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Critique of The Pirates of Penzance A new and original comic Opera by Messrs. W. S. Gilbert and Arthur Sullivan, entitled the "Pirates of Penzance, or Love and Duty. It is amazing how two dramatic writers have mastered the ability to amuse the public in such an original manner. This opera had its premiere on December 31, 1879, at the Fifth Avenue Theater in New York with Arthur Sullivan conducting. It opened on April 3, 1880, at the Opera Comique in London and ran for 363 performances. When one thinks of Pirates of Penzance many tend to immediately recollect the movie depicted from this play. Visions of Kevin Kline playing the Pirate King, Linda Ronstadt playing Mabel, Angela Lansbury as Ruth and George Rose plays the Major-General. The adaptation of this script was very true to Gilbert & Sullivan style. Varying degrees of comedic breaks, action scenes, and dance sequences definitely kept my interest. Although this play originated in 1879 the director did not seem to have any difficulty keeping the original historical plot and at the same time blending in a bit of modern themes and characteristics. Several words were added that weren't part of Gilbert's original script. It kept the adaptation novel and interesting. Complete with lessons of courage and honor this play demonstrates with humor the lengths one man will go to in order to fulfill his dutiful and unusually contracted obligation. In this case the participants were not quite as seasoned as those mentioned above. The play itself was quite clever and entertaining. Varying degrees of acting and vocal ability made for a very diverse cast. Meshing an 1879 play with Millennium type humor is no small feat. The scenes were concise; costumes were extrem... ... middle of paper ... .... Relationships, friendships, and love were the underlying emotions within this performance. The ensemble skillfully undertook each character with delicate care and respectfully balanced humor and sincerity to accommodate each character distinctly. The cast worked wonderfully as a team working and playing off the audience as opportunities were presented. The participants in this performance, although quite inexperienced, had quite an enjoyable time performing this comedic adaptation of Pirates. The actor playing the Pirate King showed off his stunning, powerful voice and agility in addition to his quirky sense of humor hilariously flexible. Comparing this actress to other females who have conquered this role typically noticing the successful female performers voices sound just as good on the ultra high notes as most of her male counterparts can on the low ones.
Cullen, Frank, Florence Hackman, and Donald McNeilly. Vaudeville, Old & New: An Encyclopedia of Variety Performers in America. New York: Routledge, 2007. Print.
The Pirates of Penzance was an opera performed by the Southwest Texas Opera Workshop. The Pirates of Penzance, composed by Gilbert & Sullivan, is a light-hearted parody of the traditional opera. This opera takes place somewhere in the British Virgin Islands. It is about a boy, Federic, who is to be apprenticed by his nurse, Ruth, to become a pilot. Ruth mistakes the word pilot for pirate and apprentices him to a band of pirates. She, too, remains with them as a maid-of-all-work.
In conclusion I think that the stage directions and dramatic irony are significant to the play, and without them there would be no need for a lot of the events that happen in the play.
The play was written in the 1945 but is set in 1912. The 1910's was a
The play had a short Broadway run in 1975, but the story is best known to the general public because of the film version, which was written, produced and directed by and starred Barbara Streisand.
Whenever a written work is adapted into a movie, artistic changes have to be made to create an effective film. The play The Crucible relied heavily on complex dialogue passages and took place in a very small group of settings. Due to time constraints, the movie could not include all of the book’s dialogue and still be entertaining. Thus, the director culled out the most important passages, often separating complex 1 setting scenes in order make the movie easier to understand. The director also used a wide assortment of camera techniques to highlight what portions the director wanted viewers to feel emotional about. Overall, I felt that The Crucible movie adaptation was done well.
Some people will say that this is fantastic nonsense, and that it was I that had changed, not the play. Most imagine that when a work of art leaves the hand of the master, it remains in changeless beauty forever, though succeeding generations may feel differently about it, seeing it from different angles. It is to point out the fallacy of this common opinion that I am writing this essay.
As far as acting, the performers were able to convey the feelings they needed to. However, some characters such as Ol' Cap'n played by Dick Lambert and Luttibelle played by April Curry, seemed more committed and engaging in their roles than others. A crucial factor in April Curry portraying her role so well was her vocal talent far exceeded that of any of the other major performers. She had an amazing voice that I was dazzled by from curtain up to down and left me craving for more. This almost compensated for my disappointment when it came to the ensemble singing to the soundtrack. Many performers were dependent on the cd and were not confident as to when to begin or stop singing, which dampered many moments of the performers. Another element of acting that I enjoyed was the exaggerated use of cooning throughout the duration of the performance that brought characters to life, and enabled certain moments to seem real.
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
Through a magical doorway, past the golden thrones, The Lion, the Witch, and the Wardrobe was created by C.S. Lewis, in 1950, in England. Over the course of the past 64 years, this book has become one of the most famous books in the world. Lewis was “one of the most commercially successful authors” (The Life & Faith of C.S. Lewis: The Magic Never Ends). The hidden archetypes and intricate themes in this book are what sets it apart from others.
This movie begins in the year 1593 when there are two playhouses in London (The Curtain Theatre and The Rose Theatre) that are competing with one another for playwrights and audiences. The Rose Theatre hires Shakespeare (played by Joseph Fiennes) to write the comedy, "Romeo and Ethel the Pirate’s Daughter", in a drastic attempt to bring in some cash. William agrees to write this piece, but also offers it to the Curtain Theatre, seeing where it will be of more profit. The only trouble is, he is currently suffering a severe case of writer’s block that can only be cured by finding himself a muse.
When it came to the dialogue of the production and the understanding of it the performers again did an excellent job. Their gestures and vocal elements all aided in the production’s success and were all fittingly used by the characters. For example, when Lala was talking on the phone with Peachy she casually twirled the phone cord in her hand, leaned against the banister and childishly flirted with Peachy.
Characterisation is vastly different in the film when compared to the play. This, however, is done so as to make more sense to a modern
Such comedy emphasizes wit, whether true or false…” (Bacon). As a comedy of manners, the play accomplishes its goal of revealing the shallow mindset of the Victorian high society through satirical, yet critical, tone. In his book, Oscar Wilde, Erickson refers to the play as “Wilde’s comic masterpiece” (Ericksen, 145). When critiquing the play, the Times correctly noted a quality in the language of The Importance of Being Earnest that foiled every expectation: “Mr. Oscar Wilde’s peculiar vein of epigram does not accord too well with flippant action. Its proper vein is among serious people, or so we have been taught to think. In a farce it gives one the sensation of drinking wine out of the wrong sort of glass: it conveys to the palate a new sensation, which in the end, however, is discovered to be not unpleasing” (Powell, 119). It seems that the reason for Wilde’s incredible success with his satirical play is due to the fact that it contradicts the purpose of a farce, so where “a typical farce dissolves into bland conventionality, Wilde strikes at the root of accepted standards” (Powell,
As I mentioned before, this play was written shortly after World War II ended. There were also many other events going on in the world at this time. For example, just six years before this play was written, the Korean and Vietnam Wars took place (“Literary”). In 1951, Carl Sandburg and Conrad Richter received the Pulitzer Prize for their work in poetry and fiction (“Literary”). Also in 1951 Paer Lagerkvist won received the Nobel Prize for Literature, color TV was released in the United States, and Libya became and independent nation (“Literary”). Just one year later in 1952, Elizabeth II rose to the throne in Britain and Dr. Jonas Stark discovered a vaccine...