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Apr. 8th, 2007 08:02 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
thewingedwordSo. Rent.
And now, I'm leaving here forSanta Fe Chicago, early tomorrow morning anyways. Be back late Saturday. Peace and love, y'all.
A random note: When I got there and got in the line for merch (I got a program that came in a little RENT sack-backpack thing, it's adorable) there was someone standing next to me who might have been Anne. If Anne was wearing a brown suede jacket and pink scarf, it was her. I didn't get a good look at her face because I was very determinedly looking away thinking "If that's not Anne, it would be horribly embarassing to say hello" like the deeply insecure-around-maybe-strangers person I am.
My seats, firstly, were pretty amazing. The balcony is really high, and probably would have given me vertigo if I'd been prone to it, but I could look right down and in on everything, and the sound system was perfect.
One of my random favorite things was having all the instruments tucked into the little nook under that loft. The staging was very flexible; they never moved or removed any major set pieces, just shifted around tables and chairs and occasionally little platforms. Probably some of that has to do with it being a traveling show; peoples who've seen it in Broadway, is it very different there?
My first impressions were basically that Mark was a loveable dork and Roger was complete British punk. Plaid pants! Some sort of bizarre haircut thing! I don't even know, the leather jacket was just the finishing touch, when he bothered to be wearing it. Collins had dreads, which worked surprisingly well, and Angel had some insane leg muscles to be pulling those moves in those shoes. They were honestly RHPS shoes, I couldn't have stood up in them, much less jumped off tables and things. Mimi's stripper-dancing was amusing, although her spandex pants and random knee-wrapper-bands were even more so. Maureen was very, very blonde. Her pants had heart appliques. I snickered.
Vocally, I was most impressed by Mark, in part because of the contrast with the movie; he was a very strong voice in the musical, one of the strongest, and I hadn't gotten that impression before. Roger did this controlled-screaming thing with a somewhat-repressed British accent, which was mostly cute. Together, they made "What You Own" basically one of my favorite songs, not that I hadn't loved it already. The unusual front-runner was "Without You", which I'd never been terribly touched by in the movie or on the soundtrack. Something about the staging and the actors made it much more meaningful to me, personally.
Favorite not-in-the-movie thing: The answering machine messages! They were so cool sung, particularly the overly-peppy Buzzline chick and "It's the Wicked Witch of the West, your mother!"/ "I say, c'est la vie, let her be a lesbian! There are other fishies in the sea."
Thing what actually made sense in the musical: Maureen's random street-rap I don't even know what impromptu thing. In the movie it was funny, but just serious enough that I felt kind of awkward laughing. In the musical, it was just straight-up hilarious.
Thing what didn't make sense: The Sheet Thing. Were they having an orgy under the sheet? Is that what killed Angel, was he sexed to death? I admit to being deeply confused by this.
During intermission I wandered down to the orchestra to see Anne. There was Anne's row, Anne's seat, Anne herself, and yet I leaned against a piller and stared like a crazy stalker for a good thirty seconds because I'm just not good at introducing myself to people, okay? Anne, needless to say, was much more cheerful and personable and huggable. By the way, when she tells you that her hair is blonde and curly, mentally add underlines and bold and possibly italics to those words. It glows, people, from across the room, the kind of glow that makes poets come up with flowery similies and scientists come up with Geiger counters to check for radiation.
Thought about stagedooring, but it was really late and decided not to. Just as well in the end, since I got a killer headache from sleepiness by the time I was home. All in all, it was very fun and cool and worth all the pain.
My seats, firstly, were pretty amazing. The balcony is really high, and probably would have given me vertigo if I'd been prone to it, but I could look right down and in on everything, and the sound system was perfect.
One of my random favorite things was having all the instruments tucked into the little nook under that loft. The staging was very flexible; they never moved or removed any major set pieces, just shifted around tables and chairs and occasionally little platforms. Probably some of that has to do with it being a traveling show; peoples who've seen it in Broadway, is it very different there?
My first impressions were basically that Mark was a loveable dork and Roger was complete British punk. Plaid pants! Some sort of bizarre haircut thing! I don't even know, the leather jacket was just the finishing touch, when he bothered to be wearing it. Collins had dreads, which worked surprisingly well, and Angel had some insane leg muscles to be pulling those moves in those shoes. They were honestly RHPS shoes, I couldn't have stood up in them, much less jumped off tables and things. Mimi's stripper-dancing was amusing, although her spandex pants and random knee-wrapper-bands were even more so. Maureen was very, very blonde. Her pants had heart appliques. I snickered.
Vocally, I was most impressed by Mark, in part because of the contrast with the movie; he was a very strong voice in the musical, one of the strongest, and I hadn't gotten that impression before. Roger did this controlled-screaming thing with a somewhat-repressed British accent, which was mostly cute. Together, they made "What You Own" basically one of my favorite songs, not that I hadn't loved it already. The unusual front-runner was "Without You", which I'd never been terribly touched by in the movie or on the soundtrack. Something about the staging and the actors made it much more meaningful to me, personally.
Favorite not-in-the-movie thing: The answering machine messages! They were so cool sung, particularly the overly-peppy Buzzline chick and "It's the Wicked Witch of the West, your mother!"/ "I say, c'est la vie, let her be a lesbian! There are other fishies in the sea."
Thing what actually made sense in the musical: Maureen's random street-rap I don't even know what impromptu thing. In the movie it was funny, but just serious enough that I felt kind of awkward laughing. In the musical, it was just straight-up hilarious.
Thing what didn't make sense: The Sheet Thing. Were they having an orgy under the sheet? Is that what killed Angel, was he sexed to death? I admit to being deeply confused by this.
During intermission I wandered down to the orchestra to see Anne. There was Anne's row, Anne's seat, Anne herself, and yet I leaned against a piller and stared like a crazy stalker for a good thirty seconds because I'm just not good at introducing myself to people, okay? Anne, needless to say, was much more cheerful and personable and huggable. By the way, when she tells you that her hair is blonde and curly, mentally add underlines and bold and possibly italics to those words. It glows, people, from across the room, the kind of glow that makes poets come up with flowery similies and scientists come up with Geiger counters to check for radiation.
Thought about stagedooring, but it was really late and decided not to. Just as well in the end, since I got a killer headache from sleepiness by the time I was home. All in all, it was very fun and cool and worth all the pain.
And now, I'm leaving here for
