Let’s talk about “Rierra!” | musicalreviewer92
TALKING “THE AGE OF INNOCENCE” WITH STAR SIERRA BOGGESS. Posted on . We do have a shorthand and we do trust each other. He's very special and I feel really lucky to have the relationship I have with him. Ramin and Sierra Sierra Boggess, Ramin Karimloo, Music Theater, Theatre, Love . Since they're both in their own romantic relationships, I totally ship their. personal information, including your religious or political views, health, racial background, country of origin, sexual identity and/or personal relationships.
Angel of music, I denied you! Turning from true beauty Then Raoul goes all Dominant Male Presence and starts bossing everyone around in preparation for the Don Juan performance, and if you look closely you can see a familiar face in the policemen hired to shoot-only-if-they-must-but-shoot-to-kill.
Yep, it's Killian Donnelly. I mentioned in a previous post that I don't care for what I've heard of "Point of No Return"-- it's too overtly sensual and suggestive for my taste. I've included this picture because I like Christine's dress, though. I realize that it's an important part of the story, but hey, I know the story and never have a problem understanding what's going on without it, so I just skip it when I'm watching the film and don't have the song on my iPod. However, I do make sure to stop skipping when the part where Christine rips the mask off approaches.
That part definitely IS important. D Can we take a minute to appreciate the excellent job done by the makeup artists in the production, in making the Phantom's disfigurement genuinely gross and horrible to look at? I mean, when you get up really close it looks fake, obviously, but from where the audience sat I'm sure it was very convincing. Then Piangi dies and I feel bad for Carlotta again and the Phantom and Christine disappear and Madame Giry and Meg teach the audience how to say the word "monsieur.
I used to think that the whole "hand at the level of your eyes" thing was to keep people from having to look at the Phantom's deformity. It was only on my third viewing of the musical I think that it dawned on me that it was to keep Raoul from being strangled by the Punjab lasso. I believe what clued me in was hearing Madame Giry say, "Punjab lasso, monsieur. Now I am enlightened. The part we've all been waiting for! Because it is just that good. I highly recommend you read the lyrics while listening to it, because there's so much singing-over-each-other again!
I tend to bawl uncontrollably during this scene. Or at least tear up a little, now that I've seen it so many times.
And some of the lines just break me. Does that mean nothing? I always get chills when he says the line in the picture above. I seriously don't understand the whole disliking-Raoul bandwagon. I mean, I'm totally open to hearing your opinion on this, whether it concurs or differs, of course.
My comment box is open and my caps lock is on. A lot of Christine's lines give me chills, but one of the greatest is the one in this picture. The scales have finally fallen from her eyes and she's seeing the Phantom for what he truly is. His problem isn't in his face-- it's in his heart, where bitterness has settled and twisted everything that was once capable of genuine love. Why do you curse mercy? Angel of music, you deceived me. I gave my mind blindly God give me courage to show you, you are not alone!
Because she doesn't just kiss him once. She pulls back after the first one and then does it again. And the look on his face would have pretty much single-handedly shot Ramin Karimloo up into Amy's List of Awesomest Actors Ever, if he weren't already there by merit of his amazing performance in the rest of the play. Told ya this review wasn't going to be calm and objective. There's a debate raging in my mind about Christine's motives in The Kiss.
On the one hand, it's possible that she thought showing Erik he wasn't alone and that someone COULD love him even though she left him about two minutes later But what I like to think is that she honestly chose him, chose to stay with him no matter what the cost, so that Raoul could live.
Anyway, you can see Liz Robertson noticing them. Does they do that in the stage version too? This is how she looks when Hadley asks: Now, Sierra probably takes it in her direction remember when in the rooftop he made the exact same gesture? I understand that she was pulled into the dance floor by surprise, but she should take on the dance fairly quickly. Look with how much grace Gina Beck does that. Hadley, please, make up your mind already. I must say that the way he looks for her, for itself, is sweet.
Sierra is very confused, I sort of like that And I really wanted to gif that moments, because her expression is hilarious. Also, look how beautiful the costumes flow!
sierra is crazy | Tumblr
And again they smile at each other. Oh, there we go. Finally, she caught with the dance. The dynamics there are great, and now it seems bland. Also, does it mean that there will be no frightening, slow stride of the Red Death down the stairs…? That will be lame. That sequin fabric tied the look together. Here come the Phantom, the infamous Opera Ghost that terrorizes the Opera House for ages, and he just stands there?!
Also, you can see him escaping. It kills the whole effect. I like it when an actress keeps a mysterious aura to the tale, but also lets the nervousness spill through her words.
Hadley, though… First time I think his Raoul starts to understand and he does that very well.
Anyway, Hadley was all right here. Both Gareth and Barry choose to go with a more solid approach in this performance. Wendy also chooses a subtle approach here - usually she Wynne is officially one of the funniest Piangis ever. His struggle with the Don Juan score is hilarious and epic in so many ways.
I love how Maria Bjorsnon established her sense of style - military influence! She deserves it, really. So far, Sierra has improved immensely. It looks like the beginning of a cat fight, really. No Phantom projection this time - thank you very much. Not enough humiliation from Wynne.
Instead, Hadley crosses his hands behind his back and wears a stern expression. I like the way Gina Beck and Tabitha Webb responds better - they pause for a few seconds. Is that how you treat her, Raoul? I raise this question because Hadley sounds very emotionally detached.
Sierra runs off to Liz. Hadley decides to take on the pout for the rest of the scene: She looks worried, yes, but she makes no statement. Her Christine is very fragile. See Gina Beck, how she runs around in distress until she throws the score with a scream. Anyway, Hadley goes up to her very quickly - nice to see that now he cares. He makes an attempt at calming her down and being caring.
Um, a tad too late, darling. All I get from him is this young, spoiled, arrogant rich boy who is sure everything is his by nature, with rare moments of other traits. Sierra has great emotions during this scene. However… none of that is conveyed in her voice.
And Hadley sings with surprising softness! Christine has gone too far in her belief in angels. No expression in her face, no emotion in her voice and the body language is severely lacking. Hadley stops being gentle and all. He shouts at Christine as she leaves in tears asshole and slams his fist against the chair.
Now go and sing so we can get rid of him. Oh, a lightning change! With a big ensemble like that the opening of DJ sounds very, very chilling. I like that change. Pretty Victorian dresses Wynne appreciation moment: Sierra humbly accepts her awaiting dark fate: Where is Cheryl McAvoy when you need her? Philip Griffiths as Reyer is great in this scene. I watched that segment for at least five times. That part always creeps me out: This is the most pivotal scene for any actress who plays Christine.
Meredith grows into a woman before your eyes and Tabitha Webb. The graveyard projection is just beautiful. Adds a lot to the scene, but I think here is the only place well, save for the rooftop it works well. She sounds hollow and empty, and continues on with that in the opening lines of Wishing. I simply LOVE that. I like that she removes the hood off her head. Her body language here is just so expressive. Also note the rising power in her voice as the song goes on.
Not even Gina had put such thing in her Wishing.
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And that is one freaking great shot: So, dear Sierra Boggess, you most definitely pulled that. Great emotion and body language, right tone to the song. Painful acting at all its glory. I cannot, however, separate your acting from your singing - which is kind of lacking… Because that rendition was, again, brilliant. At any rate, I applaud. What, no skull staff? He sounds… well, young. He has this soft quality here - I like that.
Again, Sierra with extremely annoying shortness in her notes. I like that she makes her inner struggle not to turn visible - Sierra is determined not to look at the source of her private hell. You should know that by now, giving what happened only six months ago or do you suffer from a mild memory loss? He does, however, wear this pleading expression for a second: But why the big distance?! She lifts her hand ever so slowly in a mesmerized face. Oh, Sierra, let me love you! What ensues is a scandalous love triangle that explores class, the morals of society, and the power of human attraction.
Growing up, who or what were some of your biggest influences that made you want to pursue a career in theater? I have to always start with Barbra Streisand. She was my first role model in the theater. Julie Andrews made me want to do this as well. That sort of thinking helps me as an artist even more, instead of just in my small artist circle, if that makes sense. You tend to perform in musicals over straight plays. When the project came up, I read the play and was immediately in love with it.
I had never read the novel or seen the film before, but I understood the character of Ellen right away. I was really, really excited to try and sink my teeth into it! The other thing was that the director of this production is Doug Hughes.
This is so incredible! Douglas McGrath is the playwright for this — he adapted it for the stage. He is also extraordinary.
Ramin Karimloo | HEADPHONE INFATUATION
Luckily, they cast me, so I feel happy! Countess Ellen Olenska is often regarded as a fierce and independent woman who was far ahead of her time. As an actor, how do you think this character differs from your previous stage roles?
What have been some highlights of bringing her to life? What I love about bringing Ellen to life is that she is trying her best. I love that about her.
How much are you relying on the novel to find your interpretation of Ellen? Will this production explore your character in ways beyond what is known of her from the source material? Edith Wharton wrote so beautifully, but Doug McGrath has really smartly added some things into the play so that you are never confused about what someone is thinking or feeling. He pays such homage to her work and I think the viewers are going to be thrilled.
It feels almost seamless. I was relying on the novel before I started rehearsal, just to help myself with research. That was very helpful. Researching what New York was like then has just been so cool. Prior to signing onto this show, were you a fan of hers? What do you think it is about her work that has made it so timeless and such a staple of American literature?
But that actually creates loneliness! Plus, the way she describes things and her use of language is just stunning.