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Dramatic analysis rocky horror picture show
Dramatic analysis rocky horror picture show
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Richard O’Brien’s Rocky Horror Show, as performed by Curtain Call Community Theater, had the crowd shivering with antici¬—SAY IT!—pation. After popping a tire in the middle of nowhere, the newly engaged Brad Majors and Janet Weiss decide to walk through the pouring rain to a nearby castle, or, as they describe it, the Frankenstein Place. All they want is to use the phone, but they end up getting more than they bargained for when they stumble upon the Transylvanian Convention. At the castle Brad and Janet meet Riff Raff and Magenta, the servants of the castle; Columbia, a groupie; Eddie, a delivery boy who botched his delivery; Dr. Frank-N-Furter, a transvestite mad scientist; and Rocky, Frank’s creation. A few musical numbers, sexual encounters, …show more content…
The plotline throws out societal norms and turns taboos into celebrations of subculture. It is astounding that Dr. Frank-N-Furter, a cross-dressing pansexual, is a main character in a musical that was written forty years ago. Even now there is not much representation of non-heteronormative people in most media sources. While highlighting a widely unaccepted lifestyle, O’Brien simultaneous satirizes the conventional way of life through Brad and Janet. Brad and Janet are almost sickeningly naïve, innocent, and orthodox. When compared to the epicurean Transylvanians, Brad and Janet’s conservatism before their characters develop seems out of place. The performance of the Rocky Horror Show was phenomenal; the cast truly brought the characters to life. Jacob Effinger made the perfect Frank-N-Furter because he looked strikingly similar to Tim Curry, the original Frank, and had a great voice too. The Rocky Horror Show is known for drawing heavily on audience partici—pation. The atmosphere of the show is completely unlike any other musical. Before the show the Phantoms, who were the background singers and dancers, came out and interacted with the crowd. After the virgin ritual, where the Phantoms embarrassed a few first-timers in front of the entire audience, the show started. Even during the performance, audience truly felt like part of the show. Audience members were shouting snide comments, puns, innuendos, and
If there is truly tradition to be found among the great theatres both on and off Broadway, then certainly the Sullivan Street Playhouse and its long running production of The Fantasticks rates as one of the most celebrated of New York theatrical traditions. Maintaining its place as the longest running production Off Broadway, The Fantasticks remains an enchanting and insightful tale of both young love and bitter disillusionment. It also reminds one, in this age of spectacle and the mega-musical, how powerful and truly inspiring theatre itself can be. Clearly, one of the great strengths of this production and a large part of its appeal for audiences over the last four decades lies in the fact that both the story and the style of presentation compliment each other so completely. Here we find the non-essentials are stripped away, and we are left to rely simply on the imagination of both the audience and the performers to create a magical evening.
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
In television, the male gaze refers to the way in which the camera of a show may objectify a woman. However, those starring on stage in musicals, as well as in musical themed shows such as glee, may be the subject of the gaze. The idea of a ‘gay-male’ gaze, as well as a female gaze, often are described in this situation. Clum describes that “the same chorus boys who play the Cagelles are the macho men who do the dance break in ‘Masculinity.’ The chorus can play masculine or feminine, gay or straight, unlike the drag diva, who can only be gay” (Clum 201). Through this, one may understand that the musical genre, as well as similar television productions, put their focus on two types of audience members: the straight woman and the gay man. Due to the aforementioned relationship between expressive conduct and sexuality, it can be thought that this may contribute to the identification of musicals as a mostly gay aspect of culture. This can be related to Glee in that many of the characters express their sexuality through songs from Broadway musicals and other popular artists, even if it may affirm stereotypes in the
Generation X has finally taken out a lease on the future of theatre, and it looks like it is more than able to pay the "Rent" (Coulbourn 43). "Rent" is a musical for our time, for our generation and for generations to come. It has won numerous Tony Awards including best musical, book, score, lyrics, and ensemble performance. This musical is an excellent representation of cultural religion and it has had a profound impact on society both in the 90's and today. "Rent" is not only a representation of the culture of the new millennium but is an excellent representation of the faith of a new generation.
In her essay “Visual Pleasure and Narrative Cinema”, Laura Mulvey discusses the subject of how female characters, through various methods, are subjected to erotic objectification, by both the characters on screen as well as the spectators within the auditorium. While Mulvey makes an excellent point in acknowledging female’s exposure in cinema, she fails to realize that male characters are just as likely to be subjected to the same kind of objectification, depending on what type of audience the motion picture is directed at. Mulveys claim depends on a generalization of a homogenous audience and characters that only consists of heterosexual men. When transferring Mulveys claim onto homosexual male characters starring in a production that is in first-hand directed towards a gay audience, the erotic objectification of male characters share several similarities with those Mulvey describe women to be exposed to in her essay. Consequently, erotic objectification is governed by different circumstances, in which the audience plays a large role.
Irvington Conservatory Theater's production of Urinetown: The Musical proves, through an apocalyptic Fremont that has been in a 20-year drought where the government has banned private toilets, that you should always follow you heart. From the beginning, the musical’s storyline is imbedded into various songs, giving a cheerful tone to the production, but is still rich in detail. The constant repetition in the title song builds the suspense, making the audience wonder what Urinetown really is. While the name may seem immature, the musical deals with monopolies, bureaucracy, and love. A key character who educates the audience about love is Hope Caldwell, who tends to see the good in everyone but finds herself between her father and her own love.
“The theatre was created to tell people the truth about life and the social situation,” says Stella Adler. Theater is unique and intriguing because it blends literary and visual arts to tell a story. Throughout the course, I have learned that understanding aesthetics and sociopolitical history is essential for appreciating and applying theater in the real world. Brechtian and musical theatre styles, such as applying musical theatre in RENT, are effective methods to convey crucial historical and social messages, utilizing theater as a platform outside of the arts and for a greater purpose of positive social change.
Fear and Loathing in Las Vegas by Hunter S Thompson is a novel that takes a journalistic approach to Raoul Duke’s drug trip to Las Vegas. His point of view is unreliable because one does not know for sure whether he is experiencing these events, or if it is the drugs speaking for him. He is with his Lawyer, Dr. Gonzo, and they are attempting to find the American Dream. Both are convinced that they can somehow find this in Las Vegas, and set out together to do so. In reality, the different aspects of Las Vegas are representative of the actual American Dream, which, realistically, is disappointing and unachievable today.
Being an artist was a large struggle being that those jobs weren’t as easy to follow and make a living off of and the price for living in the city is a difficult one even with a steady job. This musical has drug addicts, homeosexuals, the poor, artists just trying to make a living, and just people who have AIDS/HIV, covering all of the major people found in the time of the actual epidemic. The Musical is also based off of Puccini's opera, La Boheme but Larson just took a twist and set it in modern day with different issues. In December 1995 Larson wrote a one-sentence summary of the show: "Rent is about a community celebrating life, in the face of death and AIDS, at the turn of the century." Rent was a huge breakthrough in musical theatre with the music and bring such an amazing and new relatable story to the young and struggling of the
Most of all, those values that the American musical celebrated — and that is those values of American life, American philosophy, American belief — what we find is by the mid-1960s all of those beliefs, all of those philosophies, are being challenged, are being upset. As in all genres, the musical has had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular, and they have left a long lasting effect on the American art and culture.
In recent years we have seen a growing number of productions performed on both Broadway and the West End that have taken Walt Disney’s classic children’s films and brought them to life on stage. This has developed the word to describe them as “Disnification”. But why are these productions such a hit with the audiences that watch them? The first adaptation to be produced was the romantic love story of “Beauty and the Beast”. The idea to produce the musical what first born when Disney’s CEO, Michael Eisner, witnessed Paige O’Hara (The original voice of belle) and Jerry Orbach (The original voice of Lumiere) perform musical highlights of the film at an awards presentation. The show was produced quite quickly and previews began on March the 9th, 1994, and with good reviews it ran for 5461 performances. Its success was backed up with many award nominations at the Tony’s, such as best musical, best book of a musical, best original score and best costume design to which it won. It could be said that this achievement inspired The making of more Disney musicals to follow such as The lion king, Der Glockner von Notre dame, Aida, On the record, Tarzan, Mary Poppins, The little mermaid and most recently Newsies. It has been implied that Disney’s...
The Broadway musical has been entertaining a wide variety of Americans for generations. It is not always clear what exactly draws millions of people across the country to these shows each year, some scholars, including Stacy Wolf, argue that the spectacular costumes, grandiose music, and exciting story lines, offer Americans an escape from their reality. It has been argued that Broadway musicals do not promote positive or progressive views of women, but only depict them in roles that are stereotypically associated with women. While this may be the case in some shows, it is more common for a female character to have depth and defy traditional stereotypes. From the twentieth century on, Broadway became
When comparing and contrasting “Ozymandias”, written by Percy Bysshe Shelley and “Viva La Vida” by Coldplay, there is a strong contrast between the two. Ozymandias is a poem about a long-forgotten king who once had mighty power over his people, where as “Viva La Vida” is about a king who was overthrown. However, the similarities between the song and poem are astonishing. “Ozymandias” is similar to “Viva La Vida”because both texts mention a rockpile built upon sand for a king; because both texts show that the citizens are enemies of the king; and because they are both about a king who has lost his power.
Then, after their set was done and the intermission was over, the lights went low once more, and the sound of teenaged vocal chords, though not as loud as last time, rumbled the venue. From the start, I began sobbing and singing at the top of my lungs. They were right in front of me. Singing. Dancing. I was awestruck. Joe wore a white ensemble with his straight hair messy, Kevin wore an all black outfit with gold embellished into the cloth, and I remember one of Nick’s outfits displayed his toned arms in a cloud-colored t-shirt and ebony vest. At one point in the show, Kevin brought out a fire extinguisher and immediately became one of the show’s highlights. Their stage was a tiered, and made up of TV sized screens that popped different colors and patterns. Sweat dripped down my face, mixing with tears, and my hair became unruly in the heat.
Stanley Kubrick's The Shining (1980) initially received quite a bit of negative criticism. The film irritated many Stephen King fans (and King himself) because it differed so greatly from the novel. The Shining also disappointed many filmgoers who expected a conventional slasher film. After all, Kubrick said it would be "the scariest horror movie of all time."1 Kubrick's films, however, never fully conform to their respective genres; they transcend generic expectations. In the same way that 2001: A Space Odyssey (1968) is not just another outer-space sci-fi flick, The Shining is not a typical horror movie. The monsters in The Shining originate not from dark wooded areas, but from the recesses of the mysterious human mind-in broad daylight, at that. Perhaps Kubrick said The Shining is "the scariest horror movie of all time" not because it offers a bit of suspense, blood, and gore, but because it shines a light on the inherently evil nature of humankind on psychological and sociological levels.