truth, and more often than not, to lie about their experiences of Mr Frank.

His only hope of rescue from a public hanging is his loving wife, Lucille (Laura Pitt-Pilford), who tugs at the heart strings of Governor Slaton (also David Haydn). He agrees to stand up for Leo, a man that he believes is an innocent outcast. Are these efforts enough to save him from the fury of the masses who need to see justice done, quickly?

Suffice to say, each and every singing voice was capable of setting the heart racing. The discordant harmonies of the chorus were touching, unsettling and emotive, and though I am not a trained singer, it was rare to hear an unsupported, pushed note from this experienced and talented cast.

Before we fully meet the protagonists, a distraught and dazed Frankie Epps (Samuel J Weir) recalls how young Mary’s ‘smile was like a glass of lemonade’. The song was delivered with a beautiful subtlety. The lyrics are so highly personal, that the performer needs a deep internal understanding of the character and his position in order to deliver them with complete truthfulness, which Weir was on the verge of.

Alastair Brookshaw (as Leo Frank) gave an equally strong vocal performance. I was touched on several occasions by the honesty of his performance, in particular when he sang to his wife, finding the confidence to simply say (possibly for the first time after years of marriage), ‘I love you’. However, the honesty was not consistent. The choice to listen intently to what the text tells us about his character’s nervous mannerisms was commendable. However, in times of extreme hardship, even the most agitated of people might break from their habitual mannerisms, look people in the eye, and show some humanity.

Both Laura Pitt-Pulford as Lucille Frank, and Terry Doe, in various roles, stood out as giving full commitment to the finer details of their performances. When Lucille begged for the Governor’s help, and when Riley (Doe) hit the deck, when singing about the injustice of a juridical system that prioritises murder of white victims in the courts, there was no rest from the illusion that they had created.

I have not commented on every performance, but that is no negative reflection on the others. A strong cast, fantastic set, and sharp direction by Thom Southerland and co. left us with something to think about. I wanted to be moved more, but I blame it on that man I overheard before the show, preparing me for floods of tears.