Real life make believe
So I never did get to write about Kinkakuji. And in fact, I had forgotten to talk about it until Lincoln Center sent out its season-ending email. I'm no connoisseur of high-brow art and layered expressions of humanity's depths, but I can say I enjoyed the decisions behind the play's production. The logistic creativity and symbolic deconstruction of the stage were deeply impressive to a casual theater beginner like me.
I thought Yamakawa Fuyuki was a great contributor, the almost inhuman sounds coming from him really lent credibility to Mizoguchi's descent to madness. Not that Go-kun didn't do a fantastic job selling his character. I thought he, Daito, and especially Takaoka shone in their roles. Or I could just say I'm a complete fangirl and my unashamed bias cannot separate reality from expectation.
It wasn't bias, I swear. You can't prove otherwise!
The brochure was its own special source of amusement. I like how the director had this challenge to find a "grotesque" but likeable actor. V6: fulfilling your charismatically deformed idol casting needs. lol Plus I found it hilarious that ROOKIES and Tumbling showed up respectively under Takaoka and Daito's brief credentials. Now, those are easily two of my most favorite recent jdramas -- I'm not gonna lie -- but still. That's pretty funny. They didn't even bother with Battle Royale for Takaoka. While that movie certainly holds its own in kitsch value, I'm assuming it's slightly more relevant in the hypothetical pop culture hierarchy.
The stuff of critical acclaim.
Kinkakuji got me thinking about the plays I've seen in the past... and how I really need to start earning the cash and finding the time to see others. Here's a rundown of the plays I've seen live, arranged by favoritism:
1. BOOK OF MORMON (New York, NY)
I was so very lucky to see Book of Mormon for $50 when it now reportedly costs $300, not to mention a 3-month+ wait. I loved nearly everything about it - the story, the songs, the characters, and the actors that were cast perfectly.
I love the overall message of the play, which takes as much time lovingly insulting the specifics of a religion as it does emphasizing the meaning of it in our lives. It actually touches on my problem with the premise of The God Delusion -- that if there's this universal void in humanity, it should only be filled by worthwhile and productive endeavors such as science and philosophy. (Admittedly, I haven't read the book, but it has a spot on my to-read list.) Why do we have to measure ourselves by how productive we are? Why is that the standard that we all have to subscribe to?
But that's a lot of srs bznz that doesn't belong here. After all, I was originally talking about a musical that features a guy singing about maggots in his scrotum in three separate tracks. Yes, three. And yet it still manages to be my personal favorite play Of All Time (!!!)
2. Avenue Q (Manila, Philippines)
If pressed, I'd have to say Avenue Q is funnier than Book of Mormon. I would also say I like Avenue Q's songs better, albeit by a petite margin. But I thought it was more difficult to pull off Book of Mormon, for all its heart and its sweetness that wasn't jarring amidst the profanity and lewd gags. Having said that, I have to give it up to the concept of Avenue Q, as a sort of Adult Swim Sesame Street. Its simplicity is its genius.
3. Lion King (London, UK)
My mom had wanted to watch Mamma Mia, but I fought her tooth and nail in the name of Lion King. I like to believe that she didn't regret giving in. I found it fabulous, but full disclosure: Lion King is hands down my favorite animated Disney (non-Pixar) movie, followed by Mulan, A Goofy Movie and Fantasia. It already had my heart, even before it was brought to life by a cast with amazing vocals and performers with seamless movements whether in headpieces or stilts.
4. Miss Saigon (Manila, Philippines)
I pretty much grew up listening to Miss Saigon, because my parents thought it'd be a great idea to raise a kid on songs about reluctant prostitutes that end up killing themselves. Er. But I always thought that the songs were great, and that many of the characters from the musical were quite sympathetic. So it was almost a foregone conclusion that I'd enjoy the show, if only to see my childhood get sung onstage. I was a little miffed that Lea Salonga wasn't there for the performance I saw, though. Speaking of disappointment...
5. Believe (Las Vegas, NV)
This was complete crap. At that time, I had thought "Magic + Cirque du Soleil? How could it possibly go wrong?" I, obviously, had not been familiar with Angel Criss. The dialogue and the magic tricks were corny, and there was very minimal participation from the Cirque du Soleil performers. Lesson learned: always do your research. I might also have to attribute part of my severe dislike to Love having been sold out while I was in Las Vegas. To this day it haunts me. Every waking I day I think of a good enough reason to go to Vegas again.
And that's it as far as my experience with stage plays goes. I would love to see others like 25th Annual Putnam County Spelling Bee live, or You're A Good Man Charlie Brown done by a more professional troupe. (I've seen it done by a high school club and they were great, but I'd also like the more "grown up" experience... of a play with children as central characters, yes, I see the irony.) I'm also excited about Allegiance in 2012, for no reason beyond Lea Salonga and George Takei sharing the stage. Oh myyy.
I thought Yamakawa Fuyuki was a great contributor, the almost inhuman sounds coming from him really lent credibility to Mizoguchi's descent to madness. Not that Go-kun didn't do a fantastic job selling his character. I thought he, Daito, and especially Takaoka shone in their roles. Or I could just say I'm a complete fangirl and my unashamed bias cannot separate reality from expectation.
It wasn't bias, I swear. You can't prove otherwise!
The brochure was its own special source of amusement. I like how the director had this challenge to find a "grotesque" but likeable actor. V6: fulfilling your charismatically deformed idol casting needs. lol Plus I found it hilarious that ROOKIES and Tumbling showed up respectively under Takaoka and Daito's brief credentials. Now, those are easily two of my most favorite recent jdramas -- I'm not gonna lie -- but still. That's pretty funny. They didn't even bother with Battle Royale for Takaoka. While that movie certainly holds its own in kitsch value, I'm assuming it's slightly more relevant in the hypothetical pop culture hierarchy.
The stuff of critical acclaim.
Kinkakuji got me thinking about the plays I've seen in the past... and how I really need to start earning the cash and finding the time to see others. Here's a rundown of the plays I've seen live, arranged by favoritism:
1. BOOK OF MORMON (New York, NY)
I was so very lucky to see Book of Mormon for $50 when it now reportedly costs $300, not to mention a 3-month+ wait. I loved nearly everything about it - the story, the songs, the characters, and the actors that were cast perfectly.
I love the overall message of the play, which takes as much time lovingly insulting the specifics of a religion as it does emphasizing the meaning of it in our lives. It actually touches on my problem with the premise of The God Delusion -- that if there's this universal void in humanity, it should only be filled by worthwhile and productive endeavors such as science and philosophy. (Admittedly, I haven't read the book, but it has a spot on my to-read list.) Why do we have to measure ourselves by how productive we are? Why is that the standard that we all have to subscribe to?
But that's a lot of srs bznz that doesn't belong here. After all, I was originally talking about a musical that features a guy singing about maggots in his scrotum in three separate tracks. Yes, three. And yet it still manages to be my personal favorite play Of All Time (!!!)
2. Avenue Q (Manila, Philippines)
If pressed, I'd have to say Avenue Q is funnier than Book of Mormon. I would also say I like Avenue Q's songs better, albeit by a petite margin. But I thought it was more difficult to pull off Book of Mormon, for all its heart and its sweetness that wasn't jarring amidst the profanity and lewd gags. Having said that, I have to give it up to the concept of Avenue Q, as a sort of Adult Swim Sesame Street. Its simplicity is its genius.
3. Lion King (London, UK)
My mom had wanted to watch Mamma Mia, but I fought her tooth and nail in the name of Lion King. I like to believe that she didn't regret giving in. I found it fabulous, but full disclosure: Lion King is hands down my favorite animated Disney (non-Pixar) movie, followed by Mulan, A Goofy Movie and Fantasia. It already had my heart, even before it was brought to life by a cast with amazing vocals and performers with seamless movements whether in headpieces or stilts.
4. Miss Saigon (Manila, Philippines)
I pretty much grew up listening to Miss Saigon, because my parents thought it'd be a great idea to raise a kid on songs about reluctant prostitutes that end up killing themselves. Er. But I always thought that the songs were great, and that many of the characters from the musical were quite sympathetic. So it was almost a foregone conclusion that I'd enjoy the show, if only to see my childhood get sung onstage. I was a little miffed that Lea Salonga wasn't there for the performance I saw, though. Speaking of disappointment...
5. Believe (Las Vegas, NV)
This was complete crap. At that time, I had thought "Magic + Cirque du Soleil? How could it possibly go wrong?" I, obviously, had not been familiar with Angel Criss. The dialogue and the magic tricks were corny, and there was very minimal participation from the Cirque du Soleil performers. Lesson learned: always do your research. I might also have to attribute part of my severe dislike to Love having been sold out while I was in Las Vegas. To this day it haunts me. Every waking I day I think of a good enough reason to go to Vegas again.
And that's it as far as my experience with stage plays goes. I would love to see others like 25th Annual Putnam County Spelling Bee live, or You're A Good Man Charlie Brown done by a more professional troupe. (I've seen it done by a high school club and they were great, but I'd also like the more "grown up" experience... of a play with children as central characters, yes, I see the irony.) I'm also excited about Allegiance in 2012, for no reason beyond Lea Salonga and George Takei sharing the stage. Oh myyy.