I saw Mame tonight at the Muny. I'm too tired to write anything more about it just now. But, for being so hot, I will say that the light breeze helped a lot. For now, good night.
You just have to watch this. It is only three minutes long, so don't read the synopsis on the download site before loading it. You can view it in Windows Media Format, QuickTime or MPEG-1 (click Windows Media on the selection page to get to the MPEG version).
After the end of Star Trek: Deep Space Nine, I pretty much quit watching anything Star Trek. I'm not sure exactly why, but I did. I do not believe I've even watched more than a handful of DS9 reruns since that sad day in June of 1999. I did watch part of the first season of Enterprise, but it never pulled me in that much, despite being a decent show.
Lately, I've used the DVR to grab some DS9 episodes off of the TV. It reminded me of why I liked Star Trek so much, and why Enterprise didn't cut the mustard.
I started toward the end of the series, catching three episodes and one episode from season six and season seven, respectively. All of the four episodes showed off DS9's ability to grapple with a wide variety of plots, from a wide variety of angles and do it well. I then recorded a few more episodes, just this week, catching Emissary Part I and II (the pilot episode), along with a few other earlier episodes.
From the beginning, DS9 managed to walk the fine line of being a dark series (both visually and plot-wise) while keeping an air of hope. Emissary is both depressing, beginning with the death of Commander Sisko's wife at the Wolf 359 Borg invasion three years prior to the beginning of DS9, and hopeful, as the Prophets help Sisko realize that he “remains” at the point of his wife's death despite that he feels he has moved on. Using this ingenious plot, the writers started off the Star Trek spinoff by exploring the psychological issues of loss and grief in a powerful, unique way that immediately made you connect with Sisko.
Connecting with the characters is exactly what the series managed best. Watching the early episodes again feels like being reunited with old friends. Two nights ago, I watched the episode that introduced one of the series' most fascinating, complex characters, “plain and simple Garak.” Garak the tailor turns out to be much more as the series unfolds: he is actually a washed out spy of the Obsidian Order of Cardassia and the illegitimate child of the head of the Order, Enabran Tain, who is never willing to acknowledge Garak as his son until Tain's dying moments in a fight with the Dominion. Garak's participation with Tain in a Cardassian-Romulan battle against the Dominion ultimately also brings about the collapse of Cardassia, which, in turn, brings about the Dominion war that covered approximately two years of the storyline, and is the climax of Deep Space Nine's seven year run.
Every bit of the show was interconnected. Few episodes were merely gratuitous stories: they all fit into the bigger picture, even if they were good by themselves. Unlike the Star Trek franchises before or after it, DS9 was really one giant epic that played out over seven years. Rather than being truly episodes, the episodes where more like chapters in a giant book. It has all the marks of a good story: villains who are evil but likable (Gul Dukat, Lt. Cmdr. Michael Eddington and Weyoun, for example), heroes that are flawed and fail to see their destiny (Captain Benjamin Sisko, especially, but Kira, Odo, Bashir and others too), and plenty of ambiguous characters to keep you on your toes (Quark, Elim Garak, Kai Winn, Sloan, etc.).
While each Trek had its high points, Deep Space Nine episodes such as Emissary, Paradise Lost and In the Pale Moonlight that drove DS9 further. While DS9 did pretty much trash the Roddenberrian idealism that formed the basis of Star Trek, I'd say that doing so was probably a good thing: as nice as Roddenberry's utopian vision was to imagine, it wasn't realistic.
Returning to DS9 after six years has given me a new appreciation for it. Instead of already being “inside the universe,” the story must pull me back in, and this has allowed me to analyze it much better than I could before. DS9 should surely rank among the best dramatic tales told on or off of television in the 20th century. Sure, you have to get yourself accustomed to Star Trek terminology and history to fully appreciate it, but once you do (or even if you do not), you'll find an amazingly complex, dark and rich story that accomplished what few other works have ever attempted, much less succeeded at.
As I noted last night, I just had the pleasure of seeing the Muny production of Jesus Christ Superstar. It would be stating the obvious to say this was a bit different from Grease. Unlike my commentary on that a few weeks ago, in which I had a hard time pointing out non-objectionable parts of it, there is very little to object to in Weber's “rock opera” and a lot to appreciate.
As is the case for anyone dealing with Christ's passion, especially someone attempting to tell the story in a non-traditional way, Weber took some risks. It doesn't therefore surprise me that the musical was controversial when it came out. Jesus' humanity is emphasized over His divinity, even He seem to almost doubt His nature, but as a whole, Judas seems to suggest Jesus takes an active role in letting people call Him God, which is a far more noticeable recognition of Jesus as a willing recipient of that title than the minor comments made by Jesus that may suggest the opposite. That is, Weber and Rice do not run with the idea that Jesus never claimed to be God, unlike — yes, Mark, I'm sure you're waiting for this — Dan Brown.
As a whole, the musical provided a powerful portrayal of the last week before the crucifixion in such a jarringly different way that it actually amplified some parts, rather than diminishing them. I appreciate the perspective of Judas, something that the Gospels do not provide for us, but have rather left us to imagine for ourselves. I generally believe that suggesting Judas did the deed exclusively for the 30 pieces of silver is an oversimplification. Perhaps he did think he was helping Jesus, or at least keeping Jesus from causing more “harm” to His followers, as the Judas in the play suggests. (I've often leaned more on the idea that perhaps, like Simon the Zealot, he might have been looking for a — well — zealous removal of the Romans and was trying to force it to happen.)
The lack of a resurrection scene was a bit disappointing.
What I'd really like to mention again, though, is the actors themselves. The actor playing Jesus put in a superb performance, particularly in the temple scene's piercing cry. Judas, in my opinion, stole the show with an absolutely stellar performance; the actor playing Judas had the voice to tackle some very difficult songs and he did so powerfully (I think notably better than the singer on the official Superstar soundtrack). His voice was powerful and clear, even when he was hunched over. The man playing Herod, who apparently is no stranger to the Muny, also put in a marvelous performance that showed he felt entirely at home on this stage, and the actress playing Mary Magdalene had an excellent voice with a slight hint of a country music singer in it.
My major complaint, if it can be considered one, is that the majority of the music in this play was not memorable on its own. As a whole, the play was excellent, but unlike some other musicals (perhaps, to an extent, even Grease), it lacked the stand alone songs that otherwise might stick in my head. Meredith Wilson's the Music Man, which I enjoyed at the Muny last year, left me with such notable tunes as Marian the Librarian, Lida Rose, Good Night, My Someone, You Got Trouble and, of course, Seventy-Six Trombones stuck in constant rotation in my head for sometime after seeing it and they remain in fairly frequent “shuffle” there (not to mention on my iPod; I own the original broadway soundtrack of it now).
With a musical, I suppose one can seek two different things: music or a story. Ideally, the play will provide both. Superstar does, but, ironically, I think the fact that all of the words are set to music does actually weaken its music outside of the story.
Still, I'd be tempted to go back to the Muny and sit in the free seats to hear it again, if it wasn't quite so long of drive to go there.
Knew that I would make it if I tried.
Then when we retire, we can write the Gospels,
So they'll still talk about us when we've died.
Tonight, I had the pleasure of seeing a production in the 87th season of the Muny, the United States' largest and oldest outdoor theater: Andrew Lloyd Weber's Jesus Christ Superstar. Wow. It was, well, spectacular. The actors playing Jesus and Judas were absolutely amazing (especially Judas). Mary Magadeline also gave a stellar perfomance. And then there was Herod…
I was a bit afraid the show wouldn't make it all the way through; it started raining about two-thirds of the way through the first act. Fortunately, the rain stopped shortly thereafter and the weather cooperated the rest of the time. I'll write some of my thoughts on the show itself tomorrow.
Well, today was Father's Day. So came the question that arrives every year: what to do with Dad to make his day interesting. Mom suggested that she had seen a play in the paper — a local production of Grease. Now, I had not seen the play or movie, nor had she, but we figured Dad would like it.
As a whole, it worked out well in that respect. But, I was thoroughly disappointed with the play itself. The majority of the characters were very unlikable, save for Sandy and “Cha Cha.” The former, the female lead, however, gets a happy ending, but only by switching to the dark side of the “Pink Ladies” (who are anything but lady like), and giving up the virtuousness that makes her likable to begin with. All of the male characters are, to varying degrees, unlikable as well. Sandy, at first, seems to be desirous of a real love, but she seems to give that up for the superficial, shortsighted pleasures and thrills the others seek by the end.
Moreover, the play is absolutely laden with sexual overtones. I am not referring to Shakespearan double entendres, either, but all kinds of overt references. In fact, that was most of the plot (if I can even say it had one). It was suppose to be a comedy and on the surface, it is: Sandy gets her guy in the end. To me, however, I'd say it was actually a tragedy, as Sandy all but sells her soul for some momentary facades of happiness. She seeks love and “improves” by seeking lust instead, a very different thing. Dr. Faustus comes out with a better deal!
Now, I may seem prudish to some, but I just would have hoped there would have been some kind of more meaningful plot. Is there nothing else to focus on in life or in love than physical lusts? Of course there is more, even Hollywood usually gets that much right, despite its generally distorted lens. I think what really disturbed me was the ending. I kept thinking someone would come around and love “Sandra D.” for who she was; that is, someone would improve. Instead, the happy ending requires the corruption of a basically good character. I cannot think of one virtue of the plot, one decent illustration or message to draw out of it, which is a pretty bad sign.
The music was mostly enjoyable — if you didn't listen too hard — but many of the lyrics fit the plot (or lack thereof), and so it did little to redeem the play. Yet, it certainly was not a set of songs I would want to own on CD, even dismissing the content of the lyrics momentarily. The big highlight of the play ended up not being the play at all, but the band that played during the intermission, which did a knockout job of imitating some 50's songs.
Critical Rating: ** (out of 5)
Joshua Claybourn recommends NBC's mini-series Revelations, and I'd have to agree with that assessment based on tonight's premier. This is the first prime-time, major network show I have watched in ages and it was really good.
So far, I cannot figure out the exact eschatological interpretation being employed, but there was nothing objectionable. Certainly, I am not expecting to watch this to improve my understanding of the books of Daniel and Revelation, but I think it has the makings of a good series that, as Joshua notes, puts a positive spin on Christianity for once. On the other hand, there were a very good number of quotes from apocalyptic Biblical passages throughout the program, both quoted by the protagonist nun and shown on-screen before or after commercial breaks.
As the St. Louis Post-Dispatch said yesterday and I have marked elsewhere, it does have a certain X-Files-like feel to it (especially the cinematography). It also has some elements that remind me of the plot structure of the Da Vinci Code, which is probably no coincidence given that NBC did a special Dateline look at the Code immediately preceding Revelations.
It looks like the first part is going to re-air multiple times over the next week on various NBC-owned stations, such as USA Network and Sci-Fi, so if you missed the premier tonight, you ought to catch it elsewhere before part two of six is shown next Wednesday at 8 PM CDT.
Rating: ***1/2 (out of ****)
Content: Moderate violence and perhaps some language, although I don't recall for sure on the latter part. I'd follow the suggested age rating given by NBC (14 and above).
Well, it is March and not October, which can only mean one thing: baseball is getting ready to begin rather than end for the year! Given this striking revelation, wouldn't you like to get in the spirit by joining the Sakamuyo Network Baseball League?
Who cares if you don't know a thing about baseball, your friendly league commissioner doesn't know much about it either! I may know more about baseball than football, but given my knowledge of football that doesn't say much at all. I do know it involves bats and balls, and is played on a diamond, but I haven't established the carat weight yet.
All corny jokes aside, why not sign up? We already have three teams ready to play, but we need more (we can have up to 20 teams). Go here for more information.
I don't know how I missed this previously, but it seems that the Passion of the Christ is back in a less gory edition. The Passion: Recut is six minutes shorter, removes some close up shots for more distant ones, and apparently tones down the soldiers' discussion of crucifixion. Interesting… I couldn't (quickly) find whether this allowed the movie to drop to a PG-13 rating or not.
The other day, it dawned on me. My telephone is digital service provided by the cableco, as is my internet access. Yet, I have a satellite dish. Surely, the cableco could offer something to make it worth my time to switch to cable tv, too, right?
Now, Dish Network has been good to work with. They have good technical support and they were offering a “free” DVR before anyone else. On the other hand, the Weather Channel lacks local forecasts, I can't get any of the local public service channels (occasionally, for instance, the City of St. Peters might have something interesting on, as does Lindenwood U.), and the DVR is not a dual tuner, so if it is recording, you can only watch what you are recording (that doesn't make much sense, now does it?). Dish, these days, gives you a dual-tuner recorder, but they want fifty bucks to replace the old one that I now own, since I was under contract. The one $50 will get me will be a no-charge leased unit instead of one that is mine to keep (although what you do with a satellite tuner/DVR if you cancel service is beyond me anyway…).
So, I called the cable company, Charter Communications. After talking to several people and getting multiple different answers, I finally got the bottom line: they offer about $13 in discounts for getting the “triple play” package (phone, internet and TV), but they are more expensive than Dish, so I'll end up at the same price point as before. Their DVR is also only a 40 hour one versus the 100 hour one that Dish gives out. On the other hand, they offer the aforementioned channels and some others, a GNU/Linux based DVR (a Moxi box) that can be expanded with an external hard disk, photo card readers, etc., and you can even transfer non-flagged material over Firewire to a computer or burner. Moreover, it consolidates all communication and media services onto one bill.
The question is whether it is a wise choice. Charter is ranked lowest for technical support of major providers. In my experience with their internet service, it is pretty good actually, although presently I need to get a technician out because I cannot download anything of substantial size (100 MB or more) without losing the connection). On the bright side, they have a new CEO who is promising to focus the company's resources on improving support and since I live in Charter's home city, we'll probably see any improvements first…