Five on Friday

Hello Everyone, 

It's time for Five on Friday, hosted by April, Darci, Christina and Natasha. You should go check these lovely ladies out, I absolutely love reading their blogs.

This week is some attempts of mine to try out photos on my GoPro. You can decide how they turned out.

1.

We came out of our class at the gym on Wednesday to a sight very similar to this, so once I got back to my room, I headed back out, determined to get some photos of the snow in the desert. 

2. 

Trying my hand at a selfie with the GoPro. Haven't quite got it yet, but getting there. And the scarf I borrowed off my roommate. And yes, it is a Gryffindor scarf. I'm proud of my house okay?!

3. 

The little river/pond thing round the back of the dorm. I thought it was pretty with all the snow. 

4. 

Okay, I cheated a little with this one, but I really like this series of photos. I tried the Time Lapse feature this time, and although they didn't turn out exactly as I expected, I just really love them. And yes, I am doing what you're all thinking. I am dancing in the snow. 

5. 

Again, I cheated. The lighting isn't quite as good as I would have liked in these ones, but I'm playing Hide and Seek with myself! I think it's cute, and wanted to share it with you. 

Wicked

Hello Everyone,

Original Stuttgart Cast
Photo by Brinkhoff/Mogenburg

Sorry for my absence from here, I have been so swamped with uni work, so unfortunately I haven’t had a chance to write anything. However, I have an hour free to quickly write about my fantastic night out in Glasgow seeing the UK and Ireland Tour of Wicked: the Musical, The Untold Story of the Witches of Oz.

Emily Tierney (Glinda) and Nikki Davis-Jones (Elphaba)
Photo by Matt Crockett

This was my third time in five years seeing this musical, so you can assume I am a fan. There couldn’t be any story surprises, although if you haven’t seen it before, I don’t want to ruin it for you. Just listen carefully to everything said in the first act, it will be useful.

Emily Tierney (Glinda) and Nikki Davis-Jones (Elphaba)
Photo by Matt Crockett

I absolutely love the songs of Wicked, and they are so catchy! I have the Broadway recording, which is fantastic with Idina Menzel as Elphaba, and Kristen Chenowth as Glinda. They are just so perfect in these parts. Clearly the songs are not going to change every time you see the musical, but the performance standard can differ.

Nikki Davis-Jones (Elphaba)
Photo by Matt Crockett

Elphaba, played by Nikki Davis-Jones, was superb. She captured the sarcastic passionate misfit who became the Wicked Witch of the West. She truly convinced the audience that all she meant to do is try to do good, it just came out wrong. Her version of Defying Gravity got the biggest cheer of the night at the end of the second act. It was the best version of the song that I have seen performed. She managed to portray the depth of emotion that was needed for the part, despite the slightly rushed element of the show (not any of the actors’ faults, really down to lack of time).

Emily Tierney (Glinda)
Photo by Matt Crockett

The next witch of Oz, Glinda, had a slightly more difficult job to do, as well as the seriousness of the role, she needed to have the biggest character arc of all the characters, starting as a dim insipid girl into a strong independent witch, with a lot of comedy in there as well. In the first act, especially the opening song, I thought that Emily Tierney (who played Glinda) was little pitchy, and struggled to reach some of the notes, but this can be put down to nerves. I would just like to say that she never hit a wrong note, but her voice was perhaps straining a little to get the volume that was needed. Nevertheless her version of Popular was one that she really made her own, and was one off the highlights of the show. And by the start of the second act, she was absolutely flawless, and really came into her own; especially in For Good, which moved me to tears.

Liam Doyle (Fiyero) and Nikki Davis-Jones (Elphaba)
Photo by Matt Crockett

Prince Fiyero, played by Liam Doyle, was a pretty impressive guy. Handsome, and with a swagger, he certainly looked the part. His dancing in Dancing Through Life was superb, which highlighted that perhaps he had been cast mostly based on his dancing ability, as his voice, while good, was not as strong. His performance with Elphaba in As Long as You’re Mine, was therefore surprisingly good. Again, although this is no fault of his, I would have liked a little more emotional depth from the character, but there just wasn’t enough time.

Photo by Matt Crockett

The highlight of the show however, was not any of the principals, but was the ensemble. The costumes and make-up were fantastic, and they were so well rehearsed it took my breath away. They looked as if they were having the best time. The big numbers, Dancing Through Life and One Short Day just put a smile on my face. Every single one of them was individual, but they were so together. They made me wish that it was socially acceptable to break into song and dance in real life.  I am trying really hard not to use too many clichés, but it is just so difficult when they were that good.

Dale Rapley (The Wizard) and Nikki Davis-Jones (Elphaba)
Photo by Matt Crockett

One of the problems I had with the production was that right at the end, when you see Elphaba being melted by Dorothy, one of the iconic and most important scenes, there was a technical problem. For the effect, and in order to set up an essential plot twist, a curtain was pulled across the front of the stage. Therefore, with the use of a backlight, the audience would only see the silhouette of Dorothy and the Wicked Witch. However, this went wrong, and I could not see anything apart from the green flames where Elphaba was melted. Only because of my previous knowledge could I have known what had happened. However, this is a small point that marred an otherwise very enjoyable show.

The biggest cheer at the end was saved for Scotsman George Ure (Boq)
Photo by Matt Crockett

Gracexxx

Scottish Ballet's Romeo and Juliet

Hello Everyone,

I was lucky enough to get a hold of a couple of tickets to go and see Scottish Ballet's adaptation of Romeo and Juliet in Her Majesty's Theatre in Aberdeen. I haven't seen this ballet before, and was looking forward to it. I was not disappointed. The choreography, which was a revival of Krzysztof Pastor's 2008 work, with the added effect of archival footage showing the passage of time from 1930's Verona to 1950's, and then into the 90's. 

Image courtesy of Andy Ross/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

The first act, although slightly slow, established the story very well. An interesting introduction of Juliet walking slowly through the end of a battle highlights her almost transcendence from the violence of the feud. The simple baby blue dress that doesn't change throughout the ballet, along with Romeo's suit, contrasts with the bright colours of the Montagues, and the darker tones of the Capulet's costumes, showing the youthful innocence of the love that she and Romeo share. This is again shown in their pas de deux, which has within it the teasing and laughter that only a first teenage love can have.

Image courtesy of Andy Ross/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

The Capulets in the beginning in an almost fascist-style black uniform are portrayed as the 'evil' of the two clans, contrasting with the easy laid back appearance of the Montagues. The classic chess black and white knight metaphor highlights the timelessness of the tale, as well as the changes in the film and costume of the dancers to reflect the passing of time.

Image courtesy of Christina Ross/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

The second act was more action based, and did not give an awful amount of time to the principal's pas de deux. The fight scenes were perfectly choreographed, with a slightly more real feeling to it, than abstract movements. However, the finale of the ballet was beautiful, the love between the two principals was clear, moving the audience into an emotional teary silence.

Image courtesy of Andy Ross/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

Andrew Peasgood (the alternative Romeo that we saw, the original is Erik Cavalleri) as Romeo complimented Luciana Ravizzi's (Sophie Martin as the original) Juliet beautifully. There is a lyrical connection between them that captured the young carefree love of teenagers. Although Martin does not possess the clearly more youthful appearance of a traditional Juliet, the younger face of Cavallari toned this down, pointing out the maturity of the characters, and that perhaps age doesn't really matter. This was touched upon with the pas de deux between Juliet and her mother, when she lovingly touched Juliet's lower stomach, emphasizing the maturing of a woman, and the continuation of the family line (which unfortunately will not happen). This is a poignant moment between the dancers, full of love and feeling behind it.

Image courtesy of Christina Riley/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

The portrayal of the mother throughout the ballet is a confusing one, but one that shows off excellently the complicated role of a mother, stuck between love for her child and husband, and her loyalty to her family and its discipline. This balance was struck brilliantly by Eve Mutso, who played Lady Capulet. A striking figure in a dress of black velvet, she tried to steer her children in the direction she thought best, and protect them from outside threats. In a slight deviation from the original text, it is Lady Capulet that brings the priest to Juliet, who then gives her the potion that indirectly causes the deaths of the young lovers.

Image courtesy of Christina Riley/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

The highlight of the ballet had to be Jamiel Laurence (Victor Zarallo as the original) in the part of Mercutio, in which he was exquisite. Ingrained into his very movement was a charisma and elegance that cannot be taught. It was he that moved you to laughter when he joked with the Capulets and to tears with the look of betrayal in his eyes as he was stabbed in the back. He was the perfect person in that role.

Image courtesy of Christina Riley/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html

I really enjoyed seeing Scottish Ballet's version of Romeo and Juliet, and I thoroughly recommend it to anyone. This is a superb piece of work, and if I could go again I happily would (hint hint).

Gracexxx

Wish my grande jetes looked like that!
Image courtesy of Andy Ross/ Sourced http://www.scottishballet.co.uk/romeo-juliet/romeo-and-juliet-gallery.html