Tag: Romance

Art, Gender, & Desire: “Venus in Fur” (2013) starring Mathieu Amalric & Emmanuelle Seigner

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Based on the Tony-winning Broadway play by American writer, David Ives, Venus in Fur is a 2013 French film by famed/controversial director Roman Polanski. Alone in a Paris theater after a long day of auditioning actresses for his new play, writer-director Thomas (Mathieu Amalric), complains to his fiancee (on the phone) that no actress has what it takes to play the lead female character. Thomas is about to leave the theater when actress Vanda (Emmanuelle Seigner) bursts in, a whirlwind of energy. At first, she is pushy, desperate, and not prepared- or so it seems. Under her coat, Vanda wears a risque black leather and lace outfit (w/ a dog collar). Thomas reluctantly agrees to let her try out; he is stunned by her transformation. Vanda is perfect (even sharing the character’s name); she obviously researched the role, learned the lines by heart, and brought along some props! As the audition continues, Thomas’ feelings go from from attraction to obsession, and Vanda takes on a more dominant role in the story. Vanda comes to tower over Thomas as she becomes stronger.

This was Polanski’s first non-English feature film in over 51 yrs; I saw it several years ago (and didn’t realize he was the director). I re-watched it on YouTube (it’s available for rent). The lighting is superb and the music (composed by Frenchman Alexandre Desplat) is used very well. He moves the story from NYC to Paris, b/c Polanski wanted to work w/ his wife in her native language- French. Originally, Vanda was a 24 y.o. actress (thus her short resume) and Thomas was a young playwright (w/ a few plays under his belt). On Broadway, then recent NYU grad- Nina Arianda- made a name for herself (2010-2012) as Vanda opposite Wes Bentley and Hugh Dancy. In London, Natalie Dormer (The Tudors; Game of Thrones) played the role opposite David Oakes. Louis Garrel (who is young and conventionally handsome) was originally cast as Thomas for this movie. Amalric is middle-aged, w/ a small build, and dark/intense eyes. As some viewers noted, he resembles a younger Polanski. Amalric’s mother comes from a Polish/Jewish family; she was born in the Polish village where Polanski lived w/ his family before WWII. Directors don’t make decisions w/o a reason!

Forget that badly-written and adapted Fifty Shades trilogy! There are several layers to this clever story of power imbalance: woman vs. man (in the play set in 1870), actor who wants the role vs. director who decides who gets the role (in the theater), and man vs. goddess (Venus AKA Aphrodite). It’s also about life imitating art, hidden desires, misogyny, and role playing. Thomas has to read w/ Vanda b/c none of the actors are there; it turns out that he’s really into it. Thomas starts out directing Vanda, but later she doesn’t hesitate in directing him. She even knows how to adjust the lights in the theater- hmmm. They put on and take off clothing to create these characters, as is common backstage in the theater. They quickly and easily switch from being themselves to the characters in the play!

[1] Thanks to the brilliant connections between literature, stage and reality, and thanks to the many things that remain unclear about the character’s real identities and motivations, this movie sounds much more like a question than like a an answer…

[2] The characters conflict with each other perfectly, I don’t mean that they completely disagree on everything, I mean that they disagree on a certain number of things and they agree on a certain number of things for their characters to have great chemistry.

[3] What was most surprising for me is how much we laughed during the film. It was really hilarious…

[4] The mystery of who exactly Vanda is keeps getting bigger until it reaches deific proportions…

-Excerpts from IMDB reviews

“Shakespeare’s Globe: A Midsummer Night’s Dream” (2014)

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This is a very appealing production of one of Shakespeare’s most famous plays that should get wide attention. The cast is good, John Light ably doubles as Theseus and Oberon, and Michelle Terry impressed me as Hippolyta and Titania. -Excerpt from IMDB review

Trailer for the production

The play (which I saw last week on YouTube) opens w/ a dance/battle, showing us that Hippolyta (Michelle Terry), the leader of the Amazons (a tribe of women), was captured by Theseus (John Light) during war. Terry reveals intelligence, sensitivity, and power. She makes a connection w/ Hermia when she is threatened w/ death or life as a nun (if she doesn’t marry Demetrius- her father’s choice). As the play goes on, Hippolyta’s proud manner turns to teasing of Theseus; they share chemistry and could have a happy marriage.

The fairy land ruled by Oberon and Titania is decorated w/ animal heads and full of mischief. The quarrel between the long-married king and queen (over an orphaned Indian boy) has upset nature. Light’s Oberon is charismatic and full of energy in his gymnastic moves; he can act tough, but also has a soft side. He sympathizes w/ Helena when she’s chasing Demetrius, the man she loves. Terry’s Titania falls for (the ass-headed Bottom) after being tricked by Oberon.

The young lovers (Helena, Demetrius, Hermia, and Lysander) are cute, funny, and energetic.They become muddy and disheveled as they tumble through the woods together. Hermia (Olivia Ross- also seen in Killing Eve) and Helena (Sarah MacRae) show real pain and confusion as their friendship is tested. The young men, Lysander (Luke Thompson) and Demetrius (Joshua Silver) try to one-up each other. The mischievous fairy, Puck (Matthew Tennyson), is there to make sure they don’t hurt each other.

The Mechanicals are also clog dancers; the sounds of their arrival breaks into the goings-on of the lovers. This group of Athenian workmen are planning to present an entertainment for the Duke’s wedding. Led by the comic/anxious, Peter Quince (Fergal McElherron), they attempt at presenting the tragedy of Pyramus and Thisbe w/ seriousness (despite their lack of talent). Flute (Christopher Logan) plays Thisbe w/ sensitivity, though he is rather clumsy. Snug (Edward Peel) has to use his joiner’s skills to repair their little stage, even during the performance- LOL! Bottom (Pearce Quigley) starts out wanting to play all the parts; he also flirts w/ the (live) audience. The Renaissance music helps to bring it all together.

“Royal Shakespeare Company: Love’s Labour Won” (2015)

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Autumn 1918. A group of soldiers return from the trenches. The world-weary Benedick and his friend Claudio find themselves reacquainted with Beatrice and Hero. As memories of conflict give way to a life of parties and masked balls, Claudio and Hero fall madly, deeply in love, while Benedick and Beatrice reignite their own altogether more combative courtship. Set amidst the brittle high spirits of a post-war house party, where youthful passions run riot, lovers are deceived and happiness is threatened – before peace ultimately wins out. -Synopsis

I saw this play on Marquee TV (which is an arts and culture streaming service); I signed up for the free 14-day trial. The play is more commonly known as Much Ado About Nothing; it’s my favorite Shakespeare comedy. This adaptation is set in the time period made famous by the recent PBS drama series and movie Downton Abbey. Hero (Flora Spencer Longhurst) and Claudio (Tunji Kasim) are the younger/fresh-faced couple. Beatrice (Michelle Terry) and Benedick (Edward Bennett) are the slightly older/jaded pair content to be singletons. By means of “noting” (which sounds similar to “nothing,” meaning gossip, rumor, and overhearing), Benedick and Beatrice are tricked into confessing their love for each other; Claudio is tricked (by Don John and his accomplices) into rejecting Hero at the altar thinking she has been unfaithful.

We are in an English village w/ an estate fit for royals. In the living room, there is a tall/elegantly-decorated Christmas tree. In one hilarious scene, Benedick hides inside the tree (while Leonato, Prince Don Pedro, and Claudio discuss him and Beatrice). There are songs and dances which come from (or are orchestrated to fit) the early 1900s vibe. We hear “Sigh No More” sung by Balthasar; it tells women to accept men’s infidelity and keep on living w/ joy. In the 1993 film directed by and starring Kenneth Branagh, the song is featured prominently in both the opening and finale.

Sigh no more, ladies, sigh no more,
Men were deceivers ever,-
One foot in sea and one on shore,
To one thing constant never.

Benedick and Beatrice (“too wise to woo peaceably”) are the main interest of the play; they have some of the best (and most memorable) lines. Terry (who became director of Shakespeare’s Globe Theatre in 2017) commented in an interview that “Beatrice felt very deeply,” so humor was a “defense mechanism” she used. I loved how this actress played the (pivotal) scene in the church.

I had rather hear my dog bark at a crow, than a man swear he loves me.

Not till God make men of some other metal than earth [would she consider having a husband]

Benedick is a bit disappointed when his best pal (Claudio) has the “intention to turn husband.” Benedick is also adept at using humor. The life of a bachelor suits him best, and only a rare woman would convince him otherwise.

…But it is certain I am loved of all ladies, only you excepted: and I would I could find in my heart that I had not a hard heart; for, truly, I love none.

I wish my horse had the speed of your tongue.

I liked how this production created a balance between the light and serious moments. The humor is played (mostly) w/ subtlety, as would suit Brits from that era. Beatrice, Benedick, and some of the minor characters have scenes w/ physical humor. I was impressed by how light the actors were on their feet (when the scene called for it). You can watch some scenes below!

Beatrice and Benedick meet.
Leonato, Prince Don Pedro, and Claudio set a trap for Benedick.
Beatrice and Benedick say they love each other, but she wants him to kill Claudio!

“The Phantom of the Opera at the Royal Albert Hall” (2011)

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In 1986, Andrew Lloyd Webber’s The Phantom of the Opera arrived on the West End stage. After 25 years, the musical achieved global success, millions of viewers, a film adaptation in 2004 (which I don’t recommend) and a sequel. Filmed at the Royal Albert Hall, this performance (which you can rent on YouTube) brings the show to a bigger stage and celebrates its role as one of the biggest shows in theater history, w/ speeches, performances, and appearances by the original cast (and some notable Phantoms). Starring Ramin Karimloo and Sierra Boggess, POTO tells the story of a deformed musical genius who lives underneath the Paris Opera House. Shunned by society, the Phantom seeks revenge (w/ cruel and violent acts). He’s in love w/ a chorus girl, Christine Daaé, who he has been secretly training to replace the leading lady.

Karimloo (who is Canadian) is engaging and very effective w/ his gorgeous voice and imposing physical presence. One side of his face looks genuinely scary; this was done by the original makeup artist. Boggess (who is American) is charming and her stage presence is as strong as Karimloo’s. Her soprano voice is bright and clear. She esp. does a terrific job w/ Wishing You Were Somehow Here Again. Past of the Point No Return was very compelling; two leads show that they have great chemistry together (even though The Phantom has on a hooded cloak). I learned that Boggess was the original Ariel in Broadway’s The Little Mermaid.

The encore featured 4 different Phantoms from around the world and was the debut for one of them: Peter Jöback from Sweden. He was scheduled to play the Phantom after the concert in London. The other 3 Phantoms who sing are: Colm Wilkinson (who is Irish; the original Canadian Phantom and Jean Valjean in Les Mis in London and NYC), John Owen-Jones (London’s longest running Phantom). and Anthony Warlow (Australia’s most famous Phantom). The original Phantom, Michael Crawford, was also there, as was the incomparable Sarah Brightman (the original Christine; former wife of Webber). I remember buying her CDs in HS.

The camera work allows you to admire the production design and does so unobtrusively, often it has a very cinematic look…

Hadley Fraser has a different take on the childhood sweetheart of Christine. Fraser brings an energy and eagerness to the character. I loved Fraser because he brings a new energy and charisma to the character.

[Karimloo] is both very threatening and very vulnerable. He is both aggressor and victim. He captures the fragility of the Phantom’s mind and the strength of the Phantom’s will.

-Excerpts from IMDB reviews

“Les Miserables in Concert: The 25th Anniversary” (2010)

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The story is one we know and very simple: a former convict, Jean Valjean (Alfie Boe), tries to rebuild his life w/ adopted daughter Cosette after the death of her mother, Fantine (Lea Salonga). Valjean is pursued for years by a police inspector, Javert (Norm Lewis). Against the backdrop of student rebellions in Paris, a student named Marius (Nick Jonas) and the grown-up Cosette (Katie Hall) fall in love. The songs are also very memorable, incl. Who Am I? and Bring Him Home (sung by Valjean), I Dreamed a Dream (sung by Fantine), and On My Own (sung by Eponine). In a time when there are protests in cities (around the world) calling for racial equality and justice reform, this story still resonates.

Fans of the musical will notice that Salonga previously played Eponine in Great Performances: Les Misérables in Concert (1995)- the musical’s 10th anniversary. The petite (yet powerful) singer is the first full-blooded Filipina to have won the Olivier (1990), the Tony, Drama Desk, Outer Critics Circle, and Theatre World Awards (1991) for Best Actress in a Musical for Miss Saigon. In recent years, she was a guest star on Crazy Ex-Girlfriend, a comedy w/ musical numbers. Most famously, Salonga was the singing voice of Princess Jasmine in the Disney animated movie Aladdin (1992). Not only is she an amazing singer, she also acts out every moment of her role here!

Samantha Barks (Eponine) played the same role in the 2012 film version. Jenny Galloway previously played Madame Thenardier (a crowd favorite) in 1995 and repeated her role in this production. Ramin Karimloo (Enjolras) went on to play the title role in The Phantom of the Opera 25th Anniversary Concert a year later opposite Hadley Fraser (Grantaire) as Raoul. Karimloo (who fled Iran w/ his parents when the shah was overthrown in the early ’80s) made his Broadway debut as Valjean in the 2014 revival and earned a Tony nomination for Best Actor in a Musical. Lewis is perhaps best known as Edison, a senator and one of the ex-boyfriend’s of Olivia Pope on the ABC TV series- Scandal. He became the first Black actor to play the phantom in The Phantom of the Opera on Broadway. Unlike most of the other phantoms, he has a baritone voice (which is rich and very impressive).

At the end of the concert, we see the original 1985 cast, the international tour cast, and the current cast. We hear Colm Wilkinson (considered the best singer to portray Valjean), John Owen-Jones, Simon Bowman, and Boe sing Bring Him Home. There is an appearance by Michael Ball (the original Marius in the London production; a big star in the UK), composers, lyricist, and producer (Cameron Mackintosh). You can rent this show on YouTube; it’s a must-see for fans of the theater (esp. since we’re stuck at home)!

The casting of Nick Jonas, of Jonas Brothers fame, is little more than a casting publicity stunt, and one which almost backfires catastrophically. Quite simply, Jonas is leagues out of his depth, and his voice has not the power nor range to do justice to the role…

So many excellent singers have brought such depth and strength to the character of Jean Valjean and Alfie Boe does an admirable job. His beautiful rendition of “Bring Him Home” really proves he has the chops to handle this role.

Norm Lewis, whose subtle facial expressions and genuine passion commanded the stage/screen, sang Javert with such power and depth that I actually, for the first time, empathized with his character.

No other musical has the power to raise hairs and bring goosebumps throughout, and at the same time bring entire audiences to tears…

-Excerpts from IMDB reviews