Tag Archives: Analysis

Grease Live: With An Emphasis on the Live

For as much as live theatre is about the quality of specific performers or the strength of the material involved, it’s also about energy. There is an energy to song-and-dance performed onstage, and it’s an energy that has always been a central struggle for the recent revival of the live television staging of musical theatre.

Over the course of this recent trend, begun by NBC with The Sound of Music and now picked up by Fox with Grease Live, the various productions have been searching for how to tap into this energy when the conductive force of the audience is absent. The experience of seeing live theatre is in large part the experience of viewing it with other people, and not just in terms of being able to whisper reactions to the people around you. It’s about energy, a feeling in a room that you’re seeing a spectacle unfold before you or you’re being transported by an emotional ballad.

Social media can theoretically serve to bring the individual households tuned into one of these broadcasts together, but there isn’t the same type of energy, manifesting more as commentary than a natural emotional response. And while NBC’s musicals have evolved since The Sound of Music, this is one particular problem they’ve never quite solved: they have, by-and-large, been staging live theatre devoid of the energy that fuels it, hoping that what’s happening on the other side of the TV screens will cooperate without doing much to specifically address the issue. When Peter Pan build to its all-important audience participation moment, they accepted that the call would lead to no response in many cases.

And so when they announced that Grease Live would include a live audience, it seemed—on paper, at least—to be an effort to replicate this energy more directly. But whereas I imagined this as having an audience reacting to the production as one would at an actual theatrical production, it wasn’t like that at all. The vast majority of scenes went by without any audience reaction at all, with the audience only making appearances in selected large crowd scenes.

It was a decision I found confounding at first, but over time I started to realize that it was a byproduct of a central decision made by the production—led by director Thomas Kail—when it came to what they were making. Rather than a live staging of a theatrical production, Grease Live is the first real “television musical” to emerge from this era, designed from top-to-bottom to embrace the energy of watching live television.

And in the process, they managed to capture some of the energy of live theatre for good measure.

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Star Wars: The Force Awakens, and Rising Action as Climax

star-wars-force-awakens-official-posterIn his “review” of Star Wars: The Force Awakens—it’s really more of a commentary piece if we’re playing semantics—Salon’s Andrew O’Heir makes what I would say is a fair point regarding the film:

“You can choose to understand “The Force Awakens” as an embrace of the mythological tradition, in which the same stories recur over and over with minor variations. Or you can see it as the ultimate retreat into formula: “Let’s just make the same damn movie they loved so much the first time!” There are moments when it feels like both of those things, profound and cynical, deeply satisfying and oddly empty.”

O’Heir’s instinct to work against his initial either-or binary here is telling, and reflects a lot of what I reacted to within The Force Awakens. There is a larger narrative ongoing about this film being “safe,” and about duplicating and/or rebooting the existing films—primarily A New Hope and Empire Strikes Back. I think this argument makes a lot of sense when considering an overview of the film’s plot, but I think we need to fully acknowledge the tension with which this process takes place. O’Heir’s argument about the mythological tradition absolutely echoes in The Force Awakens, but the questions of how those stories will recur, and who they belong to, are more important to my experience of this film than the level to which they do or do not vary from the previous narratives.

[Warning: Pretty extensive spoilers for The Force Awakens, so proceed at your own peril.] Continue reading

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Season Finale: Game of Thrones – “Mother’s Mercy”

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“Mother’s Mercy”

June 7, 2015

As noted earlier this year, my reviews of Game of Thrones have shifted to The A.V. Club, but I will continue to link them here for regular readers, concluding with this finale. Warning: These are reviews intended for book readers, so if you want to know absolutely no small details about the story as told in the books, you may want to steer clear.

Game of Thrones – “Mother’s Mercy” [The A.V. Club]

This fifth season of the show was, for me, defined by the convergence of trust. It was the season where both readers and non-readers had spent considerable time with the show and the characters, each with a firm grasp on the rules of this world, and each with their own opinions of how that world should be handled. And, because of the divergences from—and in some cases expansions beyond—the books, there were large swaths of storytelling in which reader and non-reader were on the same page judging the producers’ plans for these characters.

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Refresh, Not Reboot: Thoughts on Jurassic World

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When Zach and Gray, two brothers from Wisconsin, arrive to Jurassic World, they briefly check into their hotel room. They’re VIPs, there at the behest of their aunt Claire, and her assistant gives them something important—wristbands, to signal their VIP status.

Although the film never actually explores this, my mind immediately turned to Disney’s MagicBand system, a new way for offering a more personal experience at DisneyParks. Your MagicBand opens your hotel room, pays for your meals, and at some restaurants it can even inform the host that you’re the person walking up to the podium, and inform them where you’ve been seated for that particular meal.

It’s unlikely that the MagicBand system was operational enough during the production of Jurassic World for it to be integrated directly into the film, but it’s a perfect technology for understanding its strategy. The MagicBand system has a complicated relationship with control: by giving the park guest a greater ease of control over their experience—fewer keys, no need to carry cash, fast pass access, etc.—it also gives Disney the data necessarily to control the park as a whole. They know how you move between rides, they know what type of people spend in what patterns, and they can design the parks in ways that support this.

In the film itself, this is how Jurassic World tracks and controls its dinosaurs, but that particular comparison is a dead end. Instead, watching the film I was struck by how much it feels like the result of the filmmakers tapping into market research from people of my generation who grew up with Jurassic Park as a formative filmgoing experience. We are the “visitors” to Jurassic World, and Colin Trevorrow’s film never lets us forget it—there is no hiding the line drawn between theme park guests and moviegoers, and of the need to create “new attractions” because we’re just not satisfied with what we had before. It’s a toothless critique given that the effects-laden film in front of us fully gives into the evolution of blockbuster filmmaking, but it is nonetheless a potent one in how it works overtime to tell us not to get distracted by the shiny objects. It takes the things for which we are—purportedly—nostalgic, wraps them up in things that are shiny and new, and then systematically pushes us to wish they could just be back to normal again.

And, at least for me and much of the audience I saw it with, it worked like a charm.

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Game of Thrones – “The Dance of Dragons”

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“The Dance of Dragons”

June 7, 2015

As noted earlier this year, my reviews of Game of Thrones have shifted to The A.V. Club, but I will continue to link them here for regular readers. Warning: These are reviews intended for book readers, so if you want to know absolutely no small details about the story as told in the books, you may want to steer clear.

Game of Thrones – “The Dance of Dragons” [The A.V. Club]

This question will be answered in the finale and in the seasons to come, but it echoes also in the other goal of “The Dance Of Dragons,” which is to pull the season’s most problematic storylines into thematic alignment. Stannis and Dany’s decisions are legible and offer clear consequences that pay off the dramatic stakes therein—both land as clear pivot points that set their characters on paths heading into the finale, and both are well-executed and engaging. But although there are similar stories playing out in King’s Landing and Winterfell, we spend our time here in Dorne and Braavos, which have struggled to connect this season for two separate reasons.

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Game of Thrones – “Hardhome”

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“Hardhome”

May 31, 2015

As noted last week, my reviews of Game of Thrones have shifted to The A.V. Club, but I will continue to link them here for regular readers. Warning: These are reviews intended for book readers, so if you want to know absolutely no small details about the story as told in the books, you may want to steer clear.

Game of Thrones – “Hardhome” [The A.V. Club]

These partnerships and alliances—one of them long anticipated—all speak to Game Of Thrones’ interest in making a larger point about humanity. Sam argues to Olly—who does not seem convinced, we’ll get to that later—that the Wildlings are humans too, and that’s admittedly a bit facile. But what Sam is doing is going back to a basic level of human life, an idea that works to break down the “wheel” of power in Westeros that Daenerys seeks to destroy. Cycles of human conflict are what Game Of Thrones was first predicated on, but the only true, unadulterated evil in this world was the very first evil we saw in the series’ prologue—those who are no longer living.

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Game of Thrones – “The Gift”

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“The Gift”

May 24, 2015

As noted last week, my reviews of Game of Thrones have shifted to The A.V. Club, but I will continue to link them here for regular readers. Warning: These are reviews intended for book readers, so if you want to know absolutely no small details about the story as told in the books, you may want to steer clear.

Game of Thrones – “The Gift” [The A.V. Club]

Game Of Thrones’ investment in gender roles is crucial to its storytelling, but it also tends to struggle at times through lack of context. If I were to describe Sansa as a sexual prisoner depending on men to help save her, that sounds some alarm bells—but when you consider it’s a woman waiting outside the gates to save her, and when you see how she works over Ramsay psychologically in their walk on the battlements, you see the show wants to separate Sansa’s larger arc from her situation. It wants us to see the forest for the trees, and to know that there is a future for this character, and that her future will not be as Ramsay Bolton’s abused wife. But it can be tough to depict this without having access to Sansa’s inner monologue, something the books could use to show resolve where the show must use dialogue or subtle acting that can often be lost in editing and the need to cram six or seven narratives into a given episode.

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