Ripping - Coming to fruition

Hello Readers,

I have been out of the blog for a while as I've been creating projects and one of them is coming to fruition.

Ripping, my first produced stage play.

If you're interested you can read the first article below.

Ripping - coming to fruition

Rocky - Original Broadway Cast Recording

Rocky - Original Broadway Cast Recording Review

Can the Italian Stallion’s Singing overcome the odds?

CONTEXT

First off, of the Rocky franchise I must confess to as of writing not having seen all of the original 1976 Oscar winner, but to having only really seen Rocky Balboa where the guy from Heroes was his son (sadly no epic beat down between Sylar and Rocky) and the even more cheesy Rocky 4 which was marinated in subtle cold war overtones (which I remember enjoying in my childish need for cheese –Ivan Drago provided a sentence that one simply must use whenever I am gearing up for Smash Brothers, and it also had a Robot!)

Who can honestly say they haven't used a Dragoism?

But Rocky for the stage began its life back in 2006 when the stage writer Thomas Meehan, of Annie, The Producers and Young Frankenstein (with Mel Brooks) fame contacted musical team Stephen Flaherty and Lynn Ahrens (Composer and lyricist for Ragtime, Suessical and the non-Disney-but-often-confused-with animated film Anastasia). The musical team’s response is what you would expect, ‘No’. How do you turn a film that had a franchise and had ingrained itself so firmly into the American pop culture zeitgeist into a musical? Some of the issues off the top of my own head:

•          The films had been around for quite a while, with many parodies and call backs in other films.
•          Sylvester Stallone had become so intertwined with the character, much like his other ‘R’ character Rambo. This was probably contributed to by ol’ Sly using his own life as elements in the Rocky films.
•          Let’s face it Sly is not exactly the most clear spoken film actor.
•          Montages. How?
•          How do you stage boxing matches on the stage?
•          SPOILER (for (as of writing) a 37 year and 9 month old film) Rocky doesn’t win. Would people accept the original ending in a stage musical (because the majority of musicals still have ‘happy endings’.)

But perhaps because these three were quite open at the onset about the potential issues of the project, they were able to avoid the majority of them and identify the key factors that suggested that Rocky could be a good musical, namely that it is a story about a plucky underdog making good (rags to riches anyone?) and that there is also a strangely realistic love story in the centre of it.

So they wrote and managed to secure a meeting with Rocky himself Sly to present him with some songs. In Sly’s own words he ‘misted up’ when he heard them play these songs. These were good tears however and granted them his blessing.

Now I’m not sure if the Julliard reading was before or after the German Production, so I’m going to skip over it, you won’t miss much, it was a reading, people read things, they get a chance to polish the script and sometimes shop for Directors and supporters. Just imagine people sitting in chairs on a stage with some people in the audience. Anyway…

Rocky actually was beaten back by American backers. Black and bruised until a plot twist that as fate would have it would actually fit with in a Rocky film occurred. Stage Entertainment, the leading presenter in Europe that retrofits Broadway shows (including flops) for European audiences, came looking for something to build their musical spectacle name by developing shows as well. The catch, Rocky would have to learn German.

Ich liebe dich auch, Adrian

Remember how I said spectacle before, there is always issues with spectacles, how much is too much? Musicals have always had a small element that used spectacle to cover for some weaker elements, story, plot, and acting? No worries, as Billy from Chicago says ‘give ‘em the ol’ razzle dazzle… and they’ll never catch wise’.

What is the spectacle in Rocky? Sets or perhaps it would be better to say the ingenious use of sliding blocks to create sets, quickly and effectively that some are saying will bring new possibilities to theatre (Philly.com). The most exciting is perhaps the fact that if you were seated in the front stalls you would be escorted onto the stage for the final (20 minute) fight on bleacher style seats, thus bringing you close enough that you might start to think the boxing match was real. No wonder the set alone for the Broadway production cost roughly $4.3 million.

Mmm the intoxicating smell of sweat and money

So Germany were raving for Rocky, so guess who has a second opportunity to make good and take on the champ of musical theatre (told you, as if directly lifted from a Rocky film). Rocky had a successful Broadway opening on 13 March 2014, and was nominated for four Tony Awards in 2014 and winning for Best Scenic Design. What’s that you can’t wait to see it on Broadway? Unfortunately you can’t. It closed on August 17, but… if you understand German you can as of writing still see it in Hamburg. This is unfortunate for Stage Entertainment who’s other developed productions just haven’t landed with American audiences (Sister Act closed after 18 months and Big Fish was much quicker). Why? A mixture of things (as always) but probably the most prominent being:

•           Spectacles are not cheap to stage.
•           Marketing a new show is also not cheap.
•           Cognitive dissonance – What? Even after all that I have said above does the idea of a musical based on Rocky not just sound good, but seem even plausible?

The Soundtrack Review

Overview

Is Rocky one of those shows that doesn’t find an audience but has a soundtrack that will knock you out (sorry, couldn’t help myself)? In brief summary – Rocky gets some good punches in but ultimately loses (So it totally fits the Rocky plot).

Once again not having seen all of the original movie, I can only go from my general awareness in comparison. A big part of the appeal of Rocky I heard was that he was this everyman underdog, and the story was realistic (Sly did use elements of his life) and I understand why the creative team would want to maintain what I’m going to call ‘drained, grey coloured realism’.  Both the creative direction and songs were purposefully directed on the Broadway production to be as ‘realistic’ and ‘naturalistic’ as possible. Leaving songs to build slowly and fade out again, leaving most of the songs to be surprisingly short for a Broadway musical.

I think it speaks volumes in when you just compare the names of both productions. In Hamburg, Rocky das Musical. In New York, Rocky Broadway. The musical has been de-emphasised. I ask why? Overall it feels like if Rocky had truly embraced the Musical, and eased back on the ‘drained, grey coloured realism’ it could have been more thrilling piece.  So out of fairness for the album it was probably more intended as a memento for those who saw the show than as a musical soundtrack.

Although it might be better to see the show as a whole as more of a play with music rather than a musical, as a soundtrack to a show it needs to do certain things. So I will review it as a CD below, and if need to provide some comment on why I think they may have made some choices.

Overall Comments

Rocky Broadway the Original Cast Recording is hindered by its lack of associated images and spectacle that would have been present in the show, leaving the Recording as an oddity of subtlety and realism that although close to the realism of the indie film detracts from the possibilities available in the musical form, leaving me to feel the show might have been better served if it also had a DVD version of the stage show.

You can listen to the whole CD and know what is going on, which is a positive, and you will leave with having enjoyed some songs, possibly picked up some audition songs, but it probably will not become part of your regular playlist.

Track 1 –Ain’t down yet

The Rocky theme music starts up and builds you up expectantly but I was disappointed once the chorus started singing. The drained realism seems to keep the singing, simple and almost droning. This perhaps was purposefully intended to resemble the drone of a crowd, with its ‘Woh – oh’. Unfortunately this all added to a less than stellar opening number.

 Track 2 –Nose ain’t broken

This is Rocky’s (Andy Karl’s) first solo. It has a lot to do. It has to:

•           Introduce us to Rocky, his situation and his personality
•           Overcome the lacklustre opening number
•           Convince us that Rocky can sing.

The music for this song is simple, but heartfelt, exactly how the character should be portrayed. It successfully does the first, and its charm helps it achieve number two. As for convincing us Rocky can sing, yes, in a way. Rocky’s voice will not blow you away with beauty or vocal acrobatics, but it does fit Rocky. He’s a straight talking, working class man who isn’t above making fun of himself.  This song got me back on side, a self-depreciating comic number, even better when sung to turtles.

Track 3 – Raining

This is Adrian’s (Margo Seibert’s) first solo, and it almost definitely one of the better songs on the album. This is where you come for beauty on the album, and it’s more musically complex than Rocky’s theme, ‘My nose ain’t broken.  The song also performs its duty of setting Adrian’s slightly depressed personality and her back story. A good number, if slightly depressing, could probably live on as a concert solo or audition song in years to come.

Track 4 – Patriotic

Apollo Creed (Terence Archie, who transferred from the Hamburg run) provides a good shot of electricity to proceedings and succeeds in bringing you up from the sad dip of Raining. This song is a cheerful exploration of the selection of the Rocky as his upcoming partner, advancing the plot and introducing us to one of the highlight characters, even the chorus start to make steps to repair the opening here. I especially like the  line from Apollo that I will not do the disservice of ruining by posting here.

Track 5 – My nose ain’t broken (Reprise)

If only getting a date was as easy as in this song. I enjoyed how this song shows Rocky’s depth and how he stretches out to someone who is depressed by using his charming self-depreciation again. The song is simple but effective, and I am glad they included some of the dialogue for this track, as it adds heaps to bring to the fore the blossoming romance.  

Track 6 – The flip side

The ice skating song, simple and easy, but not in a bad way, building upon the setup from track 5. Rocky sort of comes across with track 5 and 6 as a loveable loser, which is very relatable. Because this point in the record we haven’t heard a lot from Adrian it is nice that she starts to come out of her shell a bit by bit. This is managed quite well, and the watchman counting down does ensure that the simple repetitive ice skating music does not stay around long enough to over stay its welcome.

Track 7 – Adrian

Rocky’s second solo, a love song.  At only 1:44 it does feel a little short, which is a shame because its message is a potent and deep well. This number could have been developed into a big ballad, but is held back to a simple, uncomplicated tune, with clean singing by Rocky, it’s nice as is, but I feel it could have been devastatingly good.

It is weird for a love song. Although I would have liked it to have gone bigger, where this could have been THE love ballad of the show, it is restrained. It’s tune, Rocky’s voice are rick with emotion, but it is subtle and if you are distracted you can miss it and the song. It’s nice as is, and some people may love it for its subtlety and it has lyrics which do draw upon a more realistic view of partnership where both parties are injured and have baggage:

‘We’ve been hurt, you and me,

We been told we’re nothing’ and

‘Somthin’ good is gonna happen,

All you have to do,

All you have to be

Is Adrian’

A powerful message for the depressed, that someone out there only needs us as we are, no matter how damaged.

My favourite moment of this track is near the end when Adrian’s theme ‘Raining’ is reprised, where my eye starts to twitch.

Track 8 – Wanna know why

You probably won’t listen to this track that often, preferring to skip over it upon multiple listens because it is essentially a dialogue scene, with some minor singing/talking in tune that reminds me of Professor Higgins.  However it does its job of forwarding the plot, and introducing both Gazzo (Rocky’s shady employer) and Mickey, and I have to admit it is quite fun to yell along with the characters when the Wanna know why’s start to fly.

Track 9 – Gonna fly now(variation)

The Rocky films had some very popular tunes during their run and this is the first of such songs on this Recording from the original film, if you enjoyed it from that however you may be disappointed from this 38 second instrumental. Its nice background music, but far too short to make much of impact besides possible nostalgia.

Track 10 – Fight from the heart

This is one of the stand out songs, and was one of the first written. This song was presented to Sly in the original pitch meeting, and it was probably the one that sold him on the idea.

Even more than ‘My nose ain’t broken’, this song should be used in auditions. It builds slowly, has a deep undercurrent that can be explored in inflection and has a nice, easy to remember beat. During this song Rocky reflects to his idol (Rocky Marciano) that he has to live up to his name, and that although he is aware that Apollo’s crew are looking for a clown, he doesn’t need to be. Boiling down to the ‘This is the moment’ of the musical.

Track 11 – One of us

The chorus is back in their crowd mode, but it is heads and shoulders above the opening in its entirety. The opening interviews between Rocky and Apollo before the event, which clearly delineates the differing personalities, are good for character development. The chorus really picks up its game after Rocky’s solo and do bring the end of the song, and therefore the first Act to an enjoyable end, just ignore there singing before Rocky’s solo.

Track 12 – Training Montage #1

The opening of Act 2 for the CD, which is the equivalent of this CD’s Entr'acte, and does give you nice snippets of other songs, but like most Entr’acte’s you probably won’t remember it.

Track 13 – In the Ring

This song is a soft reminiscing solo for Mickey. The singing won’t blow you away, but then again if you remember Mickey from the films, like Rocky he probably wouldn’t be a super great singer. The song reminds me a little of Tenterfield Saddler, sad and soft, looking back at lost opportunities. This is nicely juxtaposed with the dialogue (which is sort of a reprise of ‘Wanna know why’), where Rocky and Mickey come to an understanding.

Track 14 – Training Montage #2 (Featuring Eye of the Tiger)

Eye of the Tiger (from Rocky 3) has become such an anthem for generations of underdogs and is a popular work out tune, so this song has a lot to live up to. This track demonstrate to me what the show could have been if they had been a little more free with the ‘realism’ aspect. It knew it couldn’t overcome the nostalgia of the original if they tried to repeat it in a similar way, so they approached it from a different angle. The track as its title is a montage, showing Rocky’s development, his relationship development with both Mickey and Adrian and also benefits from the inclusion of Apollo essentially using segments of the song to state ‘I’ll be watching him fall, with the eye of the tiger’.

It manages to fit in iconic elements of the training montages – the punching of raw beef (sorry vegetarians), and who could forget the epic stair climb. To also rub in this track’s utter domination over both Training Montage #1 and Gonna fly now (Variations) this song is able to tie in actual singing of ‘Gonna fly now’ at the end of the song.

I specifically like the cute section between Rocky and Adrian, where she has a short reprise of ‘My nose ain’t broken’, and you can actually hear her accent (which is sort of lost during singing). They make such a cute couple.

Track 15 – Happiness

So this is our first actual love duet between Rocky and Adrian, which is a nice counterpoint to ‘The flip side’. It is not overly complicated, but does seem out of placed, perhaps the simple joys between the two feel out of place with the rest of the subtlety of the tracks.

Track 16 – I’m Done

Adrian has developed so much since ‘Raining’, building upon that tune, Adrian stands up to her overbearing brother Paulie – ‘Well Paulie, it’s not rainin’ any more’. It’s nice for the development of Adrian, but I feel that ‘Raining’ is the actual better song. Similar to ‘Happiness’ this song seems out of place, as if it was a draft version of ‘Get out and stay out’ from 9 to 5. Definitely not the worse song on the Recording, as Margo Seibert (along with Terrance Archie) are the highlights of the recording, it’s just not the best of her solos.

Track 17 – Southside Celebrity

The chorus is back with a vengeance bringing the goods from ‘Training Montage #2’ to lend good support to both Apollo (reprising ‘Patriotic’ and Rocky. It does build up to a duet between Rocky and Apollo which upon hearing you wonder why it is only really used in this song. The low point of the song is when Buddy sings ‘Hey, I always told ya, that you would’ because something is off with the delivery there and it has nothing to do with the singer, it was just the vocal composition for that line stands out like a sore thumb.

Track 18 – Undefeated man

Apollo’s anthem. Simple chant from his crew that he builds upon with quick, personality filled lyrics. Effective, yet subtle use of the Apollo girl’s ‘ahhing’ is also a highlight. I like how this song both demonstrates Apollo’s cockiness and made me feel like I was at the event. ‘You can’t defeat, clap to the beat’!

Track 19 – Keep on Standing

Rocky’s eleventh hour number that takes ‘Fight from the heart’ and adds the intensity, producing the most passionate vocal performance from Andy Karl. Musically it is not as clean as ‘Fight from the heart’ but I can definitely see it added to people’s workout music.

Track 20 – The Fight : Round 15 (Gonna fly now)

So we leap forward about 20 minutes into the play now to the last round of the fight. It is two commentators talking over the Rocky theme and ‘Gonna fly now’ instrumentals, that even if you probably won’t include in your playlist it does its job of setting the scene and giving you a nice verbal image of how the actors both are looking and acting at this point.

Track 21 – Finale

Once again, viewing this as a listening experience only, this is an underwhelming finale. We have an announcer who slowly fades into the background who tallies the votes, whilst Rocky calls ‘Adrian!’ and they come together at the end with a declaration by both that they love the other.  Music is stuff we have heard in other songs, and fades into the background the focus on Rocky and Adrian coming together to declare their love, which might work great on stage, but is lacking as the ending for a musical. Realism to the end. They didn’t have to do a new song, it could have even been a company reprise of ‘One of us’ or ‘Southside Celebrity’, though they would have got bonus fanboy points if they reprised ‘Eye of the tiger’, but no, we are left wanting.

To reward you for making this for here is the Rocky cast performing at the Tonys

Other reviews

Spiderman: Turn off the dark Cast Recording Review

Bloody Bloody Andrew Jackson Original Cast Recording Review

Strange Bedfellows the New Musical Reivew

HAND Trailers

HAND, a tale of dystopian Australians, rebellion, love, betrayal with a hint of existentialism.

It follows the journey of three boys, and one girl and how they all try to find their way in this world, to varying degrees of success.

I thank Jassian Terri and her supportive cast and crew in the creation of the short film version and would definitely like to see a feature length production in the future.

But to whet your appetites I have hunted and prowled the Internet to find the elusive trailer for this production.

Support HAND, Support Australian Films.

http://jassian.com/hand-trailer.html

Please feel free to leave your comments and feedback.

Also while you are there please take a look around Jassian's website, you just might find something you like.

If you like the video and would like to be involved in theatre or film -well good news.

Jassian is currently running classes.

Not really into acting- well you can learn some martial arts.

http://jassian.com/

Visit - - because Jassian's training and style is unique. Like mine.

Dale Stam

Carbon Tax Hyperbolic Worries and Reality Part 3

Well it is the new year and the Carbon Tax passing into law still has not destroyed us yet...but what if it was. Find below part 3 of the hyperbolic worries that stem from the introduction of a Carbon Tax that is all tied into the world from the previous two entries in this series.


3. Livestock kept in bubbles.
The worry:
Australia has a large amount of livestock, with it being our main export after materials and minerals. However all these livestock release 11% of Australia’s greenhouses gases into the atmosphere. To combat this livestock will be placed into bubbles that will suck up the CO2 from their manure, and send it direct to the new super CO2 plants. By doing this we effectively reduce the environmental impact that livestock has. A possible downside of this situation would be the growing rift between the green movement between which is more important, the environment or animal rights.

An idealised version

How reality is almost there:
Australia has slowly been moving towards a more organic culture for their foods, however with the ever increasing cost of living, and the increasing population, things are just going to continue down the road of expensive living. Already we hear the public outcry about how normal Aussie families are unable to handle costs.

Due to environmental problems at farming sections of the country, levels of some livestock are lower than usual, and therefore following the supply and demand structure we see the price in meat increase. Which in effect prices out some of the social markets. With tariffs on important foods increasing their cost, some people within the lower socioeconomic sphere will be unable to afford meat, which will affect their possible nutrition (which many already claim is questionable in Australia), leading to a difficult question of how to make it cheaper for these people. The Government could set a maximum price, which in turn would effect already hurt farmers, or they could implement factory farming. It is space efficient (if less humane), and produces a large amount of product, which would effectively decrease the cost of meat for the population, by producing economies of scale- it is also cheaper for the farmer as well. When people are struggling, and costs are high they can do some things which are cruel, but coldly logical.

Scientists are currently looking into using microbes to convert cow manure into a renewable energy (biogas) which would reduce CO2, and provide a useful tool for society. In Australia the Department for Agriculture, Fisheries and Forestry have the Reducing Emissions from Livestock Research Program (RELRP) to develop methods to reduce emissions from livestock and their manure, and even increase the productivity of the farming industry. At the moment this research includes areas such as selective breeding, the use of microbes to reduce the natural greenhouses from livestock and manure, and a change in diet. You can find out more about this interesting research at the Departments for Agriculture, Fisheries and Forestry’s website.

Exactly like this....Wait that's the wrong kind of bubble isn't it

Dale Stam

If you want to see what came before this check out

Part 1 http://dalesnewsblog.blogspot.com/2011/11/carbon-tax-hyperbolic-worries-and.html

and Part 2 http://dalesnewsblog.blogspot.com/2011/11/carbon-tax-hyperbolic-worries-and_10.html

Or if you are looking for a little more serious about the Carbon Tax check this

http://dalesnewsblog.blogspot.com/2011/02/carbon-tax-and-what-it-means-for-you.html

COW 2011 Season end

Dear Readers,

I have just sent off the final portion of the Canberra Opera Workshop newsletter called COW Grazing.

Good news we made enough money to come back in 2012!

Well done COWS!

If you missed us in 2011, you have another chance this year.

Or if you did see us, we will continue to produce quality Opera productions.

If you are interested in joining please look us up on Facebook or type us into Google. Or look at past posts on this blog to take you direct to our website.

Early this year we will come together to finalise the show we will be producing.

Dale Stam

Writing progress

Well good news, the internet is working again, and I have progressed onto Chapter 25.

Things are starting to get lively.

Ladies and Gentlemen I present -Cow Grazing

It's finally up! The newsletter that I am aiding with over at the Canberra Opera Workshop or COW is finally up and ready for you dear readers to eat up, discuss and find out a little more about COW and their upcoming production The Elixr of Love.

Check it out here for the October updates;

http://www.canberraoperaworkshop.org.au/whats-on/cow-grazing-october/

And here for the November updates;

http://www.canberraoperaworkshop.org.au/whats-on/cow-grazing-november/

Whilst you are there book a ticket, or bring a party, we have a deal with Vilvaldi's restaurant that is providing a 3 course meal, and Opera tickets, for the civilised night out. Or even just to show your girlfriend that you are cultured.

Fun for all the family.

Let me know what you think.

Regards,

Dale Stam

COW Photos

The COW website is starting to develop- Besides photos of our lovely two leads, I see photos of the Chorus. I will appear soon. You know if you say my name in the mirror three times with the light turned off. That's how the Internet works right?

Check out my fellow cast members here
http://www.canberraoperaworkshop.org.au/chorus/

Also coming up on their website will be some more of my writing- similar to what is on this Blog for Livid Production and AWTC, but bite sized.

Keep your eyes peeled, and come and see our show. Tickets still available;
http://www.canberraoperaworkshop.org.au/buy-tickets-now/

We are always looking for new calfs and cows to join the herd find further information here;
http://www.canberraoperaworkshop.org.au/join-cow/

To find out further information email them at secretaryatcow.org.au

Just started Chapter 8

Just a short update.

Well, well it seems to be coming together well, and I am enjoying my coffee as I write chapters away.

I was a little worried how it would all mesh, but there was no need.

I actually see quite a few picture moments already, and we have barely begun.

Previous Posts on this topic

http://dalesnewsblog.blogspot.com/2011/10/chapter-one-complete.html

http://dalesnewsblog.blogspot.com/2010/10/writing.html,

Carbon Tax Hyperbolic worries and Reality Part Two

Well the Carbon Tax has been in for a few days now, and well not much has happened...yet. Here is part two of this series that examines the hyperbolic worries of the Carbon Tax, and how the world is actually heading towards these often weird scenarios;



2. Trees and Plants become reputable investments.

The worry:
To reduce the amount of Carbon we send up into the white moving beard of God, we can utilise Mother Nature’s great air filter; plants. Plants effectively eat CO2, or the evil carbon and burp our breathable oxygen, that all living creatures including us breathe. Makes you wonder why we killed them for allowing us to breath. Yeah, our bad.

With this magical ability identified, the big pollutants could use plants- especially trees to soak up loads of their CO2, reducing their output and their relative tax cost. However to accompany this change in business investments, would be the increased security to guard the plants. Plants will become such an investment of increasing importance to these companies, that there will be whole new companies crawling out of the woodwork, just so you can invest in plants. Consider it, they are a long term investment, which could theoretically save the company a nice chunk of money that does not need to be taxed. So it is safe to assume a stable investment that will keep growing in value. All of these characteristics point towards super funds. To accompany this will be an increase in research and development into genetically altered super CO2 eating plants. In short you heard it hear first- invest in plants.

How reality is almost there:
In the October 2010 issues of BioScience researchers from Lawrence Berkley National Laboratory and Oak Ridge National Laboratory outlined the various avenues for altering the CO2 conversion that plants undertake to pull the CO2 out of the air, release Oxygen back for us to breath, and place the Carbon into the soil, which will hopefully be left long enough to form a form that is more human useful.

Photosynthesis, or how plants turn CO2 into sugars that the plant used to feed itself and grow depends upon the plants ability to absorb light for growth and suck up CO2, so research is being undertaken to improve these processes, and therefore the associated soil carbon process explained previously. This research would also have the real world benefit of having crops which grow quicker, which could help with the starving populations of developing countries. By incremental improvements in these areas the scientists believe that a significant impact on the Global Carbon could be achievable within the next 50 years.

There are already companies where you can invest in trees and agriculture (or argribusiness) for instance the Macquarie (as in the Macquarie Bank) Forestry Investment, which gives investors the opportunity to invest in Australian plantation forests. True, its not quite the same thing, with the trees being cut down after reaching maturity (approximately 10years), with a minimum investment of $10,340 for 2011. Humans always need wood for paper and furniture, so there is usually an increase on initial capital invested and agribusiness has historically had little correlation with the stock market, a reassuring sign after the GFC. So yes, you can in fact invest in plants, sort of.


Missed Part One? You can catch up here;
http://dalesnewsblog.blogspot.com/2011/11/carbon-tax-hyperbolic-worries-and.html

Dale Stam

COW Performance

Well the COW has had its first live performance at the St Ninians Church in Lyneham, ACT.
The cast were all a little nervous, and with a new pianist they were able to provide the assembled masses with a taste from the Opera with only minor hiccups.

We thank you all that were able to attend, and now that we ourselves have had a slice, we are all looking forward to our opening night in December- book your tickets and enjoy the maiden performance at the opening night of COW's production of Exlir of Love at the ANU theatre.

Dale Stam

Carbon Tax Hyperbolic Worries and Reality

Carbon Tax Hyperbolic Worries and Reality

By Dale Stam 18/10/11

Part One


‘I don’t think we are in Kansas anymore’ Asked Dorothy, breathing rapidly after crashing her house through a giant bubble.
‘Well no little girl, you are in Oz, and I’m afraid you went and broke our bubble’ said a Munchkin quickly before taking a large breath.
‘Why do you have a bubble around the whole land?’ Inquired Dorothy.
‘Well Dorothy it seems the merry old Land of Oz has implemented a tax on Carbon to keep the technicolour bright.’

Whether you like it or not, it seems that we will be implementing a Carbon Tax, this article will focus upon 5 hyperbole worries leading from the introduction of this Tax and tie them into the reality that spanned them. Just keep in mind, it could always be worse.

1. Electricity only supplied during peak hours.
The worry:
Electricity prices are going to go up with this tax. Why? Because Australia has a lot of coal which is made up of Carbon. You can’t eat it, you can’t wear it, its surface area is minuscule so it can’t be used as shelter, you can however do two things.
A) You can draw with it. It is messy and expensive, but that is all irrelevant because it has artistic merit, or
B) You can burn it, and provide heat.
We have developed B so that it boils water, which produces steam, which turns a turbine that gives electricity.

Now during peak hours, the vast majority of people are home from work and demand electricity, so for your share during this busy period you pay a higher rate. This is the section of the bill that is the highest, because the system is under the most stress, however after this period then it will have a long rest where preparations can be undertaken. This is the most lucrative section for energy companies, they would be able to reduce the amount of coal needing to be burnt because they did not need to provide electricity during off peak, or the unimportant people hours. Also because energy companies would not need to burn our dinosaur pals to supply energy for the minority, then they would release less CO2 into the atmosphere, and thus get taxed less. At $25 per tonne companies would be looking at ways to decrease the upcoming tax debt, and if they do this they are not passing the costs onto you, the consumer. Its win-win right?

How reality is almost there:
Electricity in the form that we imagine travelling the wires, does not store all that well. It is impractical for energy companies to charge up car batteries and then distribute them to everyone for personal use, not to mention astoundingly expensive. Solution, build a giant battery, but remember when your favourite song is half way through and your MP3 player beeps off dead. Batteries do not last long, are expensive, and only return roughly 2/3rds of energy placed within. But this has not stopped Australia from researching; currently we have a few avenues;
* Super batteries - they have worked for us in the past so just keep going, but making them more efficient and cheaper.
* Superconducting Magnetic Energy Storage (SMES) devices, which would use the dual relationship of electricity and magnets to create a perpetual field. Downside, it requires energy input to keep the magnets at the required temperature (relative to the beyond freezing temperatures of liquid nitrogen) to create the high quality superconducting effects.
* Mechanical or energy conversion - such as the turning of a windmill or turbine which can then release electricity with a hypothetical flick of the switch.

All of these various avenues will eventually lead to a realistic system that can be implemented and sustained at a country wide level. Then if we can store electricity we can also choose when it is released. So what leads to more efficiency of the company to save the electricity that they will be taxed on producing because of the essential fuel to start the process, could lead to them passing on the costs to the consumer, or the more likely the increasing of costs all around that people can only afford to use electricity when they need it, which would fall usually within the peak hours. If they can release electricity whenever they want, and the eventual demand will be during peak hours, why pay to have it flowing out during off peak hours. Who uses electricity after 8pm anyway?

Stay tuned for the other parts in upcoming posts.

If you liked this article you might enjoy my other article on the Carbon Tax;
http://dalesnewsblog.blogspot.com/2011/02/carbon-tax-and-what-it-means-for-you.html

Or continue onto part two of the worry;
http://dalesnewsblog.blogspot.com/2011/11/carbon-tax-hyperbolic-worries-and_10.html

COW: Rumours around the paddock

Dear Readers,

For those of you who of course went and bought tickets to COW's inaugural production, The Exlir of Love, I have a juicy piece of gossip that you can stick your teeth into.

There is the possibility that the ANU Theatre Restaurant Vivaldi's and COW will be combining forces to create a unique theatre going experience in the Canberra Region. With an opera and an inspired 3 Course meal for a good price.

For you guys seeking a nice Seasonal get together with your significant other, this could be something that you should really start to look into.

Check their website for further information.
http://www.canberraoperaworkshop.org.au/

Also if you are in Canberra Saturday the 5th of November come down to the St Ninians Church in LyNeham. That is here guys...
http://g.co/maps/m8qr6

The COW will give their first public performance commencing at 11:30am.

Why so late? Well who said Opera is never spontaneous!

Come by and enjoy the St Ninians Fete and see some COWS moo.


Keep coming back to get further details.

Looking for more COWS;

http://dalesnewsblog.blogspot.com/2011/10/cow-up-and-mooving.html

http://dalesnewsblog.blogspot.com/2011/09/cow.html

New to Canberra check out the following;http://dalesnewsblog.blogspot.com/2011/05/garden-capital.html

Here is some information to catch you up.
Dates:
Evening: 8.00 pm Friday, 9 & Saturday, 10 December 2011.
Matinee: 2.00 pm Sunday, 11 December 2011

Ticket Prices
Adult$38.50
Youth (under 26 years) *$35.50
Child (under 17 years) *$33.50
Pensioner/Senior *$35.50
All check to see if the rumour is true- or if there are any choice cuts available.

For the booking information.http://www.canberraoperaworkshop.org.au/buy-tickets-now


Do you have any news on COW or anything that you think people should know about send me a message at dalestamatgmail.com

Plus Look we made a flyer, which you can turn into a hat, then you can sing 'Look I made a hat'.

A mention on the blog for those who can identify which musical that phrase is referring to.

Congratualtions Little One!

Well to follow up my previous comment, a brave poster by the name of Little One was skilled enough to find me within the group.

So to reward you for your detective skills, I give you the worlds greatest detective and his great advice.

Enjoy!

Dale

Chapter One Complete

You might remember a while ago this post I made http://dalesnewsblog.blogspot.com/2010/10/writing.html, well I have finished the plot outline, and have commenced the actual writing of my huge inter-connected fiction collection.

Refresher, this is a large project that brings together characters and themes from a wide range of my writings, which includes short stories, poems, films and plays, tying them all into a work of fiction that will be broad and offbeat at the same time.

For further information please send me an email.

Dale Stam

COW up and mooving

Look at that smiling group, the COW is definitely on the Moove to making a dent in the Canberra theatre scene.

Since my last post the Canberra Opera Workshop had a lunch last week where they had a professional photographer come by and take a group photo, which includes me. Yeah I actually exist. They have added this photo onto their website and it has become a lot more interactive.

We are heading into the production schedule which will involve the actual stage craft, where we are under the esteemed direction of Cate Clelland, an active director and designer within the Canberra Theatre Scene for a while know. I look forward to digging my teeth into this section of the rehearsal in preparation for our performance in December.

One of the key developments of the website is the details for tickets are available.
Location: ANU ARTS THEATRE, UNIVERSITY AVENUE, ACTON, ACT

But Dale of the blog, with your News and Ideas thing I do not know where this is. Well I consulted with the mighty demi-god Google and they have blessed us with an answer to your query, as only Google can;
http://g.co/maps/33mc8

Dates: Evening: 8.00 pm Friday, 9 & Saturday, 10 December 2011.
Matinee: 2.00 pm Sunday, 11 December 2011

Ticket Prices
Adult
$38.50
Youth (under 26 years)*
$35.50
Child (under 17 years)*
$33.50
Pensioner/Senior*
$35.50

See below for the booking information.
http://www.canberraoperaworkshop.org.au/buy-tickets-now

Find out more about COW by looking at the Website;
http://www.canberraoperaworkshop.org.au/

Remember the COW is building a community and if you are interested in developing your singing skills, or if we have a Joan Sutherland, or Pavarotti out there, COW would be a group to start making connections with.

Also keep looking at the website so you can see more of me.

Feel free to leave a comment.
If you want to send me an message email dalestamathotmail.com

Dale Stam

While here look at some past posts.

Expect a new post in the near future.

Oh and a mention on the blog for those who can identify me from that photo. Happy hunting.



Did you miss previous updates in regards to COW? Find them below;
http://dalesnewsblog.blogspot.com/2011/09/cow.html

New to Canberra check out the following;
http://dalesnewsblog.blogspot.com/2011/05/garden-capital.html

So who’s presenting?

So who’s presenting?
5 Steps to present

By Dale Stam 12/10/11


Public speaking is a scary beast that can leap out of the crisp corridors of office life, and snatch up all the confidence you built since 9am. There are various methods for defence, some people tackle the monster first, others react after it has pounced, and there are still others who run away screaming.

I have given a few public presentations, felt the stares and the rapid heartbeat, but there are some tricks to help you overcome the beast.

1. Do not be paranoid.
Truth is all those people you stare out over, they actually want you to do well. They would rather be engaged then bored, and if you are able to make a good presentation, then they will associate you with somebody who they can not only understand, but whom they want to hear from.

2. Turn on the slow-mo.
It might go against everything in your body telling you to fly when giving a presentation, but one of the major factors in bad presentations is presenters who rush into things.

Take a breather, if anybody asks, you’re doing it for dramatic tension. Actors use it to grasp audiences, and teachers do it to hold the class. The speed of the presentation varies from person to person and from your pre-run timing to the actual presentation.
Remember that control like the actor and teachers comes from the pause, let them want more- it also gives you a moment to adjust to the stress.


3. Look to the horizon.
If all those eyes staring at you start to make you quake, then adjust your gaze to a higher plane, but not too high. Rest on the fringe, or the forehead, it appears you are looking at the audience but you gain less of the side effects from direct eye contact.

Hair does not stare, hair does not judge, and it is ready to be blown over by the power of your presentation.

4. Know your stuff.
If you know what you are presenting, then you are able to ad lib, and you gain a sense of confidence that comes with knowledge. Knowledge is power, as they say. This is often a saving grace of teachers, they take a breath as in number 2 above, taking in the scene, and decide whether to follow their lesson plan, or whether it is necessary to improvise to draw the class back in.

Impromptu presentations make this difficult, however try to grasp a handful of items and flesh them out, add a story, bring what you know.

5. You have got to speak to me.
One thing the audience does not want is monotonic reading, you have to present. Most universities and schools have students who will just read their work as their oral presentations. To shine you need to be different, you need to engage with the audience, make it stick. Use examples, stories, jokes, have props, diagrams, or audience interaction.

Some full time public speakers use a theme or metaphor that runs through their presentation. This allows them a path to come back to if they get lost, and can enable a through line for remembering the information and connecting with the audience. Using this method allows them to explore various techniques of engaging the audience and have fun, and so can you because you have a support structure to lean back on.

In conclusion, the audience wants you to do well, because they have been to so many bad presentations, they will be surprised by someone who is able to overcome this. Defeating your fear might seem difficult, but with practice and experience the fear subsides, and then you are the one who pounces.

Did you enjoy this article perhaps you might enjoy the following from within this blog;

http://dalesnewsblog.blogspot.com/2010/09/introverts-problem-with-social.html

COW

Moo. Seriously moo. I do not need you to moo with me, just acknowledge it.

COW or Canberra Opera Workshop is a interesting little group that has come out of the woodwork in Australia's Capital territory to fill in a gap in the market. Sure there is musical theatre, which I have to admit is more my forte, and classical instrumental music, but lacking in the opera market.


David and Margot Reedy identified this gap and decided that they would throw their hat into the ring. Starting an opera group without Governmental art grants can be tricky, but they are pulling it off. Due in part to their different take on the auditioning process.

They advertised in local Canberra papers and the Canberra Community Theatre network website OftPrompt- congratulations to all who get that reference- Gold Star!. The advertisement stated that people were not required to audition. Shock, horror they must have been flooded with Talent Show contestents till their ears bled...well luckily not, and strangely the openess of this initial stage allowed for the group to allow for socialising and community forming, in contrast to the competitiveness I have witnessed elsewhere.

Their first performance will be the delightful comic opera The Elixir of Love by Donizetti. It will be held in the ANU Arts Centre Theatre in early December.

SPOILER! PLOT TASTE !

Little village, One slow man in love with an educated girl who enjoys the longing of the man.

She is going to marry a Sargent.

Along comes a salesman spruiking a product that will make women fall in love with him, and then let the comedy begin.

The music has a Gilbert and Sullivan like feel, and has some catchy tune with the casts voices sounding superb as they come to the end of their vocal rehearsals. You can feel the power of this company within the small church that they have been rehearsing in, and they all eagerly look forward to showing Canberra that Opera can still captivate.

Here is some information from their website.
The Canberra Opera Workshop (COW) has been formed to provide specialised training and opera performance experience for singers who are interested in opera.

Singers will follow the process from first reading, musical rehearsals, production stages, technical and dress rehearsals to the actual public performances. The workshop will also provide training work opportunities for conductors, musicians, costume and set design, construction, stage management, graphic design & publicity, stage crew and front of house.

Here is the bestest till lastest- the opera...is...(salivating yet)...in English. No more will you have to have a book of translation with you at the Opera just so you can understand what is going on. It is part of the immersive style that COW has implemented.

If you would like to find out some further information on the group, watch a rehearsal, interested in joining a future production, or want to know more about their upcoming show please use the following contacts:

Margot Reedy 0415 721 222 or e-mailing secretary@cow.org.au.
David Reedy on 62491831

Their website.
http://http://www.canberraoperaworkshop.org.au/

They are Facebook
http://www.facebook.com/pages/Canberra-Opera-Workshop/233211193361441?sk=wall

Dale Stam

Spider-Man: Turn off the Dark soundtrack review

$65 Million does not buy you what you used to. I am not going to go through the origin of Spider-Man, one because he is a pop-culture icon, and two that you would not need a huge amount of it to understand the soundtrack.

However I will give a little bit of background in regards to the show- as stated above the show is estimated to have cost roughly $65 million dollars now with an original budget of 50 million, with a production team of Julie Taymore (who you might remember as getting a lot of praise for her work in bringing Disney's Lion King's artistic direction- and who would ultimately leave the show- but retains the position of director), and first time musical composers- Bono and the Edge of U2.

The show is a mixture of musical, circus and studio experience. The musical comes through the songs, the circus through some of the quite beautiful acrobatics and stunts and the studio experience links to the interaction with the audience by having Spider-Man swing out over them, and fight a 'flying' Green Goblin. To undertake all of things within one show obviously makes this show quite different to Bloody Bloody Andrew Jackson that I reviewed before, and explores the possibilities of stage shows.

The GFC has reduced the spending on luxuries in America- perhaps we should have a more theatre/musical creating centre in Australia, so each show that opens up there is usually tied into a recognisable or marketable commodity and are trying to deliver as much to audiences as possible. Spider-Man has also not been helped by the vast amount of injuries related to the cast members- mostly stunt people - which has added to the cost and delays to the show- but most big musicals have accidents- for instance a member of Lord of Rings had there leg caught in some moving aspects of the stage, and an actor playing Elphba from Wicked had an accident with the trapdoor during the melting scene, however Spider-Man's have taken a more public form.

Here is link to Niel Patrick Harris at the Tony's making jokes about mostly the accidents.
href="http://www.youtube.com/watch?v=SQIVxqSa4qQ&feature=related">


When I was looking and listening to this show and thinking how I could review it, I came up with two different comparisons that I kept coming back to. Comparing it to a show that had a similar mixture of elements in the stage version of 'The Lord of the Rings' (yes, you read that right), and the other was comparing the show to works from another rocker who has branched into musical theatre composition Elton John.

Lord of the Rings and Spider-Man

Both shows are spectacles- with a large visual aspect that is lost when the only way to connect to the show is the soundtrack. Each had circus like aspects where we have performers dangling from cloth and they are able to crawl up and slide down over the stage- similar to some aspects of Cirque du Soleil. Lord of the Rings had a stage that would move and change according to where they were in the show, Spider-man has the line-work (OK, a lot of line-work) and the interesting visual illusions and technology. The visual tricks and the same idea to make the show spectacles were one aspect that joined them together, and the other was the non-musical score.

Non-musical in the sense that they are not what you would expect from a musical. If you were to compare the score of these shows to the 'Golden Age' of Broadway shows such as Guys and Dolls and basically anything from Rogers and Hammerstein you would be left a little confused, and wondering why?

The Lord of the Rings was composed by Andrew Lloyd Webber's protege of sorts- A. R. Rahman with the help of Finnish band, Värttinä. Rahman worked with Webber on Bombay Dreams and won a Golden Globe and two Academy Awards for his score on the film Slumdog Millionaire. So in accordance with this background the film has sort of the big emotional film score type feeling.

It sounds like a feat of Celtic music with a spice of Indian mysticism (http://www.blogger.com/%3Ca%20href="> for a peak), to which I felt aided in creating a unique score, with some extraordinary chorus numbers and hauntingly beautiful solos from Laura Michelle Kelly (who plaid Galadriel- you might remember her as the UK Mary Poppins, or as the Johnny Depp's wife in Sweeney Todd). There are lots of drums and usage of the Elvish language to create something unique, but however vastly different. The show had its critics and did not last in Toronto very long- there is actually an amusing clip with Nathan Lane trying to show how to make Lord of The Rings more like a normal Broadway show- href="http://www.youtube.com/watch?v=EPDoNJqJgTg">
It was rewritten and shortened before it went to London, where its cost and unusual style caused it to close after a year. However there are still fans on the Internet calling for it to be filmed for prosperity- but us theatre fans always say that.

Spider-Man has a similar unusual style- with rock songs that are interesting by themselves- but just like the first time I listened to Jonathan Larson's 'Tick Tick Boom', you cannot get the story of the show from listening to the musical, and for those who cannot see the show it does grate somewhat.

The music does have the feeling of U2 hinting at some of their great past works, and at other sections through the guitar solos linking two sections of songs to a little indulgence. Some of the more harsh critics have called the soundtrack the c'list of a U2 Album, but perhaps like me the music will grow after a few repeated sessions.


U2 And Elton John

Sometimes the songs in Spider-Man feel a little overproduced- and you know that compared to other albums that their voices have been altered, and this takes away some of the essential human/emotional connection that draws me to musical soundtracks because I know that this is what the person sounds like- there is less editing (this is probably wrong, but I like to think if someone can fill a theatre with their voice that they can sink into a microphone in a studio). This is not to say that some of the songs from Spider-Man do not have any emotional impact, some are just lost in 'loudness'- which a lot of rock is doing nowadays.

This is in comparison to Elton John's music which seem to be able to grasp emotionality a little easier. Elton's work on Billy Elliot, Lion King and Aida have all been successful and have been able to take the rock touches of his style and marriage them with the Broadway style of song. This is not to say that every show that Elton touches is an instant success- for example does anyone recall- Lestat? I liked some of the songs from this show, but I can see where it at times over-indulged in certain styles- namely opera.


Spider-Man might be better to see now, because we are currently in Version 2- I think. Which is the rewrite that had to occur after Taymore left the show, it is supposedly more clear now, but it is missing some of the boundary pushing of Taymore's original.

CAST
One of the first things you will notice from listening to Spider-Man is that Reeve Carney (Peter Parker/Spider-Man) sounds very similar to Bono- I'm not sure if this was a creative choice, but OK. He and his band the Carneys opened for a U2 show sometime in 2008 and I am assuming this lead to him being considered for the role.
- Also a plus; he does not sing with the mask- Nice call Taymore because that would have been unnecessary and made the audience laugh. He is not a name that I had heard of before- but he has a lot of songs, and is being used heavily in the marketing of the show- just type his name and find videos galore- some even with Bono and the Edge.

But the more interesting member of the show for me would be the talented Jennifer Damiano. Name should ring a bell for fans of the sleeper-hit Next to Normal, as she originated the role of the angsty daughter Natalie Goodman (a role for which she was nominated for a Tony), also for Glee fans she was an understudy for Lea Michele for the role of Wendla in Spring Awakening. She plays Mary Jane, and she brings a strong soft voice, to bring joy to her duets with Carney. She is sadly under utilised, and I find myself mostly listening to songs that feature her...in short I like Jennifer Damiano.


It does help that she looks like this and has a voice like that.


The Green Goblin, Patrick Page features in a limited amount of songs, and is heavily edited, which makes his song 'Freaks like me' very annoying to my ears. Which is a shame because according to other reviews he has been a highlight of the show, unfortunately it does not come through on the soundtrack.

It is also a shame that the album is so short, and that all the songs from the show are not included- I guess it is for the CD capacity or so that the twists of the show are not given away- but I felt that if they had included all the songs, that perhaps the listening experience- especially trying to understand the story would be easier. Maybe that will be a future release- a deluxe album.

So in conclusion the show, loses something without the visual umph, and quite a few people will not like it upon their first hearing. However after repeated sessions I have enjoyed some songs so much that I have placed them on my ever increasing mp3 player playlist. So in short- give it a chance if you are willing to experiment.

SONGS TO SUGGEST;

Rise Above 1 and 2, are probably the best songs on the CD, and capture the best elements of the show. I am actually quite glad that Rise Above 1 with Bono and the Edge has been the song performed on the TV Circuit, as it is engaging with a nice message that ties into the motto of Spider-Man- 'With Great Power, Comes Great Responsibility'. Rise Above 2, reminds me of Lothlorien from the Lord of the Rings Musical, that is more powerful than 1, because of the chorus- I like chorus numbers- the force of all the voice I guess.

No More, is a song that builds itself up and is probably the song that best explains our two romantic leads somewhat- by showcasing their troubled lives, and because of this as well as having the two leads causes the song to stand out.

DIY World has a simple melody, but it uses it very well, and with the excellent use of the cast it is able to build and drop, and then build again taking the listener on a journey. It explains the genetic engineering that ties into the fateful spider.

If you like one-sided love songs, there is the haunting 'If the World should end' sung by Jennifer. I like the song, however it is slower than the majority of the rest of the show, and since it is a solo it feels a little out of place on the album. Besides the benefits of the song, I concede that it probably was not the correct song to bring to this years Tony Awards. If you watch the Tony Presentation and the songs performed by the other shows- mostly group chorus numbers with a dance portion, you will see how a solo love ballad which takes place sitting that it highlights how different this musical is.

Honorary Mention
Pull the Trigger- when Osborn (The Goblin- keep up) starts to think that Spider-Man might have taken his research, and the Military starts to push him to accelerate his research. I like the development of Osborn in the song, and the music is some of the less jarring when the chorus is singing, however it does have a guitar solo aspect to it that just seems like filler to me. That is why it is not up there, however the last minute of the song is rather catchy.

SONGS THAT ARE NOT THAT GREAT
Freaks like me, I mostly do not like this song because of the editing they have done for the Goblin's voice.

Bouncing off the walls- Repetitive and loud,for a show that delves into creative areas this seems the most redundant and reminds me of songs from Vertigo.


Thanks for reading my review- please feel free to comment or suggest albums.

Here are some links to videos
"http://http//www.youtube.com/watch?v=75Buk7WGq9g&feature=related">
A brief taste of some of the songs.

http://www.blogger.com/%3Ca%20href=">
Tony Awards Jennifer Damiano and Reeve Carney

http://www.blogger.com/%3Ca%20href=">
Music video of Rise Above 1

http://www.blogger.com/%3Ca%20href=">
Rise Above 1 Featured on the still continuing American Idol (seriously that's still going?)


Oh and for last minutes comparison, I am not sure if Marvel did this on purpose but compare the hairstyles of Reeve Carney and Andrew Garfield (from The Social Network, and has taken Toby Maguire's place as Spider-Man in the upcoming reboot- the Amazing Spider-Man) and tell me it was the hair that got him the part wasn't it?

Andrew Garfield (or is it?)

Reeve Carney (or is it?)

If you enjoyed that article you might enjoy the following from this blog;

http://dalesnewsblog.blogspot.com/2011/07/bloody-jackson-review.html

http://dalesnewsblog.blogspot.com/2010/11/strange-bedfellow-new-review.html

http://dalesnewsblog.blogspot.com/2010/11/glee-vs-fame.html

http://dalesnewsblog.blogspot.com/2010/11/strange-bedfellows-in-harry-potters.html

http://dalesnewsblog.blogspot.com/2010/09/awtc-pirates-of-penzance.html

http://dalesnewsblog.blogspot.com/2011/03/livid-productions-presents-monty.html

Or Look into the Current COW updates

http://dalesnewsblog.blogspot.com/2011/09/cow.html

Bloody, Jackson Review

Broadway is no longer just waltzy jazz or big band, in fact some of the more popular shows of recent years have been rock inspired. Shows such as Spring Awakening, Next to Normal and the Green Day scored 'American Idiot' have been attracting a more youthful audience, but the stories that are the core of these shows are still strong.

But this article is not about those shows, they might come latter if time permits. This article is dedicated to a little show that I just happened to stumble upon, and although the videos of it out there do it very little justice, the soundtrack instantly caught my attention and has just as quickly made it into my usual play list, a show called- 'Bloody Bloody Andrew Jackson'.

It uses the style of emo rock music to satirise not only Andrew Jackson the 7th President of the United States of America, but also modern American society and ideology, with catchy (if not the best written lyrics) and bouncy music with good hooks.

First some context;

For quite a few Australians we only learn about the more modern Presidents- not through school (wait History covers some 'Modern', 40-60 years is still modern right- we still listen to 'Over there' right?) Washington, Nixon, Forde, FDR, Lincon, Bush 1 and 2, Obama, Clinton, Reagan, and then Stephen Sondheim's Assassins taught me about McKinley and Garfield but no Jackson.

Jackson was the 7th President of the United States and is something of a divisional figure, whose followers are credited to the modern Democratic Party- so Obama, in a way.

Jackson was a politician and an Army General who defeated both the British and the Native American Indians- pushing the later further west thus solidifing the hold of the United States. He also destroyed the national bank- a left over from British rule. The musical plays upon this as a passionate man seeking to improve the lives of the people, and not those rich new England f39-s. The themes of populism, the Indian removal and his relationship with his wife Rachael (why because you can't go wrong with a love story- even if it is a sub-plot).

Jackson was an orphan at the age of 14, and through his capture by the British he developed an intense hatred of the British. Jackson is said to have had an aggressive personality, allowing him to take on the British, the Indians, the Bank, the world and last of all his wife and beloved people. It could be said that his link to populism was a way of using the power of the people against the power of hierarchy or the crown of the British, and the musical takes the rapid anger of the common man and filters it through the medium of Jackson- a angst that does have clear links to modern teenage angst and the emo culture.

For example here is a sample of lyrics from the song - 'I'm so that guy'.
Sometimes you have to take the initiative
Sometimes your whole family dies of cholera
Sometimes you have to make your own story
Sometimes you have to shoot the story-teller in the neck
Sometimes you have to take back the country
Sometimes you have to kill everyone,
everyone, everyone, everyone, everyone, everyone

----

Life sucks,
and your Life is going to suck universally,

-------
I will make them all bleed.

Now seriously who cannot see the kid with the fringe bouncing along to that in his weirdly energetic melancholic mood. I find that it is a good pathway to relieve stress to sing along and put all your anger through the lyrics.

Jackson's anger against the bank is also a timely topic considering the GFC and the subsequent bail outs, if only modern leaders were as tough on banks as Jackson then things might be different. For instance Jackson thought the following of banks

It concentrated the nation's financial strength in a single institution.
It exposed the government to control by foreign interests.
It served mainly to make the rich richer.
It exercised too much control over members of Congress.
It favored northeastern states over southern and western states.
Banks are controlled by a few select families.
Banks have a long history of instigating wars between nations, forcing them to borrow funding to pay for them.

After some struggle Jackson was able to destroy the Second Bank of the United States.

One of the most unique (lullaby like) and controversial songs for the show is called 'Ten Little Indians' and describes how Jackson and his self made militia engaged in the removal of Indians from what he deemed 'US' territory, through both force and negotitation.

It also explores through the previously mentioned love story how someone who loves their country and its people so much can also love one person above all. The public life of presidency and the effect this has on those they love. But he is 'so that guy', and if those rich new Englanders are not going to drive out the rest of the whole world then it is up to him to take a Stand with populism, the power to the people not the elite.

The musical explores some difficult areas, such as the problems with populism. How often have we all heard from work colleagues or the media that if they were in power they would do so much, and that they know what the people want. Well governing people is difficult, as Jackson found out both in life and in the musical. Jackson early on was popular because he engaged with the public to gain their opinion on matters of state-to the ire of congress and the senate. However it can only work so long, because as one solution is made, more and more complex problems arise and then you start bringing out the ire in the people who resent having to be involved in complex and tough decisions. Which leads into a good little solo song where Jackson takes stock of all the things he has lost- his wife, his family and now the Amercian people's loves, and he decides that he has to once again take a stand and make the tough decisions with or without the blessing of the people.

Some lyrics from this great song are;
When it stops being fun
and your patience is done
and you see being president is hard
when this country before you
that cannot be governed
you find yourself powerless bloody and scared

And what is it for
the love of the people
who is it for
this nation we made

the guy who did everything his way
where has he gone

--------------------

So we'll ruin the bank
and we'll cripple the courts
and we'll take on the world
for America's sake
and we'll take all the land
and we'll take back the country
we'll take,and we'll take
and we'll take, and we'll take

And this country I'm making
cannot be divided
the will of the people
won't stand in my way
How can I tell you
how deeply I'll make them all bleed

The story comes through clearly and the themes are clearly spread throwout the show with enough hooks and catchy beats to keep the songs in ones head for long after. At times it does seem a little random, for instance the 'he said, they said' structure beat of 'The Corrupt Bargain'- do do do do do (Listen and you will get the reference).

The musical ends with the parallel views of Andrew Jackson as both one of the great American Presidents, and as an American Hitler. It is this complexity which gives this satire some necessary dramatic grounding so that the audience is carried along with the characters and not just waiting for the next reference.

It is a shame that the musical which received early critical praise and Tony buzz closed on Broadway after only 120 performances.

After looking for it on youtube I would implore readers to listen to the soundtrack before watching the movies- because it is a lot more effective with the music blaring, and it appears that it at times took on a concert like structure on the stage- on of the odd staging that some critics have suggested for the early closure.

So in conclusion the soundtrack although short -13 songs (but they fly by) that both satirise America succinctly but it works just a well as a rock album that has a little bit of a theme thrown in- like a concept album. The songs I like the best are the tongue in cheek opening number- 'Populism, Yeah Yeah', the hauntingly simple but complex 'Ten little Indians', the silly 'Corrupt Bargain', the rapid build up of 'Rock Star' and the aggrieved number of the 'Saddest Song'.

I would encourage people to check it out and send me your feedback. We probably won't get a big tour of it down here, but you can at least enjoy this little under appreciated Broadway treasure.

Coming soon, a review of Spider-Man: Turn off the Dark, composed by Bono and The Edge of U2 Fame.

Find below some links to Further information on Bloody, Bloody Andrew Jackson;

Here you should be able to listen to the cast album on the show's official website.


A preview from the demigod of the internet youtube.