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I knoooooow. I knoooow it's been much longer than "a few days." But we're here now, right? Riiight? Okay, okay, here we go! Let's finish this up.
Note: This are all specifically from shows I've viewed, not counting shows I've participated in.
Top 5 Theatrical Moments
5) Snocones at HONK (Outdoor Rose Garden Theatre in Oregon, 2003)
This is right up there with eating ice cream in the theatres of London. The novelty, the fun, how laid back the whole experience was compared to sometimes the stiffness of watching a show. Sitting outside with my cousins in Oregon on a beautiful summer day watching a local production of Honk! and eating snocones.
4) Snow at KA (Vegas, 2009)
I love Cirque. Everyone loves Cirque. They're amazing. And while KA isn't actually my favorite (currently that falls to Mystere) it was at the time their most technically advanced show and incredible to watch. (Seriously, total knock down drag out did-they-really-just-make-the-whole-stage-go-vertical?! show.) Also, it's the only Cirque show where I've sat so closely (5th row?).
So while sitting that close cut out a lot of the big-picture stuff which is so beautiful in Cirque, this was the first time I got to experience the benefits of sitting up close. Such as theatrical snow. And as the performers flew right over my head and the snow fell thick and cold on my own body as they fought through a snowstorm, I now see why sitting up front has its advantages. The overall effect was worth it.
3) Christmas Eve Sarajevo by TSO (OKC, 2007)
Travis & I were at my first Trans-Siberian Orchestra concert. I had loved the song Christmas Eve Sarajevo 24/7 since middle school. It's still my favorite version of my favorite Christmas song (Carol of the Bells). I was already way excited to see TSO in concert and very curious as to how they would handle this song, which was easily their biggest hit. I figured they would just rock it out and let everyone go crazy.
But if you've ever seen TSO's Christmas show you know their first "act" is a poem set to the music. And the poem is really long, and eventually you start waiting for it to finish, but in the middle the angel is sweeping over the earth looking for a gift to bring to his Lord. And the angel's eyes fall onto "the fires of Sarajevo as a lone cello starts to play" (which, of course, is how the song starts)
"And when he flew over Sarajevo there were scars upon the land,
their were scars upon the people and it was hard to understand.
And the deepest scars of all (which to humans are unseen
but the angel saw clearly) are the scars upon the dreams of
Belfast, Rwanada, Palestine, Sudan.
The only decorations here had been a war from their crimes.
And in the gardens where the children played, now the soldiers trod.
And stranger still he heard some say that they were killing for their God.
Now the angel had heard God speak many times and had always paid attention,
but this killing of one's neighbor was something the Lord had never mentioned.
But as he neared the earth of a recent battleground
from among the ruins he heard the sound of a simple cello
playing a forgotten Christmas song.
And even on that battlefield the song somehow belonged.
And as he flew the angel did take note that whenever he found this music playing
one always could find hope."
And then the opening cello starts up. Giving the song that much meaning on top of its passionate sound really made the whole thing stand out. I had chills.
(And in part two they end the show by completely rocking out to it. You got the best of both worlds.)
2) Rafiki's Intro in LK (London, 2006)
It was my first opportunity to see Lion King and I was very excited after hearing so much about it for years. I had just returned from Swaziland the summer before and I was still on cloud nine from the trip. So imagine my surprise when Rafiki came out and suddenly broke the fourth wall with "Sanibonani!" And as she continued to chatter away in Afrikaan (or whatever language she was in) I sat there in shock as I had just understood the word. Just one word! But instead of feeling hit with a language barrier I felt like a piece of the show, a part of something special. I felt assured they had really worked hard to incorporate the African influence.
1) "Wandering Child" Trio (London, 2006)
Holly & I were off to see Phantom of the Opera in its original home of Her Majesty's Theatre in London. Upon entering the lobby we saw Earl Carpenter's name up for the Phantom that night, someone I had heard such lovely things about but never even considered I would have an opportunity to see. Oh, and we had perfect seats. The theatre is built to accommodate all aspects of the house, which is really nice.
There's a part of me that really hopes they never update this particular production, at least until after it finally closes. I feel like it needs to be seen in this original incarnation, even if that includes now cheesy 80's lightning effects in the opening and other outdated technical elements. The original lyrics were still in place (some minor changes have been made in all US productions since then, and probably worldwide as well).
The saddest change for me, however, was to "Wandering Child" which is a beautiful song, but minor compared to all the other big numbers. On the Original London Cast recording you can hear it in its trio form with the Phantom, Christine & Raoul, but all US productions (and again, probably all the others) have since changed it to mostly a duet between the Phantom and Christine. But the trio is really gorgeous and I've never understood why they would lessen it.
I had seen Phantom before in the US and was always disappointed at this point. And I was preparing myself to be disappointed again. And then suddenly Raoul ran out early and I thought Could it be? Seriously? Don't tease me... And there they were, my (now) favorite Phantom, Christine and Raoul singing my favorite piece of music in the score, live onstage. Beautiful. I loved every minute of it.
The trio in its original form:
Once again she is his....once again she returns.
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