Odds and Ends...includes musings on fans, work, theater...

[shadowkat]

[Lots of people on livejournal are talking about lj april fools jokes, but it doesn't appear on mine. I don't see serialladder or stalkers, or any of this today. In fact my journal looks the same as it always has. Weird.]

Went out with my friend, CW and the IT geeks last evening. During the outing found out an exceedingly odd little tidbit:

Did anyone know that the Broadway (or rather Off-Broadway) revival of Fiddler on The Roof has removed all the Jewish or Judaic elements from the musical? There's no one Jewish in the cast. They've made the story completely secular. Why? Because they wanted to appeal to a broader audience. Now, to make this story just a tad weirder - CW told me that a friend of ours, work colleague, who is "orthodox" jew and a former "rabbi", saw this musical and loved it.

So here I am attempting to imagine Fiddler on The Roof with all the Jewish references removed from it. The musical is partly about anti-semitism and prejudice. Many of the songs actually comment on this.

Also saw what an iPod was. Expensive little gadget. But very handy. Now feel less like an idiot online for not having a clue what one was.

And had an interesting conversation about tv watching where I learned once again that I'm somewhat left of center on this (they adored the procedural shows which I find incredibly dull, I love the more metaphorical/emotional character arc shows)and how our responses to entertainment have a lot to do with our own emotional and psychological makeup at the time of viewing.

Rant on TV suspension of disbelief or shows that are stretching it:

1. 24 - okay how many things can a person possibly do within a 24 hour period? I think 24 just exceeded the suspension of disbelief quota on its gimmick again.

2. The OC - interesting show, but some of the teens look the same age as their parents, this is not good. Misha Barton who plays Marisa looks the same age as her mother. Actually the only two actors who look like they might be teens on this show are the ones playing Seth and Summer and even that I wonder about. Reminds me of Beverly Hills 90210 and the 30 somethings playing 19 year olds. At least the OC has made fun of this factor. I'll give them that. Interesting show. Still not a worthy replacement for ATS, but better than anything else on on Wed with ATS on hiatus.

3. Joan of Arcadia - Joan getting ankle stuck in a washing machine, and why does she always do what these supposed avatars of God tell her?

4. Tru Calling - why hasn't the police questioned Tru yet for always being on the scene of the crime and stalking people who get attacked?

Character bashing/criticism/venting (whatever you want to call it) has raised its ugly head online again. Always does when people get bored. Actually beginning to find some of it fascinating - the bashing/criticism/venting about S7/S6 and certain characters - tells me more about some fans than it does about the show or the authorial intent. It also says something fascinating about the relationship between the author/creators-the text-the viewer/reader. How that relationship can twist, turn and get clouded by outside factors: such as a horrible terrorist event, a fan's depression or own life experiences, an author's loss of interest or some other component of the creation process - say an actor's, and our own cultural values and environment.
There's a lengthy essay somewhere in all this, now the question is? Should I figure it out and write it? Or let it go? Probably let it go...since it's not like I don't have ahem other things I should be focusing on. But it is interesting to think about. How we react to certain characters or stories, why we reacte to them and even more important how we react to one another's views concerning them? It's relatively easy to support or even react to a view that validates your own but how do you react to one that is contrary to it? I'm not very good at reacting to contrary views right now, I admit, but that may be why I find it fascinating.

Comments

[buffyannotater.livejournal.com]

Did anyone know that the Broadway (or rather Off-Broadway) revival of Fiddler on The Roof has removed all the Jewish or Judaic elements from the musical? There's no one Jewish in the cast. They've made the story completely secular. Why? Because they wanted to appeal to a broader audience. Now, to make this story just a tad weirder - CW told me that a friend of ours, work colleague, who is "orthodox" jew and a former "rabbi", saw this musical and loved it.

Interesting, I've heard nothing but bad things about this revival, from Jewish friends and relatives who have seen it. Even worse than the removal of the Jewish elements is the fact that the two main characters, Tevye and Golde are depicted as being incredibly sexually attracted to each other, which although it seems innocuous enough, strips the show of the dichotomy between the generations that is the main theme of the play. Tevye and Golde met the day they were married. Over the years, they have learned to love and respect each other. But is their daughters who fall in love, and go against tradition by choosing their own husbands, and marrying for love and lust. This play, which is about the dissolution of ancient traditions and evolution from the old to the modern times, loses a great deal if Tevye and Golde are, in the words of a friend of mine, shown to be as hot for each other as their kids are for their boyfriends.

[arethusa2.livejournal.com]

Contrasting views can add to my understanding, but views that are contrasting because the viewer seeks validation instead of illumination drive me crazy. (And of course I've done this too at times.) But this is what art should be, individual to each person's experience and interpreted through his/her own psych to find some understanding of self. The best shows try to examine experiences universal to everyone. In MASH it was the fight against dehumanization, in All in the Family it was the relationship between the older generation and the younger one, as the young people began reshaping the world to their own principles, in The Mary Tyler Moore Show it was the families we create with others as adults. (Rather like AtS, come to think of it.) Through watching and discussing the shows we learn to understand each other (hopefully), by seeing that under the superficial differences people have the same needs.

When we're lucky we find shows like BtVS and AtS, that let us reach places inside ourselves vicariously through Buffy and Angel, places that otherwise might be too frightening. If you're afraid of Buffy's darkness, you might be afraid of your own. If the Champions must be pure and faultless, perhaps we loathe our own faults. Our "buttons" are our fears, desires and dreams. I love the flawed characters because our flaws make us what we are, for good or ill, and I'd rather accept the flaws and make them strengths than hide and deny them.

I saved a quote you might find interesting. It's from a MSN interview with Ron Perlman, now in Hellboy and formerly in the tv show Beauty and the Beast.

"It seems to be a running theme," Perlman tells Zap2it.com about the recurring beasts in his career. "I've always felt there were aspects of me that were monstrous, and you can either hide from it or confront it, embrace it and understand that those are aspects that make you unique and define you and motivate you. You can either overwhelm or overcompensate for them -- but they truly define you as a human being."
Perlman has finally come to grips with his inner beast, but this peace appears to have come after years of struggling with his self-image.
Aspects of his looks that he felt were "monstrous," "were troublous enough in my psyche that they became encompassing to the degree where they affected my every thought, the way I composed myself, the way I carried myself. So that life became a question of either dealing with this monstrousness in one way or another," he says. "One finds a way to understand and make friends with that monster and understand that that's the very thing that makes you who you are. That's your emotional and spiritual fingerprint."
It turned out that acting was the key to dealing with his self-image.
"I get a chance as an actor to grapple with those things in a very coincidental kind of way," he explains. "I didn't set out to be Vincent, or Hellboy for that matter, I just coincidentally got to play them, and this dialectic that goes on within Hellboy: Is he evil because he was born to serve evil, or is he good because he's been nurtured to serve good? Therein lies his humanity. And therein lies the choices that he makes that define him and define his warrior heart."
Ironically, the one thing that the experience has taught the actor is that there's a beast inside most of us -- or at least the people that Perlman is most interested in.
"I don't think I'm any worse than anybody else on earth because of these aspects of myself that are hideous," he says. "I think the only people I'm interested in are those that are in touch with their monstrousness. I'm not interested in guys who walk with a swagger and think that they own the world and that they're entitled to better things or more things than I am because they have nothing wrong with them. I'm not interested in those people -- those people bore me. I'm interested in the Hellboys and the Vincents."

The beastly can be beautiful.

The entire article is here.

http://entertainment.msn.com/celebs/article.aspx?news=153988

[atpolittlebit.livejournal.com]

"Did anyone know that the Broadway (or rather Off-Broadway) revival of Fiddler on The Roof has removed all the Jewish or Judaic elements from the musical? There's no one Jewish in the cast. They've made the story completely secular."

Next up on Broadway: The long-awaited brand-new revival of West Side Story newly re-worked to remove the gangs and all mentions of ethnicity, why it's almost like "Romeo and Juliet" only with singing and dancing, and no teen suicides to give the wrong idea. This time they live happily ever after. Reserve your tickets now!!

[oursin.livejournal.com]

Broadway (or rather Off-Broadway) revival of Fiddler on The Roof has removed all the Jewish or Judaic elements from the musical
Wasn't there a proposal, a few years ago, to produce a new edition of the Narnia stories with all the Christian symbolism removed?