The plot structures of movies need to start taking more cues from classic opera. Open with a fucker in a hat who directly addresses the audience and explains what's going on in a way that raises far more questions than it answers, then immediately drop the viewer into the middle of a shouting argument between three of the weirdest people you can possibly imagine.
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first post ever i believe?? i just wanted to share my art lolol
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rip racetrack higgins you would have loved high school musical theatre
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Mice from The Fir Tree at The Globe, 2021
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Love's Labour's Lost (dir. Gregory Doran, 2008)
Happy birthday to the bard!
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More Andrew Rannells?
On my blog?
It’s more likely than you think!
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Backstage of Nye, 23/04/2024
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Her staging of the Scottish play opens with an arresting tableau. Lady Macbeth sits hunched over, her face hidden under a disheveled mane. As she rips out clumps of her hair, a portrait of Macbeth, her husband, starts spinning on a wall behind her — until an invisible knife seems to cut into the painting.
It’s an ominous way to position Lady Macbeth, as a shadow addition to the three witches who prophesy that Macbeth will be king. When the trio appears shortly afterward to deliver their message, a giant ring materializes above the empty stage. In true “Lord of the Rings” fashion, it then descends upon Macbeth (Noam Morgensztern), metaphorically anointing him even as recorded whispers of “murder” fill the Comédie-Française’s auditorium.
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At the Comédie-Française, Costa’s “Macbeth” edits the two dozen named characters down to only eight actors and leans heavily into religious symbolism. In “Hamlet,” Jatahy goes so far as to keep Ophelia alive. Far from going mad, Ophelia climbs down from the stage and exits through the auditorium after declaring: “I died all these years. This year, I won’t die.”
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