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keepthisholykiss · 3 years

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May 2021, Kageki, Ayaki Hikari’s “e to bun” translation - or - the one with all the Capulet Information

Okay here it is the Capulet version of Akachan’s e to bun column. Again blah, blah, this is a fun and casual translation (I also did this one like... particularly quickly and on 0 braincells this week so apologies for any typos that hopefully aren’t there!) also please don’t share it taking it as your own translation etc etc. Anyway please enjoy this new information on the Capulets! I’ll be sure to post the third and final edition next month whenever it is available to me. Also, later this month, I will be posting a translation of Hoshigumi’s Romeo and Juliet (2021) backstage talk from this same issue of Kageki!

The Situation in Verona, As I Reveal It - Ayaki Hikari

(title credited to: Iroha Reo)

Hello to all the readers of Kageki. It’s Ayaki, playing the role of Count Paris in “Romeo and Juliet” for the A Cast. This month, I would like to introduce everyone in the Capulet family and ask them the following questions:

(1) Name, (2) Family structure, (3) Is there someone they love? (4) Their favorite point.

I hope you enjoy comparing these answers with last month’s issue.

Otoha Minori: (1) Rebecca (and I like the meaning of the name) (2) Soubu Sakiho is my cousin. But he is like a little brother. (3) I love the whole Capulet family. But I really love Tybalt. (4) I live my life as Rebecca of the Capulets and am very particular about everything in my work. I have a different hairstyle for both A and B schedules so I hope you can see them!

Ooki Makoto: (1) Tigre (2) My sister, from another father, is Murasaki Rira (3) I love my sister the most (4) I’m sure you’ll be able to understand my absolute love and loyalty to my family. It’s not Tybalt’s fault, it’s all Romeo’s fault.

Hiroka Yuu: (1) Leonardo (2) From A Cast, Nijou Hana is my younger sister. From B Cast Mizuno Yuri is my sister. (3) My future love?! Montague Otosaki Itsuki (4) Leonardo means “daring lion” in Italian, so I made my hair blonde and stand up! I hope you can see the sadness I am feeling when I fight with Otosaki in front of the stage.

Murasaki Rira: (1) Sirena (from Sirens in Greek mythology) and I’m 19 years old (2) Half-brother is Ooki Makoto (3) Her brother is her love (4) The Sirens seduce people with their singing voices and lead them to their doom, but I want to do that with my dancing. I want to look different in front of Tybalt and the other Capulets during numbers like during the duel. I believe that a Capulet girl should be more feminine than a Montague girl. So I am conscious of my feminine power on a daily basis.

Toudou Jun: (1) Theo (meaning God’s gift) (3) I have a crush on Miono Saki (4) I am very particular about my hairstyle!

Iroha Reo: (1) Squalo (3) I have a crush on Otoha Minori… (4) My name means “shark,” so I will try to stay sharp every day! Miono Saki: (1) Marta (2) I am an orphan and a childhood friend of Ouri Mao (3) Tybalt (4) I have cut off a lot of my hair for this.

Amaki Homare: (1) Basiglio (nickname Rose) (2) I am the twin of Soubu Sakiho (3) Ouri Mao and I are together and are being targeted by the Montague Minato Rihi (4) Look at my Super Saiyan-like haircut and my high speed turns!

Soubu Sakiho: (1) Mario (2) Otoha Minori is my cousin (3) I like all the girls. My favorite is Murasaki Rira. I’m not aware of my cousin’s love for anyone. (4) You should look for my lift of Hanayuki Rira!

Nanase Miki: (1) Bianca (2) Ouri Mao and I are sisters but I’m older (3) I am always running after Iroha Reo! But, of course, I love all the Capulets! (4) The moment Tybalt is stabbed, I’m trying to make the best scream to keep it realistic.

Ouri Mao: (1) Kiki (2) I am childhood friends with Miono Saki and Nanase Miki is my sister. (3) Amaki Homare (4) What I am interested in is interactions with otokoyaku! I am hoping to produce different results in both A and B patterns.

Akashi Reima (B Cast): (1) Roy (2) Yuuhi Maki is my younger brother, but we aren’t very close. (3) I like Ayazono Hina but she’s too fickle for me. (4) I’m not quick to fight, but I’m overbearing. And I take my hatred out on the Montagues.

Sakuraba Mai (A Cast): (1) Violet (2) I’m a loner with a free spirit (3) I’ll leave that to your imagination (4) I have long black hair and am trying to make my make-up shine.

Nijou Hana (A Cast): (1) Amanda (2) Hiroka Yuu is my brother (3) Sayaka Rin (4) I made my own hair mesh for the first time.

Sayaka Rin (A Cast): (1) Angelo (2) My cousin is Sakishiro Kei, like a younger brother. I am a close blood relative to Tybalt. (3) Sakuraba Mai loves me and thinks she is my girlfriend and Nijou Hana is my fiancee. (4) I love the multifaceted nature of each situation and the hidden true feelings behind everyone’s eyes.

Yuuhi Maki (B Cast): (1) Sol (meaning “sun”) (2) Childhood friends with Ayazono Hina (3) I like Juliet! I’m trying my best to be a man like Tybalt.

Ayazono Hina (B Cast): (1) Hayna (2) Sumika Amane is my sister (3) I am in love with a lot of people including Akashi Reima. I am a childhood friend of Yuuhi Maki and support his love. (4) I have a younger sister, so I’m trying to make her feel important! Sakishiro Kei (A Cast): (1) Thomas (2) Sayaka Rin is my cousin (3) Juliet (4) I have sharp bangs! Miyako Yuuna (A Cast): (1) Kianna (2) I’ve taken the liberty of setting myself as Tybalt’s younger sister. But I let him know already (laughs) (4) I am 15 years old, younger than Juliet! I am a cheerful girl that is full of energy!

Sumika Amane (B Cast): (1) Chiara (to mean “clear”) (2) Ayazono Hina is my sister (3) I like all men except Montague men (4) This is my favorite play.

Mizuno Yuri (B Cast): (1) Sophie (2) Hiroka Yuu’s younger sister (3) Count Paris (4) I am doing my best to be a Capulet woman who is strong, big-hearted, and cute! Please take a look!

There are only a few performances left! So if you can’t make it to the theatre to watch the play, please watch it on video to see how much everyone cares for their roles!

#takarazuka #hoshigumi #ayaki hikari #romeo et juliette #michelle does takarazuka translations #but only sometimes aka literally just when they involve ayaki hikari

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chiseler · 3 years

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The Mysterious Death of a Hollywood Director

This is the tale of a very famous Hollywood mogul and a not-so-famous movie director. In May of 1933 they embarked together on a hunting trip to Canada, but only one of them came back alive. It’s an unusual tale with an uncertain ending, and to the best of my knowledge it’s never been told before.

I. The Mogul

When we consider the factors that enabled the Hollywood studio system to work as well as it did during its peak years, circa 1920 to 1950, we begin with the moguls, those larger-than-life studio chieftains who were the true stars on their respective lots. They were tough, shrewd, vital, and hard working men. Most were Jewish, first- or second-generation immigrants from Europe or Russia; physically on the small side but nonetheless formidable and – no small thing – adaptable. Despite constant evolution in popular culture, technology, and political and economic conditions in their industry and the outside world, most of the moguls who made their way to the top during the silent era held onto their power and wielded it for decades. Their names are still familiar: Zukor, Goldwyn, Mayer, Jack Warner and his brothers, and a few more. And of course, Darryl F. Zanuck. In many ways Zanuck personified the common image of the Hollywood mogul. He was an energetic, cigar-chewing, polo mallet-swinging bantam of a man, largely self-educated, with a keen aptitude for screen storytelling and a well-honed sense of what the public wanted to see. Like Charlie Chaplin he was widely assumed to be Jewish, and also like Chaplin he was not, but in every other respect Zanuck was the very embodiment of the dynamic, supremely confident Hollywood showman.

In the mid-1920s he got a job as a screenwriter at Warner Brothers, at a time when that studio was still something of a podunk operation. The young man succeeded on a grand scale, and was head of production before he was 30 years old. Ironically, the classic Warners house style, i.e. clipped, topical, and earthy, often dark and sometimes grimly funny, as in such iconic films as The Public Enemy, I Am a Fugitive from a Chain Gang, and 42nd Street, was established not by Jack, Harry, Sam, or Albert Warner, but by Darryl Zanuck, who was the driving force behind those hits and many others from the crucial early talkie period. He played a key role in launching the gangster cycle and a new wave of sassy show biz musicals. At some point during 1932-33, however, Zanuck realized he would never rise above his status as Jack Warner’s right-hand man and run the studio, no matter how successful his projects proved to be, because of two insurmountable obstacles: 1) his name was not Warner, and 2) he was a Gentile. Therefore, in order to achieve complete autonomy, Zanuck concluded that he would have to start his own company.

In mid-April of 1933 he picked a public fight with Jack Warner over a staff salary issue, then abruptly resigned. Next, he turned his attention to setting up a company in partnership with veteran producer Joseph Schenck, who was able to raise sufficient funds to launch the new concern. And then, Zanuck invited several associates from Warner Brothers to accompany him on an extended hunting trip in Canada.

Going into the wilderness and killing wild game, a pastime many Americans still regard as a routine, unremarkable form of recreation, is also of course a conspicuous show of machismo. But in this realm, as with his legendary libido, Zanuck was in a class by himself. He had been an enthusiastic hunter most of his life, dating back to his boyhood in Nebraska. Once he became a big wheel at Warners in the late ’20s he took to organizing high-style duck-hunting expeditions: the young executive and his fellow sportsmen would travel to the appointed location in private railroad cars, staffed by uniformed servants. Heavy drinking on these occasions was not uncommon. (Inevitably, film buffs will recall The Ale & Quail Club from Preston Sturges’ classic comedy The Palm Beach Story, but DFZ and his pals were not cute old character actors, and their bullets were quite real.) Members of Zanuck’s studio entourage were given to understand that participation in these outings was de rigueur if they valued their positions, and expected desirable assignments in the future. Director Michael Curtiz, who had no fondness for hunting, remembered the trips with distaste, and recalled that on one occasion he was nearly shot by a casting director who had no idea how to properly handle a gun.

But ducks were just the beginning. In 1927 Zanuck took his wife Virginia on an African safari. In Kenya Darryl bagged a rhinoceros and posed for a photo with his wife, crouched beside the rhino’s carcass. Virginia, an erstwhile Mack Sennett bathing beauty and former leading lady to Buster Keaton, appears shaken. Her husband looks exhilarated. During this safari Zanuck also killed an elephant. He kept the animal’s four feet in his office on the Warners lot, and used them as ashtrays. If any animal lover dared to express dismay, the Hollywood sportsman would retort: “It was him or me, wasn’t it?” Zanuck made several forays to Canada with his coterie in this period, gunning for grizzly bears. Director William “Wild Bill” Wellman, who was more of an outdoorsman than Curtiz, once went along, but soon became irritated with Zanuck’s bullying. The two men got into a drunken fistfight the night before the hunting had even begun. In the course of the ensuing trip the hunting party was snowbound for three days; Zanuck sprained his ankle while trailing a grizzly; the horse carrying medical supplies vanished; and Wellman got food poisoning. “It was the damnedest trip I’ve ever seen,” the director said later, “but Zanuck loved it.”

Now that Zanuck had severed his ties with the Warner clan and was on the verge of a new professional adventure, a trip to Canada with a few trusted associates would be just the ticket. This time the destination would be a hunting ground on the banks of the Canoe River, a tributary of the Columbia River, 102 miles north of Revelstoke, British Columbia, a city about 400 miles east of Vancouver. There, in a remote scenic area far from any paved roads, telephones, or other niceties of modern life, the men could discuss Zanuck’s new production company and, presumably, their own potential roles in it. Present on the expedition were screenwriter Sam Engel, director Ray Enright, 42nd Street director Lloyd Bacon, producer (and former silent film comedian) Raymond Griffith, and director John G. Adolfi, best known at the time for his work with English actor George Arliss. Adolfi, who was around 50 years old and seemingly in good health, would not return.

II. The Director

Even dedicated film buffs may draw a blank when the name John Adolfi is mentioned. Although he directed more than eighty films over a twenty-year period beginning in 1913, most of those films are now lost. He worked in every genre, with top stars, and made a successful transition from silent cinema to talkies. He seems to have been a well-respected but self-effacing man, seldom profiled in the press.

According to his tombstone Adolfi was born in New York City in 1881, but the exact date of his birth is one of several mysteries about his life. His father, Gustav Adolfi, was a popular stage comedian and singer who emigrated to the U.S. from Germany in 1879. Gustav performed primarily in New York and Philadelphia, and was known for such roles as Frosch the Jailer in Strauss’ Die Fledermaus. But he was a troubled man, said to be a compulsive gambler, and after his wife Jennie died (possibly of scarlet fever) it appears his life fell apart. Gustav’s singing voice gave out, and then he died suddenly in Philadelphia in October 1890, leaving John and his siblings orphaned. (An obituary in the Philadelphia Jewish Exponent reported that Gustav suffered a stroke, but family legend suggests he may have committed suicide.) After a difficult period John followed in his father’s footsteps and launched a stage career, and was soon working opposite such luminaries of the day as Ethel Barrymore and Dustin Farnum. Early in the new century the young actor wed Pennsylvania native Florence Crawford; the marriage would last until his death.

When the cinema was still in its infancy stage performers tended to regard movie work as slumming, but for whatever reason John Adolfi took the plunge. He made his debut before the cameras around 1907, probably at the Vitagraph Studio in Brooklyn. There he appeared as Tybalt in J. Stuart Blackton’s 1908 Romeo and Juliet , with Paul Panzer and Florence Lawrence in the title roles. He worked at the Edison Studio for director Edwin S. Porter, and at Biograph in a 1908 short called The Kentuckian which also featured two other stage veterans, D.W. Griffith and Mack Sennett. Most of Adolfi’s work as a screen actor was for the Éclair Studio in Fort Lee, New Jersey, the first film capital. The bulk of this company’s output was destroyed in a vault fire, but a 1912 adaptation of Robin Hood in which Adolfi appeared survives. That same year he also appeared in a famous docu-drama, as we would call it, Saved from the Titanic. This ten-minute short premiered less than a month after the Titanic disaster, and featured actress Dorothy Gibson, who actually survived the voyage, re-enacting her experience while wearing the same clothes she wore in the lifeboat. (This film, unfortunately, is among the missing.) After appearing in dozens of movies Adolfi moved behind the camera.

Much of his early work as a director was for a Los Angeles-based studio called Majestic, where he made crime dramas, Westerns, and comedies, films with titles like Texas Bill’s Last Ride and The Stolen Radium. In 1914 the company had a new supervisor: D. W. Griffith, now the top director in the business, who had just departed Biograph. Adolfi was one of the few Majestic staff directors who kept his job under the new regime. A profile in the February 1915 issue of Photoplay describes him as “a tallish, good-looking man, well-knit and vigorous, dark-haired and determined; his mouth and chin suggest that their owner expects (and intends) to have his own way unless he is convinced that the other fellow’s is better.” It was also reported that Adolfi had developed something of a following as an actor, but that he dropped out of the public eye when he became a director. Presumably, that’s what he wanted.

Adolfi left Majestic after three years, worked at Fox Films for a time as a staff director, then freelanced. During the remainder of the silent era he guided some of the screen’s legendary leading ladies: Annette Kellerman (Queen of the Sea, 1918), Marion Davies (The Burden of Proof, 1918), Mae Marsh (The Little ‘Fraid Lady, 1920), Betty Blythe (The Darling of the Rich, 1922), and Clara Bow (The Scarlet West, 1925). Not one of these films survives. A profile published in the New York World-Telegram during his stint at Fox reported that Adolfi was well-liked by his employees. He was “reticent when the conversation turned toward himself, but frank and outspoken when it concerned his work. Mr. Adolfi is not only a director who is skilled in the technique of his craft; he is also a deep student of human nature.” Asked how he felt about the cinema’s potential, he replied, with unconscious irony, “it is bound to live forever.”

III. The Talkies

In spring of 1927 Adolfi was offered a job at Warner Brothers. His debut feature for the studio What Happened to Father? (now lost) was a success, or enough of one anyway to secure him a professional foothold, and he worked primarily at WB thereafter. Thus he was fortuitously well-positioned for the talkie revolution, for although talking pictures were not invented at the studio it was Sam Warner and his brothers, more than anyone else, who sold an initially skeptical public on the new medium. After Adolfi had proven himself with three talkie features Darryl Zanuck handed him an expensive, prestige assignment, a lavish all-star revue entitled The Show of Shows which featured every Warners star from John Barrymore to Rin-Tin-Tin.

Other important assignments followed. In March of 1930 a crime melodrama called Penny Arcade opened on Broadway. It was not a success, but when Al Jolson saw it he sensed that the story had screen potential. He purchased the film rights at a bargain rate and then re-sold the property to his home studio, Warner Brothers. Adolfi was chosen to direct, but was doubtless surprised to learn that Jolson had insisted that two of the actors from the Broadway production repeat their performances before the cameras. One of the pair, Joan Blondell, had already appeared in three Vitaphone shorts to good effect, but the other, James Cagney, had never acted in a movie. Any doubts about Jolson’s instincts were quickly dispelled. Rushes of the first scenes featuring the newcomers so impressed studio brass that both were signed to five-year contracts. While Adolfi can’t be credited with discovering the duo, the film itself, re-christened Sinners’ Holiday,remains his strongest surviving claim to fame: he guided Jimmy Cagney’s screen debut.

At this point the director formed a professional relationship that would shape the rest of his career. George Arliss was a veteran stage actor who went into the movies and unexpectedly became a top box office draw. He was, frankly, an unlikely candidate for screen stardom. Already past sixty when talkies arrived, Arliss was a short, dignified man who resembled a benevolent gargoyle. But he was also a journeyman actor, a seasoned professional who knew how to command attention with a sudden sharp word or a raised eyebrow. Like Helen Hayes he was valued in Hollywood as a performer of unblemished reputation who lent the raffish film industry a touch of Class, in every sense of the word.

In 1929 Arliss appeared in a talkie version of Disraeli, a role he had played many times on stage, and became the first Englishman to take home an Academy Award for Best Actor. Thereafter he was known for stately portrayals of History’s Great Men, such as Voltaire and Alexander Hamilton, as well as fictional kings, cardinals, and other official personages. The old gentleman formed a close alliance with Darryl Zanuck, whom he admired, and was in turn granted privileges highly unusual for any actor at the time. Arliss had final approval of his scripts and authority over casting. He was also granted the right to rehearse his selected actors for two weeks before filming began. All that was left for the film’s director to do, it would seem, would be to faithfully record what his star wanted. Not many directors would accept this arrangement, but John Adolfi, who according to Photoplay “was determined to have his own way unless he is convinced that the other fellow’s is better,” clearly had no problem with it. His first film with Arliss was The Millionaire, released in May 1931; and in the two years that followed Adolfi directed eight more features, six of which were Arliss vehicles. He had found his niche in Hollywood.

One of Adolfi’s last jobs sans Arliss was a B-picture called Central Park, which reunited the director with Joan Blondell. It’s a snappy, topical, crazy quilt of a movie that packs a lot of incident into a 58-minute running time. Central Park was something of a sleeper that earned its director positive critical notices, and must have afforded him a lively holiday from those polite period pieces for the exacting Mr. Arliss.

In spring of 1933, after completing work on the Arliss vehicle Voltaire, Adolfi accompanied Darryl Zanuck and his entourage to British Columbia to hunt bears. Arliss intended to follow Zanuck to his new company, while Adolfi in turn surely expected to follow the star and continue their collaboration. Things didn’t work out that way.

IV. The Hunting Trip

It’s unclear how long the men were hunting before tragedy struck. On Sunday, May 14th, newspapers reported that film director John G. Adolfi had died the previous week – either on Wednesday or Thursday, depending on which paper one consults – at a hunting camp near the Canoe River. All accounts give the cause of death as a cerebral hemorrhage. According to the New York Herald-Tribune the news was conveyed in a long-distance phone call from Darryl Zanuck to screenwriter Lucien Hubbard in Los Angeles. Hubbard subsequently informed the press. The N.Y. Times reported that the entire hunting party (Zanuck, Engel, Enright, Bacon, and Griffith) accompanied Adolfi’s remains in a motorboat down the Columbia River to Revelstoke. From there the body was sent to Vancouver, B.C., where it was cremated. Write-ups of Adolfi’s career were brief, and tended to emphasize his work with George Arliss, though his recent success Central Park was widely noted. John’s widow Florence was mentioned in the Philadelphia City News obituary but otherwise seems to have been ignored; the couple had no children.

V. The Aftermath

Darryl F. Zanuck went on to found Twentieth Century Pictures, a name suggested by his hunting companion Sam Engel. One of the company’s biggest hits in its first year of operation was The House of Rothschild, starring George Arliss and directed by Alfred Werker. The venerable actor returned to England not long afterwards and retired from filmmaking in 1937. In his second book of memoirs, published three years later, Arliss devotes several pages of warm praise to Zanuck, but refers only fleetingly to the man who directed seven of his films, John Adolfi, and misspells his name.

In 1935 Zanuck merged his Twentieth Century Pictures with Fox Films, and created one of the most successful companies in Hollywood history. He would go on to produce many award-winning classics, including The Grapes of Wrath, Laura, and All About Eve. Zanuck’s trusted associates at Twentieth-Century Fox in the company’s best years included Sam Engel, Raymond Griffith, and Lloyd Bacon, all survivors of the Revelstoke trip. Personal difficulties and vast changes in the film industry began to affect Zanuck’s career in the 1950s. He left the U.S. for Europe but continued to make films, and sporadically managed to exercise control over the company he founded. He died in 1979.

In 1984 a onetime screenwriter and film critic named Leonard Mosley, who had known Zanuck slightly, published a biography entitled Zanuck: The Rise and Fall of Hollywood’s Last Tycoon. Aside from his movie reviews most of Mosley’s published work concerned military matters, specifically pertaining to the Second War World. His Zanuck bio reveals a grasp of film history that is shaky at times, for the book has a number of obvious errors. Nevertheless, it was written with the cooperation of Darryl’s son Richard, his widow Virginia, and many of the mogul’s close associates, so whatever its errors in chronology or studio data the anecdotes concerning Zanuck’s personal and professional activities are unquestionably well-sourced.

When Mosley’s narrative reaches May 1933, the point when Zanuck is on the verge of founding his new company, we’re told that he and several associates decided to go on a hunting trip to Alaska. The location is not correct, but chronologically – and in one other, unmistakable respect – there can be no doubt that this refers to the Revelstoke trip. From Mosley’s book:

“There is a mystery about this trip, and no perusal of Zanuck’s papers or those of his former associates seems to elucidate it,” he writes. “Something happened that changed his whole attitude towards hunting. All that can be gathered from the thin stories that are still gossiped around was that the hunting party went on the track of a polar bear somewhere in the Alaskan wilderness [sic], and when the vital moment came it was Zanuck who stepped out to shoot down the charging, furious animal. His bullet, it is said, found its mark all right, but it did not kill. The polar bear came on, and Zanuck stood his ground, pumping away with his rifle. Only this time it was not ‘him or me,’ but ‘him’ and someone else. The wounded and enraged bear, still alive and still charging, swerved around Zanuck and swiped with his great paw at one of the men standing behind him – and only after it had killed this other man did it fall at last into the snow, and die itself. That’s the story, and no one seems to be able to confirm it nor remember the name of the man who died. The only certain thing is that when Zanuck came back, he announced to Virginia that he had given up hunting. And he never went out and shot a wild animal again, not even a jackrabbit for his supper.”

VI. The Coda

Was John Adolfi killed by a bear? It certainly seems possible, but if so, why didn’t the men in the hunting party simply report the truth? Even if their boss was indirectly responsible, having fired the shots that caused the bear to charge, he couldn’t be blamed for the actions of a dying animal. But it’s also possible the event unfolded like a recent tragedy on the Montana-Idaho border. There, in September 2011, two men named Ty Bell and Steve Stevenson were on a hunting trip. Bell shot what he believed was a black bear. When the bear, a grizzly, attacked Stevenson, Bell fired again – and killed both the bear and his friend.

That seems to be the more likely scenario. If Zanuck fired at the wounded bear, in an attempt to save Adolfi, and killed both bear and man instead, it would perhaps explain a hastily contrived false story. It would most definitely explain the prompt cremation of Adolfi’s body in Vancouver. Back in Hollywood Joe Schenck was busy raising money, and lots of it, to launch Zanuck’s new company. Any unpleasant information about the new company’s chief – certainly anything suggestive of manslaughter – could jeopardize the deal. A man hit with a cerebral hemorrhage in the prime of life is a tragedy of natural causes, but a man sprayed with bullets in a shooting, accidental or not, is something else again. That goes double if alcohol was involved, as it reportedly was on Zanuck’s earlier hunting trips.

Of course, it’s also possible that Adolfi did indeed suffer a cerebral hemorrhage. Like his father.

John G. Adolfi is a Hollywood ghost. Most of his works are lost, and his name is forgotten. (Even George Arliss couldn’t be bothered to spell it correctly.) Every now and then TCM will program one of the Arliss vehicles, or Sinners’ Holiday. Not long ago they showed Adolfi’s fascinating B-picture Central Park, that slam-bang souvenir of the early Depression years in which several plot strands are deftly inter-twined. One of the subplots involves a mentally ill man, a former zoo-keeper who escapes from an asylum and returns to the place where he used to work, the Central Park Zoo. He has a score to settle with an old nemesis, an ex-colleague who tends the big cats. As the story approaches its climax, the escaped lunatic deliberately drags his enemy into the cage of a dangerous lion and leaves him there. In the subsequent, harrowing scene, difficult to watch, the lion attacks and practically kills the poor bastard.

by William Charles Morrow

* * * * * * * * * * * * * * * * *

My sources for this article, in addition to the Mosley biography cited in the text, include Stephen M. Silverman’s The Fox That Got Away: The Last Days of the Zanuck Dynasty at Twentieth-Century Fox (1988), and Marlys J. Harris’s The Zanucks of Hollywood: The Dark Legacy of an American Dynasty (1989). For material on John Adolfi I made extensive use of the files of the New York Public Library for the Performing Arts. Special thanks to James Bigwood for his prodigious research on the Adolfi family genealogy, and to Mary Maler, John Adolfi’s great-niece, for information she provided on her family.

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princesssarisa · 4 years

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from @cinefantasticquemitho, for the fictional character asks: Juliet Capulet

@cinefantastiquemitho accidentally answered my ask as a private message instead of a post, so I’m copying and pasting her answer here.

Favorite thing about them: The apeal of Juliet is that she is one of the earliest examples of a young rebel being portrayed positively in western literature. She lives in a world that was screwed over by the violence of the adults around her, and is one of the few people in the story who is inteligent anough to not see this violence as something natural, and question it. Another interesting element of Juliet is that, troughout the play, she learns to be very cunning and witty. Now usually, this characteristics (specially in a female character) would be portrayed as the start of a path to villany, where a character would use them to gain power over the unhapiness of others (think of Tamora and Aaron the Moor, the Macbeths, Richard III, Iago and Edmond). But in Juliet’s writing, she is still the heroine of the story, who as a young woman in the Renaissance, is justified to use cunning and witty as a means of trying to survive and find happiness for her and Romeo, the person she loves, in a world where she lacks power. And this cunning and witty, contrary to the most popular belief, does not contradict her loialty, with is another important characteristic that she shows in relation to her beloved husband Romeo.

Least favorite thing about them: Actually, i don’t have a least favorite thing about Juliet herself. In reality, when i was young and was only familiar with the play trough parodies in pop culture, without actually having readed or watched the play properly, i disliked a caricature of Juliet, that stereotyped her as just “a cute girl who is there to suffer”. Later, when i actually readed and watched montages of the play online, i saw that this wasn’t at all the actual character that Shakespeare wrote.

Favorite line:

So many, is hard to choose just one.

“My only love sprung from my only hate! Too early seen unknown, and known too late! Prodigious birth of love it is to me, That I must love a loathed enemy”.

“Ay me!

O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet.

‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself”.

“ O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable.

Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I’ll believe thee”.

“The clock struck nine when I did send the nurse; In half an hour she promised to return. Perchance she cannot meet him: that’s not so. O, she is lame! love’s heralds should be thoughts, Which ten times faster glide than the sun’s beams, Driving back shadows over louring hills: Therefore do nimble-pinion’d doves draw love, And therefore hath the wind-swift Cupid wings. Now is the sun upon the highmost hill Of this day’s journey, and from nine till twelve Is three long hours, yet she is not come. Had she affections and warm youthful blood, She would be as swift in motion as a ball; My words would bandy her to my sweet love, And his to me: But old folks, many feign as they were dead; Unwieldy, slow, heavy and pale as lead”.

“Conceit, more rich in matter than in words, Brags of his substance, not of ornament: They are but beggars that can count their worth; But my true love is grown to such excess I cannot sum up sum of half my wealth”.

“Gallop apace, you fiery-footed steeds, Towards Phoebus’ lodging: such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway’s eyes may wink and Romeo Leap to these arms, untalk’d of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play’d for a pair of stainless maidenhoods: Hood my unmann’d blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty. Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven’s back. Come, gentle night, come, loving, black-brow’d night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O, I have bought the mansion of a love, But not possess’d it, and, though I am sold, Not yet enjoy’d: so tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them”.

“O serpent heart, hid with a flowering face! Did ever dragon keep so fair a cave? Beautiful tyrant! fiend angelical! Dove-feather’d raven! wolvish-ravening lamb! Despised substance of divinest show! Just opposite to what thou justly seem'st, A damned saint, an honourable villain! O nature, what hadst thou to do in hell, When thou didst bower the spirit of a fiend In moral paradise of such sweet flesh? Was ever book containing such vile matter So fairly bound? O that deceit should dwell In such a gorgeous palace”!

“Blister’d be thy tongue For such a wish! he was not born to shame: Upon his brow shame is ashamed to sit; For 'tis a throne where honour may be crown’d Sole monarch of the universal earth. O, what a beast was I to chide at him!

Shall I speak ill of him that is my husband?

Ah, poor my lord, what tongue shall smooth thy name, When I, thy three-hours wife, have mangled it? But, wherefore, villain, didst thou kill my cousin? That villain cousin would have kill’d my husband: Back, foolish tears, back to your native spring; Your tributary drops belong to woe, Which you, mistaking, offer up to joy. My husband lives, that Tybalt would have slain; And Tybalt’s dead, that would have slain my husband: All this is comfort; wherefore weep I then? Some word there was, worser than Tybalt’s death, That murder’d me: I would forget it fain; But, O, it presses to my memory, Like damned guilty deeds to sinners’ minds: 'Tybalt is dead, and Romeo—banished;’ That 'banished,’ that one word 'banished,’ Hath slain ten thousand Tybalts. Tybalt’s death Was woe enough, if it had ended there: Or, if sour woe delights in fellowship And needly will be rank’d with other griefs, Why follow’d not, when she said 'Tybalt’s dead,’ Thy father, or thy mother, nay, or both, Which modern lamentations might have moved? But with a rear-ward following Tybalt’s death, 'Romeo is banished,’ to speak that word, Is father, mother, Tybalt, Romeo, Juliet, All slain, all dead. 'Romeo is banished!’ There is no end, no limit, measure, bound, In that word’s death; no words can that woe sound”.

“It is, it is: hie hence, be gone, away! It is the lark that sings so out of tune, Straining harsh discords and unpleasing sharps. Some say the lark makes sweet division; This doth not so, for she divideth us: Some say the lark and loathed toad change eyes, O, now I would they had changed voices too! Since arm from arm that voice doth us affray, Hunting thee hence with hunt’s-up to the day, O, now be gone; more light and light it grows”.

“ Art thou gone so? love, lord, ay, husband, friend! I must hear from thee every day in the hour, For in a minute there are many days: O, by this count I shall be much in years Ere I again behold my Romeo”!

“Farewell! God knows when we shall meet again. I have a faint cold fear thrills through my veins, That almost freezes up the heat of life: I’ll call them back again to comfort me: Nurse! What should she do here? My dismal scene I needs must act alone. Come, vial. What if this mixture do not work at all? Shall I be married then to-morrow morning? No, no: this shall forbid it: lie thou there. [Laying down her dagger] What if it be a poison, which the friar Subtly hath minister’d to have me dead, Lest in this marriage he should be dishonour’d, Because he married me before to Romeo? I fear it is: and yet, methinks, it should not, For he hath still been tried a holy man. How if, when I am laid into the tomb, I wake before the time that Romeo Come to redeem me? there’s a fearful point! Shall I not, then, be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Romeo comes? Or, if I live, is it not very like, The horrible conceit of death and night, Together with the terror of the place,— As in a vault, an ancient receptacle, Where, for these many hundred years, the bones Of all my buried ancestors are packed: Where bloody Tybalt, yet but green in earth, Lies festering in his shroud; where, as they say, At some hours in the night spirits resort;— Alack, alack, is it not like that I, So early waking, what with loathsome smells, And shrieks like mandrakes’ torn out of the earth, That living mortals, hearing them, run mad:— O, if I wake, shall I not be distraught, Environed with all these hideous fears? And madly play with my forefather’s joints? And pluck the mangled Tybalt from his shroud? And, in this rage, with some great kinsman’s bone, As with a club, dash out my desperate brains? O, look! methinks I see my cousin’s ghost Seeking out Romeo, that did spit his body Upon a rapier’s point: stay, Tybalt, stay! Romeo, I come! this do I drink to thee”.

“Yea, noise? then I’ll be brief. O happy dagger! [Snatching ROMEO’s dagger] This is thy sheath; [Stabs herself] there rust, and let me die”.

brOTP: In the plays actual text, we see her being great friends and partners with the Nurse, and get some insinuations that Tybalt, her cousin, was also a very close friend to her. The TV series Still Star Crossed gaved to her a close friendship with her cousin Rosaline, what i apreciate very, very much. And i also like to imagine that in a Everybody Lives!AU she would be very close friends with Benvolio Montague.

OTP: With Romeo Montague.

nOTP: With Count Paris and/or Tybalt Capulet.

Random headcanon: 1. Her favorite colors are red, orange, white and gold; 2. Her favorite story from greek mithology is Eros and Psyche; 3. Her favorite fairy tale is Jack and the Beanstalk; 4. In a Modern Day Everybody Lives!AU Juliet graduates in Philosophy, Psychology and Social Services and becomes a social worker, focused on atend teenage girls and women living at risk of suffering abuse or on abusive situations/child attorney. For more details about it, here is the link for the list of ideas about a Happy Ending Modern Day! AU made in collaboration with @giuliettaluce :

https://cinefantastiquemitho.tumblr.com/post/617097864129200128/modern-headcanon-romeo-and-juliet

Unpopular Opinion: Well, i like some elements of the Zefirelli 1968 movie adaptation: the costumes are beautifull to look at, Nino Rota’s score is the worlds eight wonder of an icon, the casting choice (specially of Leonard Whiting and Olívia Hussey as Romeo Montague and Juliet Capulet, respectivelly) is pretty spot on… Buuuut: with the cutting of lines like the “Gallop apace” soliloquy, the lines where she reflects, deduces and concludes that Tybalt started the fight against Romeo with the intention of killing him and the “Potion” soliloquy, i think it reduced a lot of the huge inteligence that Juliet actually has, and with its extremely huge popularity it ended up contributing with the pop culture stereotyped idea that Juliet is just a “cute girl who is there to suffer”.

Song i associate with them: Flor, Minha Flor, by Grupo Galpão de Teatro (from the soundtrack of my favorite Romeo and Juliet montage)

https://www.youtube.com/watch?v=koIO15cI-8Y

And Nino Rota’s What is a Youth, from the 1968 Franco Zefirelli film:

https://www.youtube.com/watch?v=7VsgolqoeJw

Favorite picture of them:

#cinefantastiquemitho #fictional character ask #romeo and juliet #juliet #other people's writing

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365days365movies · 3 years

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February 28, 2021: West Side Story (Part 2)

Got my popcorn. Sweet, sweet popcorn.

Can I just say how much I genuinely miss movie theatre popcorn? And I don’t mean Orville Reddenbacher, or Pop Times, I mean real movie theater popcorn. One day soon...ONE DAY SOON...anyway, this movie is absolutely awesome, and I’m excites for Part 2, so let’s get into it. Part 1 is right here!

Recap (2/2)

We go to Maria and her friends Anita, Consuela, Rosalia, and Fransisca (Yvonne Wilder, Suzie Kaye, and Joanne Miya) at their seamstress jobs, as an entranced Maria begins to prepare herself for something that she won’t divulge. When her friends ask why she’s so happy, she responds with what else: a classic song (”I Feel Pretty”)!

After said classic song, Anita reveals that there’s a brawl that night, and notes that they fight to “get rid of their feelings” That sounds like toxic masculinity, but I’m no expert. Anyway, Maria tries to get Anita to leave before Tony shows up. Then Tony shows up. Whoops. Well, Anita’s in on it now, and she promises Maria to keep their love affair secret.

Now that Maria knows about the duel, she asks Tony to stop the fight, as any fight between their two factions isn’t good for them. He agrees, and the two spend time together playing pretend with manakins representing their families, and their perceptions of the couple. It’s extremely cute, and it ends in a play wedding, culminating in another duet ("One Hand, One Heart”).

Again, it’s very sweet. But there’s no time for that! The Jets are gonna have their day tonight! And the Sharks also have a surprise in store. The two gangs prepare for their fight, each plotting something dirty, just in case. Anita prepares for Bernardo to come home and engage in a night of passion. Meanwhile, Tony and Maria each sing for the end of the fight, and their future together. And, of course, Schrank and Krupke are trolling for any fights between the gangs. All of this is, of course, in an ensemble song for the entire cast (”Tonight Quintet”)

youtube

Time for a fight. And if you know the original play...this won’t end well. This will end VERY badly indeed. If we’re following the play, there’s at least one death coming, and maybe two, depending on how we do it. But let’s find out, as the two gangs face off underneath the highway.

Bernardo represents the Sharks, while Ice (Tucker Smith) represents the Jets. But Tony attempts to interfere and make peace with Bernardo and the Sharks. Tony refuses to fight the group, and once the fight escalates, Riff steps in and hits Bernardo. Looks like Tybalt and Mercutio are finally going to battle. And that’s when they draw their swords.

Tony screams for the fight to stop, to no avail. And at a certain point, of course, the fight turns against Riff...and Bernardo kills him. And that’s when an enraged Tony retaliates and kills Nardo in turn. Two deaths. And the sirens wail in the disance as the gangs escape, leaving the bodies of the two leaders behind, alongside a beaten Tony, who realizes now what he’s done. Damn.

On the rooftop, Maria waits for Tony to return, blissfully unaware of what’s just happened to her brother. However, Chino arrives and tells her what’s happened. She immediately asks what happened to Tony, and he angrily tells her that he killed Bernardo, and runs off. She doesn’t believe him, but it’s confirmed when Tony himself shows up and explains. She’s initially enraged, but understands that it wasn’t all Tony’s fault. They realize that the world around them won’t allow their union, but they don’t care, and express their love once again through song (”Somewhere”).

Yeah, fuck Luhrmann’s version of this story, this is clearly far superior. I mean that. But Schrank and Krupke don’t think so as they continue to roam the streets, looking for the gangs. The Jets are staying out of sight, and two of them, A-Rab and Baby John (David Winters and Eliot Feld) share their feelings, with Baby John being absolutely terrified, having seen Riff and Bernardo’s faces as they died.

The fact of the matter is, nobody was supposed to die, which should’ve been a sign for them to stop the fighting. Unfortunately, Action (Tony Mordente) aren’t satisfied with that, wants to get revenge on the Jets. This riles up the Jets, except for Baby John, who doesn’t want to keep doing this. However, as they start arguing and raging, they’re cooled down by Ice, who tells them all to...stay cool (”Cool”).

Looks like Ice is the new leader of the Jets, and the gang plays it cool as they exit towards the street. However, that’s when Anybodys (Susan Oakes), a Jets wannabe, shows up with news that Chino’s searching around the city looking for Tony...with a gun in hand. The hunt is one for Chino, as he’s hunting for Tony. And escalation continues.

But not in Maria’s room, as the two have slept together. However, Anita shows up, grieving the loss of Bernardo. She comes to speak with Maria, but catches Tony running away from the apartment. Given the fact that Tony is Bernardo’s killer, she’s not happy about this. However, of course, Anita doesn’t understand the entire situation, and her pain is clouding her emotion. Maria counters her with a song of her own, detailing her love for Tony (”A Boy Like That/I Have a Love”). This wins a tearful Anita over.

Anita warns Maria about Chino, and as Maria heads to warn Tony in turn, who should show up but asshole Schrank! He’s there to ask Maria a few questions, and acts like a proper dick about it. Because he won’t let her go, Maria asks Anita to go warn Tony at Doc’s drugstore for her. Anita agrees, and leaves. Schrank asks who the boy was that danced with her at the dance hall, as the act upset Bernardo. She lies and says it was a boy named Jose.

At Doc’s, the Jets are protecting Tony, who’s hiding in the cellar under Doc’s protection, waiting for Maria. However, Doc isn’t there, and when Anita shows up with the message...it’s bad. They don’t let her through, even though she’s there trying to help. And their antagonism of her escalates to the point that...well, if Doc hadn’t shown up, it would’ve been very back. Fuck Action, by the way, and the rest of the Jets are pretty shitty people as well.

But Doc does show up, and helps a traumatized Anita up. Rightfully angry, she tells them that she wouldn’t help any of them if they were lying in the street, bleeding. Vicious words, but her emotion is palpable, give what just happened. But she goes a bit too far when she lies and tells them that Chino killed Maria in rage, before leaving in tears.

Doc chides them bitterly, and kicks the Jets out permanently, once and for all. Good. Fuck those guys, I don’t care how awesome they can dance. I mostly don’t care. He goes to the basement to see Tony, who’s excitedly raving about his future with Maria. Doc slaps him out of it, and tells Tony what Anita said. Fuck. Well, to be fair, this was never going to end well. It is a tragedy, after all.

And as the story goes, Romeo believes that Juliet is dead, so he goes out to look for Chino, wanting to go with her. He calls out for him all around, but ends up finding Maria instead. And they happily reunite...for 10 seconds.

And this is all somehow worse than any other Romeo-death I’ve ever seen. It’s hard. And it’s terrible. And Tony dies in Juliet’s arms. And this is genuinely the most emotional I’ve ever been for any version of this story. Goddamn. GODDAMN.

Both gangs arrive and watch on, and once Tony dies, they start going for each other once again, until Maria cries out to them all. She makes Chino give her the gun, and quickly holds it on him and ALL of them. And she gives...a terribly poignant speech. And Juliet lives...but her love dies.

Schrank arrives, and even he bows to Maria’s love. everybody gives into it, me included. And Action, as much on a little monster that he is, is the first to step forward. He, Ice, and A-Rab step forward to pick up Tony’s body, and as they’re about to drop it, Indo and Pepe (Gus Trikonis and Jay Norman), two of the Sharks, also step in to help. And the Jets let them. One by one, the Jets and Sharks leave, and Maria eventually goes as well.

And...that’s it. That’s...West Side Story. And right now, I really want to give this movie 100%. I mean it. But I’ll think on it first. Understand, however: I’m pretty sure that this is my favorite movie of the month. See you in the Review.

#west side story #robert wise #jerome robbins #william shakespeare #romeo and juliet #natalie wood #richard beymer #rita moreno #george chakiris #russ tamblyn #romance february #user365 #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #my gifs #mygifs #tuserjulian

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hell-heron · 4 years

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Romeo and Juliet - Globe production 2009

So, as I think every Shakespeare person on this site, I've spent the past few days rewatching my favorite parts of this over and over again, but only now I've decided to talk about it a lot more in depth and watch all of it. So, did I like it? Yeah, I have to say I expected to like it more because the clips I had been able to watch a while ago were mostly featuring Ellie Kendrick's Juliet's solo scenes which are imho the highlight of the production.

The only comment on this I read from someone whose opinion I trust mentioned there is a lack of chemistry between the titular characters and thst the romance comes off as kind of too childish and silly. Now, it's probably because my opinion of the ideal chemistry is quite less sexually charged than most people, but I only partly agree with this. For example, the lark scene was definitely underwhelming (tho I liked the little preamble where Romeo stares, obviously scared, out of the window and Juliet reaches him as the chorus sings) and the courtship sonnet just average, but the balcony was exceptionally good, Zeffirelli levels even, a perfect balance of flirty humor, passion, tenderness and enthusiasm, also helped by the fact both actors decided this was the moment to be a bit more natural in their acting and drop the... Comedical conceit? I'm gonna elaborate a bit more on this later, but anyway it was very good. There is definitely some tonal issue with the romance, but imho it's more due to the overall inability of almost anyone in this cast to play in a tragedy than romantic chemistry: these kids would have played Beatrice and Benedick just fine.

It's very clear that the director's intent in this was to highlight this play's overlooked comedic influence and, while I appreciate it... Eh it's a bit of a mixed bag. I like highlighting the humor and snark that is already present, especially the two lovers', I kinda enjoy the comedic servant character, some scenes were done in a really nice and original way, but unfortunately it also means everything after the duel falls really emotionally flat. The deaths in particular were hard to watch. I also think Tybalt was underused in this sense and was way too serious (sooo sad because the actor is really pretty and seems good tho he was given fuck all to do) while Paris should have been less comedic, given that the fact this doesn't cut the sexual-harrassment-in-church-scene (THANK GOD) makes him REALLY sleazy and a legitimate threat for Juliet. Though I love the scene where the Capulet's have to basically passively aggressively kick him out of the house.

Another noteworthy point is that the script cuts almost nothing, a few scenes are shortened but all are present. Personally I find this great as I am a big fan of a lot of scenes that are often unappreciated and cut - the aforementioned conversation between Paris and Juliet, the scene were Juliet complains about the nurse being late, a few Bencutio-inclined scenes etc. However they really could have used to skip a few purely comedic scenes involving the servants, and the prologues, seriously? The prologues in the year of our lord 2009?

There's also a little added bickering between Lord and Lady C about whether to have the wedding on Thursday or Wednesday to make fun of Shakespeare fucking up the timeline, which is obviously awkward and unnecessarily but lord do I respect the principle.

The costumes are good, imho, a bit plain/stiff in some cases. In particular I'd like to know what possessed them to have gray as Juliet's main color. But for the rest they look nice, especially Lady C's, Nurse's and the young men. I also appreciate that Juliet wears blue and Romeo red for the wedding, it's really pretty and symbolic, and that there's a difference made clear between everyday clothes and the nice ones for the party or the wedding for Romeo too. I also love his ball headdress of twigs and feathers, very cute and fairylike.

Now - the characterization. As I mentioned I was extremely pleasantly surprised by Ellie Kendrick's Juliet. She's the first actress that I think captures Juliet's snark and feeling of like... Overwhelming urgency and intensity. When she says on the balcony that she's incapable of being as coy and poised and careful with her feelings as other girls, it's believable, when she complains about old people being slow and acting like they're already dead compared to her warm youthful blood and passion, it's... A bit mean as teenage girls will be, but believable. One thing I love about Juliet how Shakespeare wrote is that she has a lot of these little character touches that set her apart from a Stock Romantic Maiden and she really makes it shine more than any other actress. My issue is that her portrayal changes very little through the play: in some cases it works well even in heavier scenes (for example the conversation with Paris and then with Friar Lawrence has such fervor and bitterness to it, I love her little snarky huff when FL doubts she will have the courage to go through with her plans) in other it really doesn't. The poison speech is really, really jarring, I know her speeding up like crazy is meant to convey anxiety but she doesn't really make it come across imho, and she shows almost no emotion in her death. Points added for the Gallop apace fiery footed steeds speech tho, it's really charming and mischievous ad I loved it. She also does surprisingly well with the reaction to Romeo's banishment despite not being usually good with sad scenes

Now, Romeo... Romeo seemed really mediocre to me from the clips and then he grew on me, but he's quite strange. In most of his scenes he seems... Uhm, too dramatic? Too conscious of the fact he's acting? Which I don't know if it's meant to be reflective of Romeo's personality or simply the actor's style. I could appreciate it as a characterization choice if he started acting more naturally after meeting Juliet and dropping his Unrequited Love Angst (which he does for a while), but then for some reason he goes back to it, to the point where the duel with Paris and his death is the worst offender. So it's really unclear what he's doing. His best scenes are definitely the balcony, the conversation with Friar Lawrence (such genuine affection and complicity! This production does GREAT at establishing the kids' relationships with their surrogate parents, I wish it was more common) and his conversation with the nurse, which coincidentally are those where he acts more natural. In these scenes, he comes off as really sweet, enthusiastic and outgoing but a bit awkward. Real quality facial expressions. Again, feels believable when Mercutio says "now art thou sociable, now art thou Romeo!". I have a ridiculous soft spot for the moment where he tries to make the "Young Romeo will be older when you find him than he was when you sought him out" joke and it falls completely flat and Nurse just stares at him weirdly.

Overall I appreciate the intent of the actors to give the lovers more of an individual personality than usual, but they take it too far and don't drop it at the appropriate moment

Now, for the secondary cast. Nurse is great, one of the best in the cast for ability to play both comedy and tragedy I think, I liked Lady C's characterization, more bumbling/distressed/trying and failing to parent emotionally inept mom than the usual Slutty Wine Mom which is starting to honestly bore me, Friar Lawrence is really cute and I love they gave him his speech about flowers. The prince is completely forgettable, Lord C a bit too bumbling to be intimidating imho, the Montague nonexistent. I already talked about my issues with Paris

Passing to the boys people actually care about here:

- Tybalt unfortunately doesn't offer much to like. He's very serious and poised and mhh just lacks feral energy. His scene with Lord Capulet is good but the fights are nothing special. He gets slapped by Lord C also :/

- Benvolio is cute! He gets a bit more frat-boyish characterization which is nice after all these tiring nerdy cinnamon roll too pure for this world portrayals, and he's very distinctive from Romeo. I think there's also great Bencutio chemistry here, they had some great scenes in the one after the ball where they look for Romeo together and the "more than prince of cats scenes". The first in particular, featuring the drunk boys trying and failing to make rhymes to conjure Romeo, is one of the better accomplished comedic scenes. Unfortunately there's not as much mileage to take from the "Thou art as hot in thy mood as any Jack in Italy" conversation, he doesn't get mad about it :/. For the rest I like his part in the opening fight and his anger at Romeo in the post-duel scene. Also he's green-coded which is nice

- Mercutio... Agh. So there's a similar problem here as with the lovers, acts great in more light toned, underrated scenes but the main ones are somewhat underwhelming. All the Montacrew conversations are delightful, he's very expressive in his gestures. The aforementioned Bencutio scenes are great and so is the one with the nurse, tho I wish he didn't kiss her, it's not really necessary to resort to sexual harassment to show him as an annoying dick. However there are some points where he comes off WAY more bitter than necessary at Romeo's romantic exploits and ??? People are aware you don't HAVE TO code him as in unrequited love with Romeo if you don't intend to do anything with it, are they? (tho they do have a very cute scene where they lie on the ground together and snuggle as they banter) However, the queen Mab speech and the duel, which are the most important, fall very flat. He can't make up his mind on whether the queen Mab speech is a breakdown or just a ramble to show off his wit, and the Montague boys definitely react like it's the latter. He shows some very nice anger in the "I talk of dreams" bit tho. Overall it's weird and seems boring, too long

I need to have a full paragraph to talk about the duel because it's imho one of the most botched scenes. It's overpowered by the drums, confusing and chaotic not in a good way. Tybalt doesn't seem very interested in fighting Mercutio, nor the other way around, Tybalt seems actually almost uneasy and like he accepted because he was embarrassed to refuse. However this doesn't reflect in the actual fight, which is very violent where this would make me expect a Zeffirelli-like, playful and dramatic duel that goes tragically wrong. Mercutio's death is fairly cold, save for the plague o'er both your houses line which is always awesome, and maybe i influenced by the musical but there's a strong lack of reaction and affection from the Montague boys, they don't touch or hug or even like... Cry or anything. I do like Romeo and Tybalt's duel, in particularly the fact it's mainly a fistfight, to emphasize how much rawer and realer it is than the first one - tho again, because the first one is more violent than warranted the contrast loses a little in strength. There's also no emotion or reaction whatsoever from Tybalt at any point which is a little weird given how this started.

Romeo's reaction is also not great. He's mainly angry, although understandably, doesn't seem to feel guilty or sad at all about either Tybalt or Mercutio. He also repeatedly punches Tybalt's corpse, which... This coupled with the fact they keep him killing Paris, but not the scene where he talks to Tybalt's corpse in the crypt is a little weird. I know some people like to play Romeo's arc as a descent into darkness with him losing his principles and natural gentleness as he's pushed off the deep end, and I'm not necessarily opposed to it, but I don't think anyone involved in this has the capability to handle that well, so it just seems strange and out of character.

He does break down a little in the following scene with Friar Lawrence, but still he doesn't seen particularly mad about anything but his banishment. I do love how he emphasize his feeling of betrayal from his One Trusted Adult tho.

So, overall I really like this. Great cast, some wonderful ideas, very vivid and fun to see. I just wish they could have balanced tragedy and comedy better because literally all the issues come from there

#Romeo and Juliet

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ask-shakespearehigh · 5 years

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in true highschooler fashion i must know.... who are the weebs and the gamers of the cast

Aster’s Kids

(( [name]*= has responded/been mentioned/is set, but has not appeared in design))

Macbeth

Macbeth— no, he did homestuck but he doesn’t really do games and has seen one (1) anime, bc of Banquo (it was FMA:B)

Lady— she’s “too pretty to know what that (anime) is”

Banquo— he’s like. Casually anime. FMA and FMA:B, Yu Yu Hakusho, he had an Inuyasha phase briefly, and he’s big into Pokemon. He doesn’t do much console or PC gaming, but he has a DS and he plays Pokemon games, Stardew Valley (if that’s on DS???), and Animal Crossing (he likes. Chill task based games)

Macduff— will play smash and Mario Kart at parties and is decent

Duncan— nah

Malcolm— dumb shoujo anime/manga is his secret guilty pleasure

Donalbain— he plays indie games. He got Very into Undertale. He likes Bastion, One Hand Clapping, and Cave Story.

Twelfth Night

Viola— their family owns a Wii and she fucking kills it at Wii Sports. Also Mario Kart. She’d be better at Smash if she didn’t insist on always playing as Kirby.

Sebastian— same as Viola.

Antonio— he’s played overwatch. That’s about it though

Duke— he’s seen a few anime, mostly via Netflix surfing. He actually really likes Ouran.

Olivia— nah

Malvolio— nah

Taming of the Shrew

Kate— nah

Bianca— nah

Petruchio— he feels like he plays some sorta FPS

Julius Caesar

Julius— nah

Calpurnia— animal crossing sometimes

Cassius— yes he’s anime but it’s a secret and he will Never admit it

Brutus— he’s anime and Will admit it but no one has ever asked

Octavius — he plays fortnite but he hates that he does so

The Tempest

Miranda— fire emblem baybee

Caliban*

Prospero*

Much Ado About Nothing

Beatrice— probably but idk what

Benedick— same

Borachio

Others

Antony— Smash and Mario Kart at parties and stuff. Got very hyped about Dream Daddy, it was ironic at first but then.

Cleopatra— same as Lady.

Star’s Kids

Hamlet

Hamlet (Tristson) - no. Watches horatio and ophelia instead of playing bc he has “better things to do”

Ophelia (Elskerson) - beats her brothers ass in smash. Mains peach and isabelle. Has played stardew valley. Also mario kart

Horatio (Venson) - plays smash w ophelia and sometimes w yorick. Mains fox and ness. Surprisingly good at mario kart.

Laertes (Elskerson) - has gotten his ass beat in smash. Mains ganondorf and bowser but he sucks at it lol. Aggressively hype abt wii games for no reason

Yorick - hes baby but he has played smash.

Fortinbras - hes too busy studying

Rosencrantz* - yeah both but i dont rlly care abt them sorry :(

Guildenstern* - “”

Gertrude* - no

Claudius* - no

Hamlet’s Dad* - no

Romeo and Juliet

Romeo (Montague) - YES the montacrew has game nights (smash, mario kart, just dance) Benny made him watch ouran and his favorite is tamaki

Juliet (Capulet) - has played mario kart w tybalt but isnt rlly a gamer girl. She likes shoujo anime a Lot and loves cardcaptor sakura

Mercutio (Prince) - KING OF JUST DANCE!!!!!!! KING. Owned a sasuke body pillow on a dare from romeo in middle school. Benny got rid of it. Has seen princess jellyfish

Benvolio (Montague) - shounen stan for the most part. Fairy tail, naruto, dragonball etc. watches slice of life to make fun of it for being cliche. Cried really hard at the nina tucker episode of fma:b

Tybalt (Capulet) - i feel like….he plays overwatch….and mains hanzo

Paris (Bellarico) - has seen episodes of bnha and sailor moon but isnt an avid anime fan. Thinks the 90’s anime aesthetic is sweet

Escalus (Prince) - owned a gamecube growing up and loves pokemon. Slides references to them in his homework like a NERD.

Rosaline*

Othello

Othello (Cuore) - mario kart and smash (doesnt main anyone he likes trying out every character but thinks big mac is fun even tho hes not rlly good at the game) he likes pokemon but doesnt play the games. Watched the anime growing up.

Desdemona (Di’Bianca) - “”””fake”””” gamer girl energy but she’s already tracer AND widowmaker. Good luck stopping her. Sipped a grande low-fat whip caramel macchiato while watching the E3 stream.

Iago (Ilmale) - HE LIKES SONIC UNIRONICALLY BC HE GREW UP W IT. He’s seen some classic shounen anime like bleach and tried bnha. Liked bakugou.

(Michael) Cassio - played persona. Catches himself singing Last Surprise under his breath. Thinks akira kurusu is really hot. Hes right. Has yet to try anime but hes interested

Roderigo (Ingenuo) - i wanna say hes played like dating sims? But not gross creepy ones i mean like from indie artists. Undertale fucked him up real bad.

Emilia (Ilmale) - she likes women she hopped on revolutionary girl utena and keeps searching for wlw anime. Bloom into you got her messed up rn

A Midsummer Night’s Dream

Puck (Robin Goodfellow) - runs a gaming channel on youtube and watches a Lot of anime. Definitely has a lot of merch

Oberon (Kingsman) - anime and game nights at his house! Owns dream daddy for the gay rights.

Titania (Queensland) - realized she was gay after watching sailor moon and the “””cousins”””. Pretty good at video games. Has the persona dancing star night game for seemingly no reason (its for ann)

Peaseblossom - LOVED princess tutu and never shuts up about it. Plays the hall om mig amv all the time

Moth - sings anime ops randomly for no reason. Mains the cute characters on smash

Cobweb - married tharja in fates for the goth rights. Mains bayonetta.

Mustardseed - MINECRAFT.

Hermia - puella magica madoka girl. LOVES the magical girl aesthetic. Started sewing bows onto her dresses

Lysander - the designated gamer of the 4. Immediately attaches to pretty boys in animes. Claimed he was a “bishounen” himself when he was like 14 and the rest havent let him live it down.

Helena - likes mystery/horror anime like baccano and tokyo ghoul

Demetrius - action shounen stan. Owns an akatsuki cloak

Nick Bottom* - watches hentai

Puck’s Dad 1 (Puck based) - pokemon champion fire red

Puck’s Dad 2 (Oberon based) - pokemon champion leaf green

Love’s Labor’s Lost

Ferdinand - started playing volleyball bc he likes haikyuu. didnt think hed get this far

Birone - thinks fma:b is the peak of anime and hes right.

Longaville - likes the boxing anime (cant remember what its called) and smash (mains ryu)

Dumaine - hes the video of the drunk guy making all of the noises in the crash bandicoot game

Princess - she Is revolutionary girl utena

Rosalina - won’t ever admit it but does watch some anime from time to time.

Katherine - hibiki girls euphonium stan even tho she doesnt play an instrument

Maria - got tricked into playing fortnite once. Plays minecraft on peaceful and is rlly excited about bees being in the game

Others

William Shakespeare - “anne whats a waifu”

Anne Shakespeare - has a pkmn card collection. Loves sylveon

#shakespeare #mod star #mod aster #UGHHHHHH #all

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elisabeth515 · 5 years

Text

You know I said I’m a theatre nerd in the bio-

Oof yes. I’ve almost forgotten this account but here I am just doing some posting...

Favourite musicals?

“Les Misérables”, “Mozart L’Opera Rock”, “Le Rouge et le Noir”, “Le petit Prince”, “1789: Les Amants de la Bastille”, “Notre Dame de Paris”, “The Phantom of the Opera”, “Hamilton”, “Heathers”, “Wicked”, “Kinky Boots”, “Dear Evan Hansen”, etc. (I just like a lot of musicals lol)

Newest Obsession?

“Roméo et Juliette, Les Enfants de Vérone”. I have just watched the musical live in Hong Kong. That was the very last show of the tour and I can’t get over it aaaaaaaaaaaaaaaaaaaaaaaaaaaa

(Have a cute picture of the cast during the curtain call. That’s Tybalt who is in the centre of focus.)

My favourite character from the musical is Tybalt; even though in this story, he had an unrequited love to Juliet, he’s just too #relatable lol. He is played by the nico nico niii Nicolas Turconi in this production and this guy is so adorable. Oh yes and Tycutio is my OTP

Have you watched any musicals live?

You know the answer already. I have watched 3 West End musicals (“Les Misérables”, “The Phantom of the Opera” and “Wicked”) and a touring French Musical (“Roméo et Juliette, Les Enfants de Vérone”). I also have watched a college production of “Chicago” and an amateur production of “Cats”.

The most memorable experience with musicals?

Ah, there are several ones:

Watching the iconic original Les Misérables production in Queen’s Theatre during a study tour. That’s the reason why I got into musicals and thanks to this I got out from my anime addiction.

Watching “The Phantom of the Opera” in London with mum then two days later we went to watch “Wicked”. That was pretty crazy to be honest but in both shows we got pretty good seats.

Not exactly a musical one but I attended Laurent Bàn’s solo concert in Guangzhou, China with my friend and holy heck he is so attractive-

Buying some local food for the whole cast of “Roméo et Juliette” when showing in Hong Kong. I managed to give them to the cast at the stage door and I’m happy that they liked them because I had never tasted it before giving the whole bag to John Eysen (who plays Mercutio in the Musical)

Asking Nicolas Turconi to say “Nico Nico nii” to the fans at the stage door out of no reason and someone filmed the whole footage and posted it on Weibo. Still I have no idea what the hell I was doing but the prince of cats really said it-

Being a french musical fan has so much fun lol

Would you read the original stories after watching a musical you like?

Certainly. This is probably the primary reason of me ended up reading the classics. Right now I am reading Shakespeare’s “Romeo and Juliet” and holy heck I just can’t help imagine Tybalt as Nico

Opinions on Movie productions of Musicals?

Besides movie musicals like “The Sound of Music” and “Mary Poppins”, here are my opinions:

Short answer: they sucks.

Long answer: Certainly, they attracted more people into musicals since not everyone could afford a show (the average ticket price for a west end musical starts around £25-30). However, you have to expect that the singing in the production would be discounted, comparing to stage productions. Although movie productions sometimes would add details from the original story (like in “The Phantom of the Opera” movie, they got the torture room mentioned in the novel), I am certainly not a fan for most of the productions (*cough* *cough* that Phantom Movie). Honestly I have no hopes for the upcoming “Cats” movie.

Well, as for the voiceovers in other languages, I am pretty cool for it at this moment, at least I found out that they got professional musical actors to do the roles.

Musical Ships?

Yeet.

My OTPs are:

Enjolras x France (Les Misérables x any franchises with human countries except countryhumans)

Enjoltaire (Les Misérables)

Valvert (Les Misérables)

Marius x Cosette (Les Misérables)

Lams (Hamilton)

Hamliza (Hamilton)

Tycutio (Roméo et Juliette)

Orpheus x Eurydice (Hadestown)

Mozalieri (Mozart l’Opera Rock)

Glebga (Anastasia)

Erik x Christine x Raoul (The Phantom of the Opera)

Et cetera, et cetera...

Opinions on the fanfictions?

What can I say? They are pretty cool given the fact that they fulfilled our inner dark desires of shipping the characters together (or even to the readers themselves) but at the same time some of them might be cringy honestly.

That’s all for the questions! Thanks for reading. You are welcomed to answer the questions I mentioned in this post. See ya!

#questions #blog #musical fan #theatre kid

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moonaft · 6 years

Text

The Winter Long - Reread

Rosemary and Rue

A Local Habitation

An Artificial Night

Late Eclipses

One Salt Sea

Ashes of Honor

Chimes At Midnight

Interlude : Full of Briers

As always, spoilers up to The Brightest Fell and October 2018 for the Patreon stories. No spoilers for Night and Silence, and at this point I think I’ll have finished the entire reread by the time I get my copy. Which is just as well.

First off, ‘the winter long’ is one line after ‘rosemary and rue’. Is the final book going to be ‘Grace and Remembrance’?

I really like TWL. This was a good book, filled with shifting allies and cameos by my favorite people. It’s probably my favorite after The Brightest Fell and not just because of Simon.

I am going to ignore the fact that the knowe is called ‘Muir Woods’ even before it was named that in 1908. Maybe? Maybe Arden took up the name really quickly. I can’t find a mention of it by name in Patrick’s first short story and I can’t dig up “In Little Stars” right now to check if it was called Muir Woods back then. Patreon’s search sucks.

Onto the ball! A good ball, in which no one gets poisoned or nearly assassinated and Toby doesn’t commit murder. Yeah, if I was her I also wouldn’t want to go to fancy balls. She takes after Sylvester in that regard.

Speaking of, hi Sylvester! Hi Li Quin!

Arden has social anxiety and needs more friends than Madden. I am surprised no noble Daoine Sidhe have come a-courting. At least she’ll get Walther and Cassandra to take jobs at court soon.

I love Arden subtly copying Quentin in table manners.

Are Raven-maids and -men the opposite of Selkies, born birds and need the feathers to transform? Jazz takes off her band to turn into a raven. Amandine doesn’t, but presumably her magic can force the transformation regardless. Though Amandine does imply that destroying the band will keep her as a human.

Yes, it’s time to put everyone to bed. Meanwhile, Toby gets to pull some all nighters.

Hello, Simon.

I love how no one has questioned where he was since Late Eclipses, and that only as a brief mention. He’s the tragic backstory, not meant to show up in the present. Oleander was that too, but now she’s dead and can’t hurt anyone anymore.

Yeah, she was really not expecting that. Why is it that the bad things only happen to Toby during the books? From the plot summaries, the time between the books is the only time she gets to relax.

Yes, that’s not Sylvester.

It’s sad how much Toby has internalized him as her personal boogeyman. Dugan, Riordan, Samson, the false Queen could all be fought. It wasn’t easy by any means, but here Toby’s given up without a fight which just doesn’t happen. She’s already determined this is a fight she can’t win.

I love that the first thing Simon does is praise her. He genuinely does not mean her ill-will.

So Simon has not seen Evening in years prior to TWL and did come to warn Toby about it. Or, turn her into a tree for a hundred years, but to him, that is helping. Evening didn’t send him so he must have gotten word somehow that she was returning. Where was he all those years?

Hello Jazz, you have great timing. Sorry that you are once again attacked in your own home.

Simon didn’t come in limping – Toby turning his spell back against him must have hurt him badly.

Why exactly does Simon have so many transformation spells? Is this his own flower-based transformation or something he got from Evening? It could be his own – he once transformed Patrick’s suit into something more modern and there’s no indication that eventually failed. And why fish? Could he have transformed Patrick into a fish so he and Dianda could spend time together in the Undersea without breathing spells? That would be so cute.

Good job on using your cats to warn Tybalt.

I think even May gets over her feelings by the time of TBF, or at least, she’s willing to let him try so they can save Jazz.

All in all, Simon’s going to get what he wants by the end of this book, namely, Toby’s safety. Sure, he’s elf-shot but so’s Evening. It’s TBF where he’s going to get his ass kicked repeatedly.

Same, Quentin – I too have an endless supply of songs about boats. Five bucks says you’re singing “The Mary Ellen Carter”.

Tybalt probably would still shred Simon to pieces given the change but he’s out of the picture for all of TBF.

Why do you think you can predict what Simon’s going to do, Toby? You know literally nothing about his objectives. He’s also willing to answer what he can of your questions and tell you things without being asked.

The knowe is willing to let Toby through, and she is family. Would the knowe have let Simon through because he helped build it? What about August?

Way to mess it up, Sylvester. You definitely should have told Toby about Simon before you sent her after him. But that’s in the past and doesn’t matter, does it, Sylvester? Just like September, just like August. It can’t hurt you anymore, right?

I do believe the twins were close once, and by 1840 that’s no longer the case, but it doesn’t matter until 1906. You didn’t help enough to find August, or you encouraged her too much, it doesn’t matter. Simon wanted you to hurt the way he hurt, and if you can’t see that, you have forgotten too much.

Yeah, I can’t imagine Simon hurting Amandine unless it was in direct defense of August or Toby. Sylvester, you should know Amandine’s not going to let him back into her life without August present. You should know this, why don’t you know this?

Tybalt, you told them to run, that is not the Torquills’ fault. Hey, remember that decree that says if you want to marry one of the three, that one can’t refuse?

“I need you to live long enough to be cannon fodder when Simon decides to attack.” Quentin loves you too, Toby.

You are missing a vital, vital piece of why Simon was running around with Oleander. He’s not doing it for shits and giggles, Toby.

Poor Luidaeg. It sucks having the answers and not being able to tell them. Toby’s doing better on the questions this time around.

“At least we know that Simon won’t be able to come after us there.” One small problem with that, Toby.

Does each Library have its own library card, or is it an all access pass?

Mags definitely wanted Toby to show up after Simon left. Whoops. And Toby, you still owe her your mother’s history.

Hi again, Simon. Maybe this time you can actually talk?

Yeah, the arrangement with Oleander is definitely non-con. Everyone is glad she’s dead except probably Evening.

Simon has three modes in this book: what he thinks will help Toby, what Toby thinks is helpful, and what he does as a servant of Evening. This is the middle interaction – useful information, no one is transformed or hurt.

Toby, remember you still owe Mags info on your mom.

Amandine definitely ruined your life, Toby, even if you don’t want to admit it.

Good job on raising the dead, Toby.

I guess Evening is a vampire? There’s at least one Snow White legend like that.

“Your lover was a Selkie; he told me quite a bit after he died.” How- What- Did the Luidaeg summon the night haunts to talk to Connor?

How long had Simon been sitting on Toby’s doorstep? He must have gotten straight to Shadowed Hills to get the roses and then back to her place. To the rose gardens at least, he couldn’t have gotten into the halls themselves.

This is the other thing – Toby stops again to ask her personal boogeyman for help. She trusts him enough to do that, which is something we don’t see anywhere else in the series. To be fair, Simon does keep insisting that he’s there to help, which is something no other villain does.

And Simon’s convinced she’s going to die.

May’s benched again, which is a recurring theme that she specifically acknowledges. Let this girl have a field trip with Toby.

Although not into the ocean because that’s where everyone ended up! Hi Dianda. Thanks for saving Toby from drowning.

I wonder what would have happened if Toby told Dianda that Simon gave her the warning. Probably nothing good – here’s yet another trusted authority figure who knew about that relationship and didn’t tell her.

Hello Evening. Hate to see you again. If only Dianda could punch you in the face.

Here her magic is roses and snow but I swear I’ve seen it described as roses and apples somewhere.

So where was she these past few years as she recovered? Does she have another knowe?

So why is Marcia not affected by Evening’s magic? Evening doesn’t recognize Marcia as anything other than changeling, I think. But Evening wouldn’t care that much. I really really want her to be Titania. Maeve would be cool too, but I want her to be Titania.

Good thing no one drowned in that little episode, including Tybalt and Quentin.

Hi Raj! Everything’s ok!

Props to Toby for being willing to burn the Library down to get it to close, and kudos to Mags for listening to her.

And Simon’s playing double agent on the phone. Toby couldn’t have gotten through this book without him.

Toby hasn’t actually slept since before the Yule ball. How many days and nights has it been since then?

So why did Evening get Quentin sent to Shadowed Hills directly after Luna and Raysel’s return? How did they break free?

Riordan was once in Alameda – how did she move down to Dreamer’s Glass?

And how did Sylvester know they were coming? Simon must have told Evening, or maybe Evening assumed Toby would show up.

Hi Etienne, Bridget and Chelsea!

Yes, leave the boys behind to play Xbox games. Good plan.

Luna does have several points about Evening, Raysel and Karen. Why, exactly, does Stacy have two Seer daughters? She is also smart enough to get her favor from Toby before telling Toby what’s going on.

Is Toby going to have to do a favor for every ally she has?

You can take the Daoine Sidhe out of the Torquill but you can’t take the fox-fur hair and golden eyes.

Poor Raysel. I hope this helps her.

Huzzah, Toby gets to sleep!

Hello again, Simon. OK, Toby doesn’t think he told Evening that she called Shadowed Hills. And he’s back at the house.

There’s something to be said for the image of Simon petting Toby’s rosebush-cat for hours.

Yes, everyone needs group therapy, which clearly doesn’t exist in Faerie.

Correction: there’s nothing in his blood now that she could change. If Toby knew enough to look, could she tell immediately? Maida told Toby that she was once a changeling, and now Toby can look at Quentin and see those watermarks. She has since looked at Sylvester and Simon and been unable to tell that they had human blood once, but Toby misses a lot.

Hmm, Toby is not this… intimate with anyone else. Mind walking while riding Simon’s blood? She’s never done this with living people before. I think if he can be saved in the end, it will involve something similar.

Yep, the non-con is strong here. Simon is a fascinating villain.

So what exactly was Simon planning here? Toby is not a tree. She’s out for several hours and up again. Was Simon buying her time?

Hi Luidaeg! Glad to see you up.

Titania also sounds like a shit mother.

Septiminus was Evening’s grandson. He certainly didn’t get his coloring from her.

“Most of her children died young.” But there were enough grandchildren to establish several Daoine Sidhe lines. Aethlin and Maida aren’t closely related to the Torquills or Dugan or Rhys or Riordan.

Maeve took what vengeance she could against Titania for the Luidaeg’s binding and we don’t know what that is, yet.

Ok, yes. This is where the Luidaeg says Evening’s signatures are apples and roses. Her own magic is brackish marshes and ocean air. Toby doesn’t ask about this.

Elizabeth Ryan would probably argue that the Luidaeg stole her heart but she isn’t here right now.

I am pretty sure Evening is older than the Luidaeg, but the Luidaeg implies Maeve could have had children before her, just not through Oberon. And none of them are living now.

The Luidaeg knows who Amandine’s mother is and can’t say.

Yes Evening, we know you don’t like Dianda and Patrick’s marriage. You can shut up about it now.

Is Dawn one of the things the Luidaeg can’t talk about? She is not mentioned at all in this book, least of all by Toby.

And Simon’s under Evening’s control again. Poor Tybalt.

And Toby’s covered in her own blood again.

Dammit, Sylvester, Simon’s better at giving Toby answers than you are.

Yes, which of the Queens owned that key? And what exactly is it?

Oh you still don’t know better by now, Toby. You are still somewhat blind to what’s going on around you.

Nice job breaking Evening’s spell, Toby.

Oh Simon, you were so close.

Being stabbed with Simon’s elf-shot laced blood is enough to take out a Firstborn but somehow drinking Nolan’s blood didn’t put Toby out.

Though being asleep isn’t going to stop her…

Naww, Tybalt and Toby are cute together.

Man, I really want to see Dianda and Patrick’s reactions on learning that Evening is the Daoine Sidhe Firstborn. And why does no one seem to recall Dawn? Is there a world-wide “don’t think about it” spell? If so, who could cast it?

#october daye

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arisefairsun · 7 years

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listen I love r&j so much they’re so cute. what do you think their dynamic would be if they didn’t have to worry about their parents finding out? who takes all the blankets at night? who makes breakfast in bed? who is the early riser? can either one of them sing or play an instrument? who is clumsier and who puts a bandaid on the other when they fall and scrape their knee? are they super pda? basically I just love them and I want them to be happy okay bye I love ur blog

THANK YOU! They had enough hate in their lives, they deserve that we give them some love!

But since the feud determines their lives to the point that they even commit suicide because of it, it is hard to actually know what Romeo and Juliet’s personalities would be if they lived in a loving, open-minded society. For instance, perhaps Romeo wouldn’t be so in love with love if his life weren’t so marked by hate, and certainly they wouldn’t have the need to kill themselves in order to “shake the yoke of inauspicious stars / From this world-wearied flesh.” Everything they do and say is conditioned by the violence and the hatred of their world, so if we isolate them from the feud, we are really not talking about Romeo and Juliet anymore… but as I love these star-crossed kids so much, I actually have a lot of headcanons about them being completely, perpetually happy. Because they deserve it and because they make me cry.

I tend to think that their dynamics wouldn’t really change. Both of them are so lively, so energetic, so desperate to feel the most extreme passions. That’s why they end up dead; they are too restless to succumb to the kind of life their society expects them to have. This impetuosity comes from their need to feel, to taste life in all its forms, and I think that’s exactly what they would do if they lived in a free world—live, because they are tremendously in love with life itself. They are too ecstatic and euphoric and impatient and tireless to ever fall into monotony. They would live each day in a different way and they would always look for ways to reinvent themselves, to expand themselves through new horizons. (See how they talk about lights forcing their way through windows and caves that they will tear by screaming.) They would always be full of ideas, always planning to do new things, always sharing their emotions. Moreover, I’m sure they would really stand up for each other, as they do in the play. They would always be there to remind each other how bright and valuable they are.

Romeo is a dreamer, a soft, childish boy who cries too much—his ideal world would be one in which he could just be himself, a world in which he wouldn’t be mocked at for showing his emotions. (Think about Mercutio’s reaction when Romeo publicly stated he literally loved Tybalt.) I think Romeo is really done with toxic masculinity, and what he needs is to live in a world where his idealism is not rejected. Juliet, on the other hand, is more of a realist. She’s always thinking and analyzing the situation. So they are quite different, but what’s so great about them is that they know how to accept each other. In the original text, they always inquire about each other’s opinions, aware that they do not always have to see things the same way. I don’t think that would change if they lived in a better world, and I actually think they fit really well: Romeo’s idealism may add some madness to Juliet’s down-to-earth reasoning, and Juliet’s realism may prevent Romeo’s dreams from governing all his life.

Now let me answer all your questions one by one because they are super fun!

Who takes all the blankets at night? Romeo takes all the blankets and he doesn’t stop moving and mumbling because he has such vivid dreams and he probably takes up most of the bed and Juliet always has to sleep on the edge.

Who makes breakfast in bed? Ever since Romeo bought heart-shaped molds off the Internet he makes cupcakes for Juliet to have in bed when she wakes up. (Because Romeo 100% loves hearts. Juliet’s nickname on his WhatsApp account is ❤❤❤ MY JULIET ❤❤❤ and if you ever ask him to draw something random he’d just draw a heart.) Juliet doesn’t really care much but since she knows Romeo loves making breakfast in bed for her she once did the same for him and he cried because #feels.

Who is the early riser? Looking at how Juliet just wanted to stay in bed in Act 3 scene 5 I’ll say Romeo wakes up earlier. (I mean, according to the play Romeo loves to wake up really early just to go write bad poetry under a damn sycamore.) Juliet loves to sleep and she always tries to talk Romeo into staying in bed and cuddle with her all morning.

Can either one of them sing or play an instrument? He’s not a good singer but Romeo always sings in the shower. He sings the most ridiculous songs and Juliet sometimes has to urge him to get out of the bathroom because he’s been locked in there singing out loud for decades. Also they sing together in the car and they really get into it. (And it’s always Juliet who drives because Romeo is too dramatic to even try to park his car.)

Who is clumsier and who puts a bandaid on the other when they fall and scrape their knee? Romeo is super clumsy and Juliet is his perfect prince coming to rescue him in a shining armor. (I mean, remember when Romeo dreamed that Juliet brought him back to life with a kiss as if he were a Disney princess? Yeah.) Of course Romeo is overdramatic and if he injured his knee he’d be like “that’s it I’m going to die this is the end I LOVE YOU JULIET” and Juliet would just be like “SHUT THE FUCK UP IT’S JUST A DAMN SCRATCH” but then she would pity him because he would keep complaining and she’d just fill him with kisses and give him a lot of affection.

Are they super pda? THEY ARE SUPER PDA LIKE, they are always kissing and ignoring everyone else and calling each other by the most ridiculous names and Mercutio doesn’t stop mocking them but they don’t even listen because they are too busy whispering ridiculous things in each other’s ear. They are that kind of couple that makes you uncomfortable BECAUSE THE INTIMACY but they can’t help it because they make each other so happy.

#answered #thoughts #Romeo and Juliet #Shakespeare #thank you for the message!!#Anonymous

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