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theghostparty · 3 months

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Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

If you missed part one with Roméo and Juliette, click here. Once again, long design explanation.

When designing Mercutio specifically, I turned very explicitly inwards in my belief that Mercutio is not a Montague and should not be tied to the Montagues solely. Furthermore, Mercutio has FAMILY--he's the Prince's cousin and if we want to get really semantic about it, he also has a brother, Valentine.

All this being said, in designing Mercutio, I needed to tie him to Le Prince (Escalus) and I did that mostly in dictating that these are the characters who are allowed to wear black, mostly black leather. It's a distinction that goes mostly unnoticed until its pointed out, but no other designs incorporate deep black tones. There's also this strong, olive green tone that borrows from the Montague palette and gold hardware that borrows from the Capulet palette. The Prince's family gets to straddle the line between both worlds.

I thought very texturally for the Montagues and Capulets, so in trying to give the Prince's family something distinct, I landed on this brushstroke texture to give all the leather and denim pieces a custom feeling.

In his Les Rois du Monde look (his base look--I imagine this explicitly directorial choice to have him and the Prince enter together at the top of Vérone and have Mercutio break away to join the Montagues), there is hints of this painterly texture in blue as opposed to the gold of the Prince. I wanted to feel like every alignment Mercutio has with the Montague family is an active choice on his part. I imagine him painted those swaths of blue himself. His trousers are a bleached faded, torn denim.

We see the true royal gold in Le Bal, like, I think it's just funny to think Mercutio already owned these trousers and said "Fuck it" and wore them to dress up in. His look is explicitly jester themed. It's a little bit "Earring Magic Ken Doll" coded, which delights me to no end.

This is also a good place to point out how fixated I became on closure methods in garments. In Roméo's initial design, there is a strong focus on zippers, Le Prince's jacket is held together with gold hook and eye tape at all the seams, and with Mercutio it's all about lacing.

Part of this is in reference to the explicitly gendered ideas around corsetry and playing with that in tandem with Mercutio's generally accepted queer readings. It's also an interesting metaphor to think about being bound--by duty, by honour, by friendship, by tradition--something that Mercutio is so explicitly caught in between in the Montague-Capulet feud.

His final look during Le Duel, is a take on a Jean Paul Gautier design, and is the most partisan look for Mercutio. Doffing his jacket exposes this soft satin and coutil corset top in the faintest hint of blue. A soft underbelly of allegiance that would take to stage blood SO well (and would make who ever was dressing and laundering this show absolutely hate me as a designer, but I digress).

I also think it makes him a nice mirror to Tybalt, who's overarching design element is gold chains.

Tybalt's design is wholly referential to Mark Seibert's Tybalt. Is it because I can never get that little gold and red cropped jacket out of my brain? Perhaps. But I also like to think that design for Tybalt acts as a reflection of Mercutio. The inherent softness assigned to the Capulet family's design (silks, velvets, chiffons) plays really nicely with how much machismo is implied in Tybalt's characterization.

During Vérone, we see him in a half doublet, likely of a low-pile velvet, a satin faced silk period shirt open in an absolutely impractical way, and a floral print denim trouser. I also gave him a little cuban-heeled boot. For fashion.

Tybalt is a good place to also point out that weapons are very intentionally placed in and out of scenes. Mercutio always has a dagger. Roméo leaves his behind during Aimer. Benvolio does not carry one. Tybalt has an ornately sheathed sword. There is this undercurrent of violence for these characters that is dressed up and dressed down, but persists.

In Le Bal, I really leant into the idea of chainmail for this character, in keeping with the concept of chivalry and Arthurian influences. There's a little bit of royal purple thrown in there for good measure as well as a jaw-bone mask that, at best, is foreshadowing and, at its shallowest, looks cool as hell.

During Le Duel, I wanted to strip our fighters down to exposed skin. A lot of this is to do with one of my favourite versions of this scene, Zeffirelli's 1968 Romeo and Juliet. What I love about the sequence is how it devolves from nobel duel to outright brawl--from a distance to something very close and personal. It's the type of step by step tension-building that I really enjoy: where there are moments (when they're just shouting words back at forth, when they're drawing their weapons, when Mercutio would doff his jacket, when Tybalt doffs his doublet) when the fight could have de-escalated. When they could have walked away. But of course, it's not the play if they do.

I just imagine seeing Mark Seibert and Bereczki Zoltán fight would be fun, ultimately.

And now onto Benvolio. I fixated on paring down his looks, and quite frankly, if it weren't for how much I enjoy his little twink clubbing outfit, I would have probably only given him one costume. My justification for this is that Benvolio gets to live. Ostensibly, he has a lifetime past this play of changing to do. I feel very strongly about the idea of Benvolio as a narrator, Benvolio as a passive presence that is forced to become active. He's not certain in the same way that Roméo and Mercutio are about love and hate. He literally spends a whole song stagnating and waffling on how the hell he's going to tell his cousin that his wife is dead. He runs around following their impulses, patching over their problems. I have a lot of feelings about Benvolio as a character.

He's really the softest of the Montague characters in textures: his doublet is torn and slashed denim, his shirt is some sort of billowy linen blend. He has a little bit of metal flair in the form of this thigh adornment, but really he's quite simple--and my comparison to Roméo and Mercutio, he's quite warm. That hint of magenta on Roméo is a full on feature on Benvolio.

I accept any and all slander about my choices for his Le bal look, but by god do I think it's silly and it brings me joy. Suit of armour under ripped green denim, a little navy ribbed singlet with a silver chainmail crop top over it? Lensless silver glasses frames? It makes no real sense, but I stand by my "We're sneaking into the Capulet's ball tonight with very short notice, here's what we can cobble together" reasoning.

#romeo et juliette #romeo es julia #romeo und julia #romeo e giulietta #bereczki zoltan #mark seibert #cyril niccolai #leonardo di minno #retj #resj #joyce draws #retj redesign 2024 #boy oh boy I hope cyril niccolai who literally follows me never sees this post #tw: blood #I wish I could tell my younger self that watched this musical that I did in fact grow up to be a professional designer and this is my job

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margridarnauds · 2 years

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French Musical Challenge [7/30]

Favorite Male Character: Escalus (Romeo et Juliette)

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mercutio-no · 2 months

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Welcome to my place!

Here you will find:

1) Incorrect (sometimes totally correct) R&J Quotes

2)R&J Headcanons

3) Short stories (sometimes with illustrations) on:

(I hope I will really be able to pull this off even though I might not have enough time to write them often)

• Romeo et Juliette (2001)

• Romeo et Juliette (2010)

• Romeo et Juliette (current version (shot in 2018 (filmed by fans) and in 2023 in China (official))

• Romeo e Giulietta: Ama e cambia il mondo

• Romeo und Julia

• Romeo es Julia

• Romeo I Dzhulyetta (Russian version: Ромео и Джульетта)

• Giulietta e Romeo (2006) (Riccardo Cocciante)

• Romeo and Juliet (1939)

• Rosaline (2022)

• Romeo and Juliette (the play by William Shakespeare)

Favorite characters (accordingly to the versions)↑:

• Tybalt, Lady Capulet, Lord Capulet, The Prince of Verona (2001)

• Tybalt, Mercutio, Benvolio (2010)

• Tybalt, Mercutio, Juliet, Benvolio, The Nurse (2018, 2023)

• Tybalt, Mercutio, Benvolio, Lord Capulet

• Romeo, Juliette, Lord Capulet

• Paris, Lord Capulet

• Lord Capulet, Lady Montague

• Mercutio, Benvolio, The Nurse

• Tybalt, Romeo, Juliette

• Rosaline, Adrian Capulet, Lady Capulet

• I can’t tell really. I just love W. Shakespeare’s works.

Favorite ships (some of those depend on the version):

~ Romeo/Juliette

~ Romeo/Rosaline

~ Tybalt/Juliette (brotherly/sisterly love)

~ Mercutio/Juliette

~ Lord Capulet/Lady Montague

~ Lord Capulet/The Nurse

~ Paris/Juliette

~ Paris/Rosaline

All of the stories will be of G or PG rating

Feel Free to:

1) Make Requests;

2) Ask Characters any questions you have for them;

3) Share your ideas;

4) Sent submissions of incorrects

• Crossovers between different versions of Romeo et Juliette would be appreciated

(For example, John Eyzen’s Mercutio in Romeo e Giulietta universe etc.)

• Also you can express other crossover ideas

(not only between different versions of the musicals, but also with other musicals, books and movies)

To make a request or ask a character you need to:

1) Write the text of the idea to the question itself

2) Mention the version you wish the characters of the text would be from

3) Send it

Example of the Request (the simplest one):

Tybalt is walking in a garden of the Capulet’s Mansion «…» (R et J (2010))

Or:

Lord Capulet (Vittorio Matteucci) had a meeting with Lord Escalus (Leonardo di Minno) «…»

Etc.

Example of a question to a character:

To Mercutio (Luca Giacomelli Ferrarini): Why did you choose to pick the side of the Montagues, not of the Capulets?

Or: Benvolio (R et J (2010)), how do you feel about Romeo and Juliet’s Marriage?

Etc.

Or any other combination of those.

***

I am thinking of creating a Telegram community later, where there will also be the same fun/interesting (I hope) things as here + news about the Musical (mostly French version) and the actors.

Yours Truly,

Sorciere

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lamilanomagazine · 1 year

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Notre Dame de Paris, presentazione al Palazzo degli Elefanti di Catania

Notre Dame de Paris, presentazione al Palazzo degli Elefanti di Catania. Venerdì 11 novembre alle ore 11, nella Sala Giunta di Palazzo degli Elefanti, il Commissario straordinario del Comune, Federico Portoghese, ospiterà la conferenza stampa di presentazione del musical "Notre Dame de Paris", in programma al PalaCatania dall'11 al 20 novembre. Interverranno i protagonisti principali dell'opera, Lola Ponce e Giò Di Tonno, stelle del cast originale dello spettacolo che quest'anno celebra il ventennale con tutti gli artisti dell'esordio sul palco. La tournée è prodotta da Clemente Zard con la collaborazione di Enzo Product Ltd, interamente curata e distribuita da Vivo Concerti, promossa in Sicilia da Giuseppe Rapisarda Management. Lola Ponce ritorna in scena nei panni di Esmeralda e insieme a lei ci saranno Giò Di Tonno – Quasimodo, Vittorio Matteucci – Frollo, Leonardo Di Minno – Clopin, Matteo Setti – Gringoire, Graziano Galatone – Febo, Tania Tuccinardi – Fiordaliso. Special guest d’eccezione di alcune date speciali del tour saranno Claudia D’Ottavi e Marco Guerzoni, nelle vesti di Fiordaliso e Clopin, di cui sono stati i primi interpreti nel 2002.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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budjavlebac · 3 years

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Leonardo Di Minno as Clopin from the Italian production of the "Notre Dame de Paris" musical.

#notre dame de paris #the hunchback of notre dame #nddp musical italian #nddp musical #musical #nddp #hond #clopin trouillefou #clopin #leonardo di minno

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fincheavrovitaefiato · 5 years

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View this post on Instagram

A post shared by Notre Dame de Paris Italia (@ndpitalia) on Jul 8, 2019 at 6:06am PDT

instagram

RAGAZZZZZIIIIIII

#WOOOOOOOOOOO #notre dame de paris musical #notre dame #notre dame de paris #musical #vittorio matteucci #frollo #gringoire #matteo setti #esmeralda #giò di tonno #quasimodo #graziano galatone #febo #clopin #fiordaliso #leonardo di minno #tania tuccinardi

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youcannotcancelquidditch · 6 years

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Below the fold you can read all about my time at Romeo e Giulietta in Milan (Friday, 12/10/18). I didn't want to forget anything so it's very chaotic, I'm sorry.

(edited on 29/01/19 - I added some things as well)

- I’d like to start by thanking the orderly who gave us 2nd category seats in the middle of the ground floor (we had 2nd gallery central tickets, aka almost the cheapest ones) because they didn’t sell out and he was impressed that we came all the way from Belgium to see the show. Grazie mille, sir! You made our night even better! He checked in on us twice during the break to ask if we liked our seats and the show, what a cutie.

- To understand why I would write an 2500 word post about this performance, you must know that I have been waiting to see this show since I was 6 years old (that’s 16 years!). I even have a very clear and detailed memory of the first time I heard a song from this musical, Koningen from the Flemish/Dutch production. This was my absolute number one bucketlist item and I still get teary eyed when I think about this experience.

- Lorenzo’s apprentice (I think his name is John in the play but don’t quote me on this) was scary as fuck before the show began. He was just roaming around the venue and stopped every once in a while to stare at someone without blinking for an uncomfortably long time.

- The costumes in this show are to die for! CAPES FOR DAYS!! This production works with the same choreographer and costume designer as La Légende du Roi Arthur and it’s just as beautiful.

ACT I

- Tebaldo just casually hanging around ‘Capuletti House’, applying his Scar-like scar with eyeliner and then falling backwards onto his crew (my friend had a fit, she did not see it coming and genuinely thought he was going to fall flat on his back).

- The prince may sing that two families make the laws in Verona, but everything about him says he is in power. He is just so impressive, physically and vocally so demanding.

- Our Benvolio wasn’t bad but he didn’t make the part as interesting as Riccardo did. His Benvolio was pretty plain, okay vocal performance but he didn’t bring the same flare to the part that Riccardo did. Benny isn’t the most interesting part in the show and he didn’t add anything more to it than what the songbook or choreography said. Ric’s Benvolio was every bit as playful, joyful and a player as the other to two in the main trio but there was such grace and gentleness to him, whereas our Benvolio was more like the ‘no fun, boring’ friend. The original Italian trio has great chemistry and he just wasn’t very convincing.

- Davide as Romeo: his singing has improved so much, he seemed to sing with so much more ease compared to the dvd-version. During ‘Io Tremo’ he had a lot more interaction with the Montacrew. I absolutely love his Romeo, Damien always was a bit to fatalistic for me. He is much more youthful and moves quite impulsively on stage. In dutch I would say he is a ‘kwajong’ and a ‘spring in’t veld’, Google tells me it’s a ‘rascal’ and a ‘little filly’ but I don’t know if that really covers what I want to say. (He kinda gives of the same energy as Maria during ‘how to solve a problem like Maria’ in The sound of music.)

- On a related note: I only realised during the show how different the two houses are. The Montagues seem a lot closer than the Capulets. The reds are a divided house, they seem a lot more competitive and aggressive, only Tebaldo has an obvious bond with the rest of his family (maybe even a bit too close to his aunt, this production hints on a possible incestuous relationship between the two). The fact that they have a pretty scary cat only proves my idea about the house.

- L’Oddio is a ride! I always loved the song but most of the time staging was off and boring which made it almost annoying to watch. I only listened to it but never watched any clips of it. This production however absolutely nails it and finally does the song justice. It’s one of my favourites parts in the show.

- Paride definitely changed a lot compared to the previous Italian production. He used to be innocent and polished, now he is arrogant and they changed his dancing style to a more modern vibe instead of ballet. Overall, I had a bad feeling about him and I was even happier that Giulietta didn’t have to marry him because she wouldn’t have been happy with him at all. I also miss Tebaldo singing the ‘give her to me’ part in the background,like they do in the French productions.

- I never liked the French Juliettes, Joy’s was like a spoiled brat sometimes and she wasn’t a great singer either. It’s mostly due to the way the production was written and the directors they worked with though. But Giulia Luzi is a perfect Giulietta for me, she is defiant, she has a mind of her own and her own ideas. This Giulietta isn’t a child, she is a young adult which makes more sense for a girl her age in this time.

- La Nutrice and both Ladies are such impressive vocalists! An absolute joy to hear them live!

- Il re del mondo live made me sooooo happy! (I don’t think I stopped grinning until the Duel started anyway)

- Luca GF!! What a performer!! You simply can’t look at anyone else when he’s on stage. He has such a fascinating way of moving around the stage and his vocals! I don’t have words! He was out of this world and I feel incredibly privileged to have seen him live. I was looking forward to his falsetto notes, but the dvd recording did not prepare me for his normal singing voice. The recording in no way does justice to how full and warm his voice is.

- The ball: they got rid of the ugly masks (thank the gods). This scene is so beautiful and I love the costumes. There is just so much going on I feel like I’d have to watch it at least 5 times to fully capture everything.

- The big ‘smack’-sound every time R e G kiss, because the microphones picked it up pretty hard.

- I like the order of the song better in this one then in the French production, it works better for the story (especially Tebaldo’s songs and the Verona reprise) and the acting is so much better!

- I have a hate-love thing going on for count Capulet. He seems tired of the feud when he fights with Tebaldo during the ball but he is such a dick to Giulietta and then has this solo song with a ‘Man only realise women are people once then have a daughter’-theme. Don’t get me wrong, I love this song and it’s always a song I look forward to in any production. You have to applaud the actor though for going from ‘Vedrai’ to ‘Avere te’ so fast, that’s one hell of an arc in so little time.

- I don’t get Belli e Brutti and I don’t think I ever will. But it gives me more stage time with the trio so I’m a happy girl. Also, the Montacrew eavesdropping on Romeo and Nutrice was really cute.

- The Balcony scene is so cute and I ship this R e G so hard. I usually care more for the supporting characters then the main pair in this story but I really believed these two.

- The official, original Shakespeare dialogues work better for me then the R et J dialogues.

- Romeo’s relationship with Lorenzo is so wholesome, I love them.

- Tebaldo had a throne!! Like, Yaaasss Bitch!! I loved the choreo for this song (I’m a sucker for swords), especially is contrast with his other solo song. This one is pure lust and anger while the other is so much more intimate and shows his yearning for love. The musical has made me love Tebaldo so much as a character and Gianluca did a great job. I always underestimate him for some reason, he sometimes sounds like he won’t make it but he always hit’s the notes perfectly.

- Nutrice’s solo song gets me every time, fantastic performance. I think she had a problem with her earpiece because she kept fidgeting with it but it didn’t affect her singing at all.

- Ama e cambia il mondo was so beautiful and emotional. I really like this tagline for the story, it perfectly captures the message I take from it. This song is such a victorious celebration of love (and it has no gender pronouns) and I’m living for it. Lorenzo is like the head of R e G shippers, such a proud and smiley dad.

ACT II

- Yes, thank you, a short version of ‘on dit dans la rue’ is enough. We don’t need a whole song about his friends knowing who he married and being unsupportive little shits.

- IL POTERE!! Need I say more? One of the songs I was looking forward to most. It suits this Prince so well and the whole scene is so beautiful! The choreo and the stage setting, ugh, so pwetty.

- I just want to hug Tebaldo, what a lost puppy.

- the side door entrance of the Montacrew before the Duel! They were so close to us!!

- La Follia. That’s it. Just La Follia. I have no words.

- Okay, I have a few words: that last note. The entire audience lost their shit and was clapping and screaming for what felt like ages and he was still holding on to that note when we finally calmed down!! Again, what a performer.

- The Duel is a journey. What a scene! I don’t think I’ve ever seen a more complicated and impressive scene in any show I’ve been to. I also want to take some time to talk about the ensemble in this show. These people are great dancers but their acting was so on point! Especially the crew guys. A show is nothing without the ensemble and they did so much more than just support the story. They really lift it to another level.

- That piece of bloody cloth they pull from Mercuzio’s wound had me gagging. I could almost feel it.

- I knew there would be a kiss when Mercuzio’s died but this was a full make out session. I was like ‘yeah, same, Mercuzio’. I made the mistake of looking at Benvolio during this scene. Pro tip: don’t. Just don’t. It’s painful and you don’t need more pain at this point.

- Romeo stabs Tebaldo in the stomach and not in the back, I don’t know what the original play says about it but I feel like it fits Romeo’s character better. My boy is no backstabber.

- La Vendetta and Duo de désespoir broke me. The Prince seemed really sad about losing his cousin. Lady Montague’s acting in this sequence was perfect. Lady Capulet is more sad when Tebaldo dies than when her own daughter does, he must have had a golden dick. Tebaldo and Mercuzio are dead on stage for a long long time, kudo’s to the actors for putting up with that and actually looking dead.

- The Prince saying ‘mercy is the killer when it’s granted to the killer’ (that’s the best translation I can come up with right now) was such a deep mood, I haven’t stopped thinking about it.

- Giulietta’s duet with Romeo’s Mom is the only time she wears her house color. For Tebaldo? I don’t know, if anyone has a theory on this please let me know.

- Romeo and Lorenzo crying next to each other at the altar. Romeo curled up like a baby, so sad. Poor, poor child.

- Romeo’s pj’s are really funny.

- Vedrai is such a heavy scene to watch. It’s very painful but I like it better than the French version. I was pretty mad at Lady Capulet for not standing up to her husband but she did push his hand away Melania-style when he tried to touch her after calling their daughter a whore. Also, Nutrice was so hard on poor Giulietta, I felt betrayed. I can’t help but feel like Count Capulet would have given his blessing for a wedding to Romeo if he had known, Lady Montague maybe too, she really did want her son to be happy. Lady Capulet would have been a problem though.

- Giulietta turning to Lorenzo for help and him turning her down! He is the only one they have left and he doesn’t want to help (at first)!

- Romeo being all alone during Mio Dio.

- There were Giulietta look-a-like dancers standing around her bed before she drank the poison and it was very creepy.

- The Verona reprise with a teary eyed prince like: “Look at this place! You thought I was joking the first time I said this?”

- another side door entrance for a very anxious Montacrew and Benvolio almost fainting when he hears the news about Giulietta’s death. These people are A+ friends. The stage was too small for the original choreo of ‘con che pieta’ but it was really beautifully staged anyway.

- Okay so now it’s time for one of my favourite solo songs in the whole entire show: Mai piu. I was very nervous for this one because it’s so important to me and our Lorenzo looked so much younger than others I’ve seen online, I was really curious as to how he would interpret the song. Throughout the musical the theme of doubting their religious beliefs is very present and it’s come to a climax during this song. Most interpretations I’ve seen where very angry and questioning, some even go slightly mad, but after the first few lines you could already see this Lorenzo had an entirely different take on the song. He was very accusing at first toward the crucified Christ and after a while he looked so disappointed and angry with himself for what he had done. He took of his robe and I thought it was a symbolic gesture to show he would leave his function, but he took of his belt to punish himself and it was so intense and sad and I was shocked at how beautifully raw and human he portrayed his character. Like I said, this performance would make or break the show for me for a big part, but it was so much better than I could have ever imagined.

- The songs Romeo and Giulietta sing before they die usually don’t really interest me on dvd because they drag on for too long in my opinion, but when you watch the show live you really need that time to process everything that has happened. Especially after such an intense Mai piu. The scene looks pretty uncomfortable on the tilted stone bed, I was scared that Romeo was going to fall off.

- GIULIETTA WAKES BEFORE ROMEO IS FULLY DEAD!! HOW RUDE!! Why would you do that to me?

- Paride wasn’t killed even though this one deserved it more than the babyface from the 2013 version but he does appear next to Mercuzio at the end, I don’t really know why, it’s not like anyone cared about him anyway.

- Culpa Nostra is so beautiful. Everyone was dressed in white so you couldn’t see who belonged to which house. I’m pretty sure Benvolio forgot to put on his blue vest when they first came on because everyone takes their house colors off on stage except for him, he was already completely in white. Maybe because he is actually an innocent smoll bean? I do think he forgot though, because him and one the dancers had a short interaction with him nodding to Benny’s clothes with a confused face that seemed out of place. And the Ama e cambia il mondo reprise/theme; very strong ending for the musical.

End of PSA.

#romeo e giulietta #ama e cambia il mondo #davide merlini #giulia luzi #luca giacomelli ferrarini #gianluca merolli #leonardo di minno #retj #romeo et juliette

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litteranonerubescit · 7 years

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Purtroppo devo scrivere in italiano, non credo riuscirei ad esprimere tutto ed appieno in inglese. Questo sarà un mio post sfogo, per cui potete tranquillamente passare avanti e non leggere, ma ho bisogno di scrivere. Come dopo qualsiasi cosa molto importante per me subentra quel senso di tristezza, oltre alla gioia, ovviamente, ma soprattutto tristezza, almeno adesso. È stato un viaggio che per me è iniziato quando avevo 8 anni, che è maturato appieno solo recentemente, ma da quella volta non mi ha mai abbandonato. Si è conclusa ieri questa avventura e per me partecipare all'ultima tappa è stato un sogno, qualcosa di davvero importante e che ora mi lascia un po' con il magone, nonostante io non sia una persona incline alla commozione. È stato bello coronare il tutto con anche la visita nel backstage, sentire che gli attori hanno apprezzato vari disegni e vedere le loro reazioni, quindi, al netto di tutto quello che è successo, sì, sono tremendamente contenta, ma questa esperienza mi lascia da una parte piena di tante cose: ricordi, sorrisi, emozioni; dall'altra parte, però, un vuoto enorme. Un vuoto che, sono sicura, non si riempirà mai più del tutto. È inutile, la depressione post-spettacolo non riuscirò mai a togliermela.

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francesca-vadacca-16 · 7 years

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E ogni volta,ti ritrovi nella Parigi del 1482,a contemplare l'amore, la passione,la lussuria, l'avidità, l'ossessione carnale e il desiderio di essere amati...perché Ndp non è una semplice opera popolare...è un racconto che si fa spazio nel tempo e rimane sempre attuale,come se questo tempo non passasse mai,statico nella sua bellezza e nella sua unicità💜💜💜

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ultimavoce · 7 years

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Notre-Dame de Paris: dopo 15 anni di nuovo a Lecce

#Notre-Dame a #Lecce e nel #Salento dopo ben 15 anni, il grande ritorno del cast originale.

Il Salento: terra del sole, del mare, del vento e dell’arte. Mica arte qualsiasi, badate bene: si tratta di un grande, anzi, grandissimo ritorno sui palcoscenici del Sud Italia, che vede artisti come Giò di Tonno, Tania Tuccinardi, Leonardo di Minno, Matteo Setti, Vittorio Matteucci, Graziano Galatone e Federica Callori rivestire i panni dei personaggi del famosissimo ed iconico musical “Notre-Da…

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#Federica Callori #Giò di Tonno #Graziano Galatone #lecce #Leonardo di Minno #Matteo Setti #notre dame #Salento #Tania Tuccinardi #Vittorio Matteucci

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shadowofthemoth · 6 years

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The Italian Escalus appreciation post

Okay guys, here’s what I’m gonna talk about: https://www.youtube.com/watch?v=oFMLneGZAG0&index=26&list=PLzwt4Qzgoo93mVceQZcO1pcnf91fmSI7b - the scene starts at 3:57. It is the reprise of “Verona” by Leonardo di Minno, and I’m probably a thousand years late doing this post here because literally everyone in the fandom has already figured out what they think about this version of Prince Escalus… but hey, better late than never, right?

Anyway. When I saw him in aci01′s multilanguage RetJ videos long ago I was a bit… shocked, because that was not Prince Escalus, that was literally Khal Escalus. Plus, well, his clothes are very… unique compared to what other Princes wear, wouldn’t you agree. So during “Verona” I was somewhat impressed, somewhat surprised and somewhat weirded out.

His “Il Potere” (”Le Pouvoir”) was, uh… well, the most powerful version of that song I’ve heard, because yep, the man I saw was a cruel, tyrannical even, ruler, lusting for power, eager to exploit it. He may be just, he may be aiming at achieving the greater good (aka peace in Verona, I suppose), but what I saw was a tyrant. Historically correct, given the reputation of the Della Scala family, but, well, a bit too much for me - or that was what I thought.

But I only discovered his reprise of “Verona” two days ago, when I watched the full version of the Italian RetJ. And let me just tell you… it changed everything. Because that was when I actually saw the human side in him, the soft side, I saw that he ~does~ care about the people of his city and not just about the power he wields. The sorrow so plainly evident in his face, it was… gosh, amazing, just amazing. I knew from the very beginning, of course, that his image couldn’t be that simple; but I needed to see it, not just guess, because that’s how theatre works - a character has to open up and show what’s inside or we’ll never know it’s there. Through words and actions, a character has to show everything they’ve got to show.

And that was what this one short scene did for the Italian Escalus, and I’m glad it did.

P.S. I also loooooove the Italian version for including so much Shakespeare in their version! The Prince’s words in the beginning and the end of the show; the chat between Benvolio and Tybalt before the opening fight; the dialogue between Benvolio and Lady Montague is closer to what Shakespeare gives us… and they have Lord Montague! I checked the credits, and the silent guy with Lady Montague is actually her husband! In fact, I don’t have the subtitles for the Italian version so I just found the translations of the songs online and had to rely upon my knowledge of the plot and Shakespeare’s original text (and on my common sense as well) to figure out what they were saying in the dialogues, but I’m pretty sure I got the gist of it.

Ok, this is getting waaaay too wordy so I’ll wrap this up by saying: the Italian Escalus is an amazing Escalus! (But his costume in Act 1 still makes me laugh A LOT and it will never cease to do so, sorry xD).

#retj #romeo et juliette #romeo e giulietta #prince escalus #verona #musicals #random ramblings #shadowofthemoth is f*cking impressed

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acquagalaxies · 6 years

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Top 5 musicals?

If you don’t mind, I’ll answer here both your asks!

Top 5 musicals:

- “Notre Dame de Paris” by Riccardo Cocciante, the italian version with Giò di Tonno as Quasimodo.- “Sunday in the park with George” by Stephen Sondheim, I fell in love with the original version of 1986. It’s a musical about the famous painter Georges Seurat while he was realizing his masterpiece Un dimanche après-midi à l'Île de la Grande Jatte.- “Rebecca”: a german musical based on Daphne du Maurier’s novel (already on my list of books that I need to read), my favorite version is the original one, with the 2006′s Wien Cast, in which there’s Carsten Lepper, a.k.a. my musical crush (God I love his voice, I would totally die for him).- “Mozart, l’Opera Rock”: this time a French production, in which they mixed Mozart’s classic music with pieces of rock music. I really recommend this musical, it’s very awesome!- “Monte Cristo” the 2009 russian one (which is really amazing??? They made changes, of course, from the original source, but there’re also good and interesting ones, for example the characterization of Fernand and Villefort, which is very good ahguikwhdsfb, or Bendetto/Andrea’s character, who gets his happy ending by finally being reunited with his mother Hermine, ecc. I’ll stop here bc otherwise this post will never see an end :p)

+ bonus: Frank Wildhorn’s “Count of Monte Cristo” with the amazing Thomas Borchert as Edmond/the Count (the german premiere at Theatre S.Gallen in 2009): I didn’t put it on the list because I don’t like how they simplified the plot at all but it’s worth to be mentioned because the acting (I love this cast, all of them are great, from the main actors to the ensemble), the dresses (Mercédès’ red dress fight me, but also her light blue one from the beginning is very cute and I want it), the songs are so perfect (+ the russian version performed in 2017 in St.Petersburg has even better settings and some nice additions too).

Top 5 books:

- “The Count of Monte Cristo” by Alexandre Dumas- “Tutti i racconti del mistero, dell’incubo e del terrore”, a book in which are gathered all Edgar A. Poe’s stories, divided by theme (”Death”, “murder/vengeange”, “imaginary”, “terror” and “mystery”) it’s a bit old edition (the price is still in lire) but a very good one!- “the tale of Eros and Psyche” by Apuleio- “Apology of Socrates / Symposium” by Plato (I have an edition which has both in one single volume)- Shakespeare’s “sonnets” and “Macbeth”.

Top 5 songs (I have a lot of them, so it’ll be more than just five lmao):

- “Il potere” from the musical Romeo & Giulietta: ama e cambia il mondo, perfomed by The Prince of Verona (Leonardo di Minno)- “Кто ты“ (”Who are you?” sung by Valeria Lanskayaas Mercédès) and “Таков наш век” (”This is our century” performed by Fernand and Villefort - MaximNovikovand AlexanderMarakulin) from Monte Cristo’s russian musical.- “Hasta mi final” and “Por ti seré” by the spanish band Il Divo.- “Diary of Jane” by Breaking Benjamin- “Lacrimosa” by Kalafina-”Rebecca” + its reprise from, guess where, the Rebecca musical, I love both the original german version sung by Susan Rigvava-Dumas(coincidence???) and the english one sung by Carolee Carmello.-Shingeki no Bahamut’s ending theme “Promised Land” sung by Risa Shimizu-“October and April” by Rasmus ft. Anette Olzon-”When I look at you” from The Scarlet Pimpernel‘s musical-“Warriors” by Freedom Call- literally every song from the Count of Monte Cristo’s musical by Wildhorn, both from the english concept album and from the german performance, especially “I know those eyes/this man is dead”, “When the world was mine”, “Too much is never enough” (still thinking they made the conspirator’s downfall too quickly despite being a very important part of the plot)

#thank you very much for the ask!!!#I love answer to those!!!#<3 #very long post #musicals #favorite books

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tveckling · 7 years

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Who's your favorite actor/actress for some of the characters in Romeo and Juliet? All productions, of course. ☺️

.......... darling. first of all. I think you need to know that I am Biased with a big B.

As in, I don’t, uh, really care about any other character than Mercutio..... I am also very into with the Hungarian musical production.

BUT HEY, LET’S DO THIS. YEHA.

Romeo - I really, really like Veréb Tamás, one of the current Hungarian musical Romeos. He makes Romeo very young, naive and romantic, and he is so very good at showing Romeo’s heartbreak at Mercutio’s death and everything that happens after. For non-musical productions I have to say I actually really enjoy Leonardo DiCaprio’s performance in the 1996 movie, but my favorite is Tomiwa Edun from the Globe’s 2010 production.

Juliet - Again, my first thought is Jenes Kitti of the Hungarian musical cast. She’s the most adorable thing I’ve ever seen, but she’s also so full of life and personality, and when she wakes up and realizes Romeo is dead - well, it’s amazing and touching. And the same goes with the song when she’s deciding to take the potion. Aaa I adore her so much. And again, for non-musical productions I really freaking adore both Claire Danes (from the 1996 movie) and Olivia Hussey (from the 1968 movie).

Benvolio - Mmm I love his character in the Hungarian musical, but I don’t have favorite actor for him there (maybe one day I’ll get to see KMM in the role..... one day...) so I’ll have to say the Italian musical’s Riccardo Maccaferridoes A+ work. For non-musical productions mmm I really liked Jack Farthing’s portrayal in the Globe’s 2010 production. His Benvolio is the absolute best when he and Mercutio goes looking for Romeo after the ball, is2g. It has me in stitches every time I watch it.

Tybalt - Hands down my favorite musical Tybalt is Tom Ross in both the French versions. He did a great job, he really did. Ukweli Roach (Globe 2010) did a very good job too, although I personally prefer a Tybalt who is more shaken by becoming a murderer.

Prince Escalus - I couldn’t leave this one, because I must tell you all about the glorious vision that is Khal Escalus (the Italian Prince Escalus) aka Leonardo di Minno. He is just. A glorious sight. Google him, or look at videos. It’s worth it, trust me. (But if we’re talking actual favorites I love Németh Attila and Angler Balázs from the Hungarian musical. The way they both act after they see Mercutio dead *desperately wants all the Escalus family feels*)

Mercutio - AND THE MOST IMPORTANT ONE OFC. Since Mercutio Is Important I tend to be pretty critical, and once I found one who I enjoyed in the role I compare everyone else with them..... so, on top of my list is of course Bereczki Zoltán, who I’d still pay good money to see play Mercutio (even though lbr he’s way too old) in fucking Hungarian prose, just to see his body language and all - he is extremely good at portraying characters through facial expressions and posture and such. His Mercutio is playful, a clown and a flirt, who hides seething bitterness very close beneath this jovial exterior, and he is ready for a fight at any time. The only thing I miss from him (which is the production’s fault) is this tint of madness that comes from, for example, the Queen Mab speech. Barkóczi Sándor, on the other hand, doesn’t carry that bitterness close to the surface like Zolicutio does. He’s gentler and cares more about protecting his friends and having fun with them (him making Rosa mad, then apologizing soon after so they could be Sassy @ the nurse was just.... amazing, and I am so glad I got to see it with my own eyes). Instead he seems to have thing switch, where when he got angry he got pissed off. He’s more chaotic good, so to say, than Zolicutio’s chaotic neutral? he’s also not as good a dancer or singer as Zoli, but seriously - no one isAnd then we have an honorary mention for John Eyzen who is also a very good Mercutio, bringing along that madness that I miss in the Hungarian production. Unfortunately here it’s amped up to the max, which is too much in the other direction, and for the other qualities I think he does a less stellar job than Zoli or Sányi. But still. That hair ❤Tbh I don’t have a non-musical favorite *shrugs* I enjoy some of them to certain extent, but none that I would want to namedrop?

aaaaand a special mention for Csuha Lajos as Lord Capulet, because I love my immortal Hungarian grandpa. He’s the best and I would love to have him as a dad or a grandpa (although he primarily play dads).

#if you think i focus on musicals you're absolutely right #because while i have seen every single production/movie of RJ that I could get my internet savvy hands on #i generally don't like them....#romeo and juliet #here have a way too long response lol hope you enjoy #Anonymous

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