Category Archives: entertainment

movies, music, TV, and other entertaining/amusing posts

Bob and the Monster

So, when a friend of mine found out that Bob and the Monster (IMDb | Wikipedia) was having its Los Angeles premiere tonight (August 4th) and I would be able available to go, he told me he’d kick my ass if I didn’t go because he wanted to go and wasn’t able to.

I have another friend/coworker who actually worked on the film and is friends with Bob Forrest (the man around whom the documentary centers), and I was really worried that showing up to the premiere (even just the second showing at 11 pm, which is the time I was able to get a ticket) might crimp his style or something. I don’t know, I always worry about that kind of thing. I didn’t want him to think I was encroaching… or stalking… hahaha ^_^;; Whatever.

Also, I know nearly nothing about Bob Forrest himself; and I know nearly nothing about the L.A. rock scene at any point in time: now, in the ’80s, or otherwise. And I’ve never touched an illegal drug in my life, except the one time in 7th grade when the D.A.R.E. police officer passed around a bag of weed so we’d know what it looked like and that one time in college I accidentally walked into a hotboxed room and then promptly turned tail and fled. (People tell me I partied hard enough without drugs or alcohol anyway, so that’s fine with me.)

Plus, I’d never been to the Silent Movie Theatre before. So, even though my friend (the first one I mentioned, not the one who worked on the documentary) told me he’d kick my ass if I didn’t go, Bob and the MonsterI was kind of… going in blind on all accounts except the literal, physical one.

Well, it turned out that I didn’t have to be worried about crimping my coworker’s style because I didn’t even see him there. And the documentary was well-rounded enough that I didn’t really have to know anything about Bob Forrest (or the ’80s rock scene, or hard drugs) before I saw it to benefit from it. And I managed to get decent street parking not far away from the theatre, so I didn’t kill my feet walking ten miles in heels before I even got there.

Thelonious Monster played a short set before the documentary (“Body and Soul” was the third out of four songs; I didn’t know the others), and the director stayed after the showing for a question-and-answer session. I have to be honest here, I wasn’t particularly impressed with the band (the drummer wore only underwear! is that normal, or just normal for him?), though I do remember distinctly thinking, “He [Bob Forrest] sings the way a poet speaks.”

I wasn’t expecting to really connect with the documentary, either, if my lackluster impression of the band had anything to say about it, but I was pleasantly surprised. The director did a great job bringing out crucial elements of Bob Forrest’s life, his struggle with drug addiction, and the culture in which that kind of addiction thrives. I was touched by Forrest’s conviction. I… tend to have a low opinion of drug addicts, but in the film he says, “I just love drug addicts” and “I want to help them, respect them, and love them” and I think that kind of thinking puts my holier-than-thou attitude to shame. I would not be a good drug counselor, that’s for sure.

I really liked it. It was hard, watching Forrest go through all that bullshit, but I think that it might have been worth it because of how he’s able to help people now. (I hope, at least, that he thinks it’s worth it.) I hope Bob and the Monster is shown across the United States soon to a wider audience than film festival goers. It touched even me, a person who had basically no connection to any part of it at all; imagine what it could do for someone who loves punk rock, or who is a drug addict (or knows a drug addict), or who loves the Los Angeles music scene, or… I could go on and on.

There’s been one thing bugging me, though. There’s a scene that shows Thelonious Monster on stage at a concert in the Netherlands in 1992 (not 100% sure on the date) and Forrest is rolling around on stage, obviously high. The music covering the visuals is a vocal piece with guitar (and drums? I’m not sure) and the singer’s first line is something about wanting or trying to commit suicide and not being able to. I can’t remember the lyrics exactly—I’ve already spent more than an hour trying to find them online—and I couldn’t tell if the song was actually being performed (Thelonious Monster is, after all, a band, so it’s not inconceivable that the video and the music were already connected), or if it was part of the music that Josh Klinghoffer scored specifically for the film. Damn it, it’s really frustrating because that part, that song, was beautiful and now I’m kicking myself for not writing down the lyrics the minute I heard them, dark theatre or no.

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Ludwig II 1 by You Higuri (finished 26 July 2011)
Almost 300 pages of historical yaoi—based loosely on the King of Bavaria who built Neuschwanstein—is totally awesome. I was slow to warm up to this manga (I bought it last October at Yaoi-Con and didn’t even flip through it after that until this month) but when I finally sat down to read it, I wished I had read it sooner. I think I have a thing for military and royal courtship yaoi. I will definitely be getting the second volume when I go to Yaoi-Con this year.

North Country (viewed at home 19 July 2011)
I first saw this my senior year of college and 99.9% of the film just made me so furious. My sister, dad, and I watched it on my request and I was practically furious the entire time watching this time, too. I cried I was so angry. It’s a great movie to watch so that people understand that sexual harassment isn’t as innocuous or harmless as people might think. The only thing that worries me about it is that some watchers might think that the work has been done. (The film is set in Minnesota in 1989, after all.) But that’s not true. We have a long way to go. This movie is a good discussion-starter. Definitely recommended.

The Book of Eli (viewed at home 18 July 2011)
My dad and I watched this after my sister insisted we bring it home from the video store. Post-apocalyptic, books and reading, dusty western town run by a warlord? Check, check, and check. All things considered, it was decent. My dad and I quipped that we’d be surprised if it turned out that the main character and the warlord actually got a long and worked together, and we correctly predicted that wouldn’t happen. Interesting use of blindness, and I’ll admit that I didn’t expect the ending to happen as it did. The title references the way the books in the Bible are titled and… let’s just say that’s not a coincidence. As my dad said, “Meh, it was worth maybe half an hour.” (To which I responded, “Yeah, too bad it was two whole hours, then, right?”)

Doctor Zhivago (viewed at home 17 July 2011)
When my dad, sister, and I sat down to watch this, we didn’t realize how long it was (200 minutes!). It won five Academy Awards, and my dad had never seen it, even though he’d heard it was “an epic”… Well, it was, at least, epically long. We couldn’t figure out anyone’s name, so they ended up being “Creepy guy”, “Glasses guy”, “The title character’s adoptive sister”, and “Wait, who was that again?” The film is so long it had a damn intermission, for Christ sakes. Most definitely historical fiction, but it’s not history with which I’m very familiar, so a lot was probably lost on me. Best line: (in relation to a pianist’s playing for a small audience) “Darling, this is genius!”—“Really? I thought it was Rachmaninoff.”

Pirates of the Caribbean: On Stranger Tides (viewed in theaters 9 June 2011)
The first Pirates was genius/epic/awesome. The second was… pretty good. The third was meh, okay. This one is basically just a romp with Johnny Depp as Captain Jack Sparrow. If you like watching Depp/Sparrow run around and fight Redcoats (and Spaniards) with swords, then this is the movie for you. Since I like those things, it was worth the price of admission. Otherwise, though, I’d just skip this in theaters and catch it on DVD on a night when you want to sit back and not have to think for a while.

The Thing About Harry Potter

Harry Potter

I went to see HP7, pt.2 on Tuesday with one of my friends. It was… hard… tragic… emotionally exhausting… and I’ve never even read the books. It was clear to me that Harry was just… tired of fighting, tired of feeling like he was making his friends fight. He wanted it to be over, and I could feel the heartache he felt when he looked at his wounded and dead friends sitting in the rubble that had once been Hogwarts School of Witchcraft and Wizardry. I couldn’t help but wonder: what was Voldemort getting out of this? I mean, he wanted to rule the world, I guess—and he hated Harry Potter, the Boy Who Lived—but it seemed like he’d lost sight of his goal as was just acting out in hatred against the only person who could—was forced to—take it: Harry Potter. Where did Tom Riddle’s life go so wrong that he had to create an army by intimidating his followers and attacking a school, for god’s sake? We were supposed to hate him, but in the end, I just pitied him.

I didn’t understand some of it: I didn’t understand Narcissa Malfoy’s apparent interaction with her son, Draco; I didn’t really understand all the back story that Harry learns about Professor Snape after shit goes down; I didn’t get why and how the Death Eaters had captured Hagrid; I didn’t understand some of Harry’s conversation with Professor Dumbledore in King’s Cross Station, or really how and why they’d ended up there and not somewhere else; I didn’t really get all the characters except for probably the top five or six; I didn’t fully understand Harry’s use of the Resurrection Stone; and what was that thing with the snake? it’s suddenly important, now?; and so on. I did understand, however, that I would have understood all those things if I’d read the books. And I didn’t need the “19 years later” epilogue, either. It was tacked on and completely unnecessary. It may’ve been a good way to end the book series, but movies are much faster paced and I, at least, didn’t need the “see? everything turned out okay” moment at the end.

The first book, Harry Potter and the Philosopher’s Stone, was published in June 1997, when I was 12; and the last film, Harry Potter and the Deathly Hallows, part 2, was just produced this month, July 2011. That’s almost 15 years of magic. I bought my sister each of the novels as they were published. I was even pulled over after buying Order of the Phoenix (I remembered the cover was blue, so I looked up which US title that was, haha) because it was after midnight and I didn’t have the car’s lights on because I’d forgotten because the street was so well lit. I frantically told the police officer that, no, I was really wasn’t drunk, I swear, and I was just getting my little sister the most recent Harry Potter book (I even showed it to him, as if that would prove anything). Whatever the reason, he seemed amiable and let me off with a warning. ^_^;;

My sister and I went to see the first movie when it came out in late 2001 and the first thing out of her mouth (that I remember, anyway) about the film after it was over was, “There was no potions room!” She was devastated—at least as devastated as a 14-year-old can be about a film adaptation completely cutting out her favorite part of the novel upon which it was based. In the film, the three kids have to successfully traverse multiple rooms with tests in each: they pass the cerberus, Fluffy; get the key from the room of flying keys; and play a life-size version of Wizard’s Chess before Harry can get to the room with the Philospher’s Stone in it. Getting past Fluffy was almost a fluke, the key room was Harry’s test, and the chess room was Ron’s. In the book, there was also a potions room that was Hermione’s test, but it wasn’t in the movie. As far as I can find, it was cut out of the script (or was never in it in the first place) before filming even began, so it’s not like it’s a deleted scene or something.

I decided right then and there, after my sister’s disappointment was made clear, that I was not going read any of the books until the last movie was produced because I had liked Philosopher’s/Sorcerer’s Stone and I didn’t want to be disappointed by future movies after having been spoiled by reading the books.

When I was living in New York, I bought a complete series hardcover box set from the UK (not cheap!) in anticipation of reading the books (and not the edited down US versions, either) once the film series was complete. When I moved home, I put most of my stuff in storage, including the box set. So, I have the books (sort of); I’ve seen all the movies. Part of my brain says I should sit myself down and READ, and then another part of my brain says, “But you have no access to the books right now.” /sob

Well, I’ve waited this long—14 years! I can wait a little longer, right?

Harry Potter is about confronting fears, finding inner strength and doing what is right in the face of adversity. Twilight is about how important it is to have a boyfriend.” —Stephen King

“Alice” (SciFi mini-series)

Alice (wiki) is a three-hour mini-series produced in 2009 by SciFi Channel (now stylized “SyFy“—because that makes it so much cooler looking; ugh). It follows a young woman in her twenties, Alice (Caterina Scorsone), who falls in love with a man named Jack and—when she sees him being kidnapped—follows him and his captors into Wonderland, intent on breaking him out. She’s introduced to Hatter and the White Knight, and, of course, hi-jinks ensue.

I really liked Hatter (Andrew-Lee Potts)… as did many other people, it turns out. When I was looking for images for this review, I noticed that—in the first two lines (totaling 10 images) in my Google images search—4 of the images are of Hatter only, and all but one of the remaining ones included him. (The sole image without him in it is just a photo of Alice peeking over the edge of a hole, which never actually happens in the mini-series.) Still, as I am wont to be, I was suspicious of Hatter at first. Just helping Alice out of the goodness of his heart? That might fly with someone who has a history of helping people down on their luck, but Hatter himself admitted that he’d played both sides of the conflict all his life. Not exactly the most trustworthy person in the world. (To her credit, Alice herself is suspicious of him, too, and doesn’t trust him until almost the very end of the mini-series.) It’s clear his loyalties are torn, but he proves himself over and over and eventually she (and I) trusts him. I almost felt bad for Alice’s mother at the end—SPOILERS—but the look on her face when Alice saw him, called him “Hatter!”, and rushed into his arms was just too priceless. I really like Johnny Depp, but I would take this Hatter over his any day of the week.

The White Knight (Matt Frewer) is another really great character, and the actor seemed to have a lot of fun with it. He (the character) is kooky and everyone (most notably Hatter) except Alice writes him off the moment they see him, but by the end of the mini-series, it’s clear that there’s more to him than meets the eye. He’s a coward who loves his friends more than he fears his enemies—the best kind of friend to have.

Alice SciFi mini-series
The White Knight, Alice, and Hatter from Alice

The Queen of Hearts (Kathy Bates, bless her heart… er, no pun intended) is appropriately demanding, but she was much more level-headed and conniving than I would have made her. Said calm and calculating demeanor (though she does flippantly say, “Off with his head!” once or twice) suggests her character is a combination of the original stories’ Queen of Hearts and Red Queen, which is seriously frustrating. Just once, I would like to see a decent representation of the Red Queen without having her subsumed into the Queen of Hearts. I mean, really.

As for the rest of the cast: damn, was it star-studded (or maybe I’ve just been paying closer attention to actors generally speaking recently). Visser Three played “Dr. Dee”/”Dr. Dum” (guess who they are), Lieutenant Gaeta was the Nine of Clubs, Chief O’Brien played the King of Hearts, Roman Grant was the Caterpillar, Dr. Frank-N-Furter himself was Dodo, and there were a bunch of others I recognized (The White Knight, Jack of Hearts, and the Carpenter, for example) but couldn’t immediately place. I know none of these actors (possibly with the exception of Tim Curry) are seriously big-time actors, but… I’m now old enough to have seen (and remember!) things they’ve been in already. /cry

The story itself was an interesting re-imagining of Alice’s Adventures in Wonderland and Through the Looking Glass, and it utilized many of the minor characters better than I’ve seen in any other version. (Even the Red King had a part, though he acted mostly as a prop for the White Knight’s back story.) The Queen of Hearts running a casino seems like it could be obvious, but it wasn’t overplayed and there was enough action elsewhere that it didn’t seem heavy-handed. It seemed like Jack of Hearts got the short end of the stick, but he didn’t seem too torn up about Alice turning down his proposal, so I don’t feel bad not feeling torn up, either. (And, after all, he did have the Duchess.) The romance between Alice and Hatter could’ve been really irritating, but by the end I was totally rooting for it—it didn’t feel forced or overplayed, either, thank heavens. Generally speaking, I think Alice is one of the better versions of Lewis Carroll’s classics that I’ve seen. I’d totally watch it again.

And also, happily, it passed the Bechdel Test since the Queen of Hearts and Alice (two female characters) have an entire conversation (talk to each other) about the Stone of Wonderland (something other than a man). And, I’m pleased to say, the conversation goes on for more than a couple of lines back and forth between characters, too (though Alice does irritatingly keep bringing up Jack, which may make the pass a little dubious).

EDIT 29 June 2011 @ 00:44 PDT—It occurred to me after I’d turned off my computer after posting this review when I was heading for bed that I may also like the Alice/Hatter relationship better than the Alice/Jack relationship because, in the latter, Jack asked Alice to stay in Wonderland with him (forcing her, hypothetically, to give up her life in her world) while, in the former, Hatter gave up everything he knew to follow Alice into her world to be with her. If that’s not romantic, I don’t know what is.

The Last of the Mohicans

I just finished watching The Last of the Mohicans (wiki). —And you’re writing a review already?, you ask.— Well, yes, actually. Sitting on a review ages after I’ve finished the damn book or movie is stupid, but I’m usually tired and just want to rest for a while. I decided against that today, but I’m just going to mention a couple things that stood out to me instead of picking apart the entire movie, which is my inclination.

First of all, is it just me, or do Redcoats in movies piss off other people, too? Seriously, we’re not even ten minutes into the film and the Redcoats are ordering people around and generally being uppity prats. I can’t decide if I dislike them because they’re always portrayed as uppity and annoying, because they actually are uppity and annoying, or because I’m American and therefore predisposed to dislike them no matter what they’re like.

Secondly, the romantic subplot was completely unnecessary. I don’t know why period dramas need romance, but apparently Hollywood thinks that nothing is complete without some lust and a risque sex scene. It could have worked in this case, but it ended up being too quickly paced and contrived.

Also, I was really peeved about the whitewashing of the main character, Hawkeye, until it was revealed that his history is actually more like Stands With A Fist‘s; he was taken in and raised by Natives after his white parents died. And then I was peeved because I had been led to believe that this movie was about—I don’t know—the last of the Mohicans or something, and this white guy dressed up as a Native person is a far cry from said.

The role of women in this movie was, basically, that of damsels in distress. I keep thinking it would be awesome to act in a period film or in reenactments, but then I remember that my gender would force me to wear constricting bodices and skirts and disallow my involvement in any battle scenes (except possibly as a nurse tending to the wounded) and I just want to flip off the world yet again for all the sexism I’ve had to put up with historically and in my own damn life. It’s 2011, people. How does sexism still exist? Seriously.

Which made me wonder—back in the romance vein—what would happen to a white woman who fell in love with, I don’t know, an actual Native person, as opposed to a white woman who falls in love with a white man who just happens to have been raised by Natives, as in this film. It’s kind of like… Natives are the Exotic Other and so the dangerous, enticing Native men sweep the dainty white women off their feet (because, you know, all dainty white women have a thing for bad boys and savages), making them The Last of the Mohicans posterabandon their own world and worldview. But this “other” person—a white man who had been raised by Natives—is “safe” because, even though he’d lived with the Native people, he’s still white, which means that he’s more easily civilized. Or something. I mean, jesus, this crap is built right into the damn movie and we don’t even notice it because we’re so inoculated to it.

I also noticed that—even though the English and the French around this time were basically having a pissing contest over land that wasn’t really theirs to begin with (yes, I know it’s really much more complicated than that, but work with me here), had recruited both colonials and Natives into service of the war, and were basically the primary aggressors and overall antagonists—the real bad guy in this movie is actually another Native who wants revenge for his murdered family. Way to shift the blame away from the oppressors to the oppressed people, guys.

I know that Daniel Day-Lewis was the big-name actor in this movie, so it makes a certain kind of sense that his face is on the poster, but it still pisses me off because his face next to the title implies that he is the last of the Mohicans, which isn’t true. (I had the same problem with posters for The Last Samurai.) Also, the tag line on this poster is, “The first American hero; The Last of the Mohicans”… which, combined with the implication that Hawkeye (the main character, played by Day-Lewis) is the last of the Mohicans, means that the first American hero is… a white guy who was raised by Natives? What utter bullshit. The tag line is sort of disingenuous all together, actually, because it doesn’t really have anything to do with the movie at all, except that it’s set in Colonial America (a term which in itself belays a Euro-centric bias).

Speaking of mixing it up, what’s with the Gaelic music? Don’t get me wrong, I actually like the soundtrack more than the film, and music makes the film an epic when it would have otherwise been just so-so, but the Gaelic/Scotch-Irish music is… completely unrelated to the French, the Natives, or the English (except that the English Crown ruled screwed over Ireland more than once). To be honest, though, I’m not sure how I’d feel about “Native music” either. I think I would probably feel like it was cheap shot in that case and would be concerned about the accuracy of said “Native music” in relation to the tribes actually portrayed in the film. So maybe it’s better that the producer/director/composer just skipped over that argument completely?

Finally, in the last moments of the movie, the characters who are left alive are mourning for their fallen brothers (and one sister), and the adoptive father—the true last of the Mohicans—says something like, “Let him [the biological son] go to the Great Council in the sky and wait for me there, for I am now, truly, the last of the Mohicans.” It’s this somber moment that could be a tearjerker, except that (1) I was never really invested in either the biological son character or the father character, and (2) all I could think of was “awkwardly working in the movie title“… (This film obviously covers fighting “with the Native American metaphor against the American military metaphor” as well.)

Whatever. It was an okay movie, I guess. I won’t watch it again, and I’m not going to read the book, either, unless someone I respect tells me it was the best historical novel they ever read, or something, and I must get a copy right now. Since most people don’t know that the film is even based on a book, that seems unlikely.

EDIT 1 June 2011 at 1:13 PM PDT: Though I didn’t have this immediately in mind while watching the film, I’m pretty sure that The Last of the Mohicans also fails the Bechdel Test. There are (only) two women of note, Hawkeye’s love interest and her little sister, and I think they exchange a few words maybe once or twice (which I might assume because it seems impossible that they wouldn’t, being sisters and all), but I’m almost certain that—if they did exchange words—it’s always about either their father or one of the other men who are constantly protecting them. Really, mostly what they do through out the film is cower and clutch each other while the menz get on with it. Not inspiring; see “damsels in distress”, mentioned above.

“The King and I” at Flintridge Prep

The King and II attended Friday (March 11) night’s performance of The King and I at Flintridge Preparatory School. I knew I’d be taking the bus (the school is on the other end of town from where I live), so I headed out the door a little after 6:30 to catch the bus in time for the curtain at 7:30. I got to the bus stop and waited. And waited. And waited. And finally called the number on the bus stop sign to check for the bus schedule, which said that the last bus of the evening came around 6:30. Since I’d left the house at around that time, I knew I’d already missed the last bus and, if I really wanted to see this show, was going to have to walk the rest of the way. Since one of my (now former) coworkers was in the show, I knew I wasn’t going to miss it if I could help it, so I started walking.

I got more than halfway from the bus stop to the school when… wouldn’t you know it? A godsdamned bus passed me. Damn, I was so angry, then. But I knew that I really had missed the last bus by that time (even though I’d just seen it fly by /anger & frustration), so I resolved to be angry (if I still felt like it) after I arrived at the school’s auditorium. When I finally made it to the auditorium foyer, I stood in line for my will call tickets (“Just one?” the guy behind the table asked. “Yes,” I said, and he handed it to me in a white envelope.) and as the guy handed them to me, the foyer lights began to dim and come back to full strength intermittently, which means that the audience should take their seats, if they haven’t already, because the show is about to begin.

Tuptim and Lun Tha
Tuptim, played by I. Weiss (a senior), and Lun Tha, played by Z. Myers (a junior)

I found my seat, about midway back from the stage on the far house right. (Unfortunately, this meant that I was unable to see the map of Siam, England and the world during the scene wherein Anna is teaching her students that Siam isn’t as big geographically as they think it is.) In any case, I settled in and tried to ignore the screaming high school fangirls who seemed to be completely surrounding me. (Ugh.) I told myself over and over that I could put up with it because, after all, it was a high school play, and I would put up with it for the sake of my friend in the production. (He played Lun Tha, Tuptim’s forbidden lover from Burma, on two of the four performance nights. See photo above.)

One thing I found interesting was the director’s note in the production’s program, in which he says, in part, “I told the cast on the very first day that we must cling to very important foundation points: tell the story as honest[ly] as we can and be as truthful and celebratory of the Siamese/Thai culture as possible.” My friend told me about this aspect of the musical in his excitement while the cast was still rehearsing, and it was that—aside from my willingness to support a friend in the arts—that made me want to see Flintridge Prep’s version of the famous Rodgers and Hammerstein classic. The opening prayer and all the non-English dialogue was in either Pali or Thai, not just Asian-sounding gibberish, which—I admit—I was expecting from a high school production. I am, needless to say, glad that the director and cast rose above that.

Opening prayer
The opening prayer, which “celebrates the respect and pursuits of a learned mind”
according to the production’s program

Rodgers and Hammerstein’s The King and I is, of course, a grand and beautiful display of 1950s racism and sexism based on a film from the 1940s, which—in turn—was based on a book, Anna and the King of Siam by Margaret Landon (which is itself fictional and based on the original Anna‘s admittedly already racist/sexist memoirs, The English Governess at the Siamese Court [1870] and Romance of the Harem [1872]). Talk about a game of Telephone! There is little doubt in my mind that any of the cast, or the director himself for that matter, ever read any of the source material to see for themselves how bad it actually is. (And it is bad.) The irony of having a mostly white American cast wasn’t lost on me; though now that I think about it, I’m not sure people of Siamese/Thai descent would actually want to be a part of something that degrades them so obviously.

Putting aside the content of the musical (over which, I understand, the director had no control, except that he chose it in the first place), the production itself was actually pleasantly surprising in terms of acting, costuming, and direction. My friend who played Lun Tha was especially surprising for me because I didn’t know before seeing the musical that he could sing at all. (In fact, I had playfully called him Justin Bieber, something to which he took offense, and something I now officially retract. He’s much better than said popstar.) I also thought it was a neat idea to have the principal roles split between two actors each so as to spread the love, so to speak, and take some pressure off of said principals to perform perfectly four nights in a row. Except for the King, who was played by the same actor in every show, the primary roles were split between actors who performed either Thursday and Saturday or Friday and Sunday. (I don’t know why the King’s role was reserved for just one actor, though I admit he was pretty good.)

King and I cast
The entire cast of Flintridge Prep’s The King and I

As I had never been to Flintridge Prep before, I was also surprised by the free refreshments during the intermission. I partook of two chocolate chip cookies and a cup of Zen green tea. I also bought a lavender rose for my friend (“Proceeds go to the theatre department”), complete with a tag with space for a note, just in case I didn’t see him after the play was over.

I think, if I wanted to, I could really delve deeply into the racism and sexism that’s built into the musical and think about why Flintridge Prep decided to stage its production here and now, but this review is already long enough so I’ll save my theories for another post when I have more time. (More time? What’s that?)

Photos courtesy of Flintridge Prep.

(Haha; new rule from now on: if I don’t write the damn review within a month of finishing the book/movie/event, I’m just not going to. Almost two months after the fact is just ridiculous.)