I am in the process of my first weekend in London. I have since learned the secret to never expect anybody to be around early, or want to get things done early, people are asleep or the facilities where I would want to get work done don't open till 12!
And to expect girls in various states of inebriation to come back in a clutter of noise around 2 in the morning.
It is so remarkable, if you go back to 2002-3 and read my post performance reviews, the maturity is startling me. Like I said, this trip is really making me reevaluate myself and find my own as I reach my 21st birthday.
So some great moments in last nights show from everyone (not just Maria but she took up a good chunk of my attention on the first viewing!)
The first thing I noticed was the design of the set, which is vast and huge and beautiful, but in the left area of the round was a garden section where it was a toppled over statue of a god with vines wrapped all around it pulling it down towards the earth. I thought it was a beautiful symbolic choice, whether anyone else picked it up I've no clue.
What made Maria's Anna different and completely surprising was how much more zest and feisty indignation she had, which made her have absolutely no sense of superiority in the way she conducted herself. There was not as much uprightness in her conduct in the way you might think of Deborah Kerr in the film. I think the one moment that illustrated this perfectly, the individual take on Anna she made, was that Anna was much less of an Anna who needed to have control. When the children protested about believing in snow, instead of reacting how I would have expected (trying desperately to control the children and becoming more reprimanding) Maria simply let the pointer go slack and laughed at all the children, letting them be just that, children. There was so much love and warmth there that never for a moment seemed artificial.
Daniel Dae Kim did a beautiful job as the King. His best moment came when after his quarrel with Anna about the house, he is left alone onstage with the discarded map of the world on the two poles. He delivers his thoughts on whether he needs this new Western influence (and even Anna) whilst holding the crumpled map in his fingers. Also the sequence with Tuptim where we don't just get one attempt to lash Tuptim, but three, before he finally breaks and walks off with almost a lifeless face, completely absent from what he was or what he wants to be.
And beautiful supporting performances by Ethan Le Phong (as Lun Tha) and the two ladies, Tuptim and Lady Thiang. Ethan's We Kiss in A Shadow was at once perfectly sung, and given the perfect amount of anger and intensity to make the song lose some of its romanticized qualities and really be more about the frustration of secrecy and public scrutiny.
I have always wanted to go to Paris, like always, and if you ever wanted to really mess with my head and make me go crazy here's how you would do it...have a major opening like this happen in London at the exact same time.
Everything going on will probably not drop out of my mind until I'm on the train.
It's 11 o clock. My plane leaves at 7:30 and I've got to be at the airport by four. I want to have some clam chowder in Boston if my stomach can handle it, which I'm surprised I was able to eat breakfast but that's just me.
I just spent an extra few (or ten) minutes in bed, enjoying the coziness before I embark upon this crazy epic journey of nutsness.
My sister is going to set me up with a Twitter for my phone. I'll try to keep updating here and on Facebook as often as possible, but if not I'm going to be keeping a detailed notebook that I'm sure to type up as soon as I start settling back in home again. If I'm not drowning in TJ Maxx hours trying to earn back all of the money I spend.
Here's to working on my dash, taking a chance, and holding my head up and crying out BRING IT ON BIOTCH!!!