Welcome to the Tragedy Story

 Tragedy: trag-e-dy (noun)

1. an event causing great suffering, destruction, and distress, such as a serious accident, crime, or natural catastrophe.
2. a play dealing with tragic events and having an unhappy ending, especially one concerning the downfall of the main character.

Source: dictionary.com

Back in Shakespeare’s, plays that had a happy ending were called comedies. These are the As You Like Its, Merry Wives of Windsors,  and Much Ado About Nothings. Plays that had an unhappy ending (i.e. where everybody died) were called tragedies. These are the Anthony and Cleopatras, Hamlets, and Romeo and Juliettes. The tragedies were also what my education primarily focused on (though I preferred the comedies).

I have a distinct memory of my 9th grade class reading Romeo and Juliette and realizing how dumb said characters are after being promised this amazingly beautiful tragic romance. I have been disappointed in the play ever since.

My question is why? Why are the tragedies so famous and beloved (or at least built up in popular culture)? Why is Romeo’s and Juliette’s relation held up as the greatest romance when the snarky relationship between Beatrice and Benedick is right freaking there!

At least Jane Austen’s Mr. Darcy and Liza Bennet are much more fondly remembered as good couple goals (mostly by woman) compared to Charlotte Brontë’s Rochester and Jane. 

Regardless of the quality of the relationships, tragedies and tragic stories hold a place in our story telling back pockets.

I recently saw the ballet Swan Lake, one of the most famous ballets (I’m told it’s more famous than The Nutcracker, but that’s another argument I’m not getting into) in the world. I was somewhat familiar with the story, having seen The Swan Princess (the Disney knock-off movie) as a small child. That movie gets the whole Disney treatment with a “and they lived happily ever after” and a million direct to video/dvd/streaming sequels.

The ballet ends differently.

Spoilers: the main love characters die.

Though I probably wouldn’t have realized they had died if I hadn’t read the program. It wasn’t the clearest ending other than the bad guy getting his arm ripped off during the final battle. It’s all very symbolic. However there is a final kiss, so if you didn’t read the program you could have easily assumed they “lived happily ever after”.

Don’t get me wrong. I enjoyed the ballet. The dancing was wonderful.

“Swan Lake” isn’t the only tragic ballet. In fact, it seems to be a popular genre in ballet. Giselle, Madame Butterfly, and even - sigh - Romeo and Juliette are all extremely popular and well known ballets.

Seriously, what is the appeal of a sad, ten tissue story? I just don’t understand why society, myself included enjoys these stories. Normally, I want something happy to entertain me.

Or maybe I do understand…

In 2019, I was going through a rough time having been laid off and ghosted by some really good potential job leads. A very good friend of mine took me to see Hadestown - an updated story on the myth of Orpheus and Eurydice. 

For those of you unfamiliar with the myth, spoilers: it’s a tragedy. Orpheus fails in his mission to bring Eurydice back from the dead.

I went into the musical with only the knowledge that it was an update to the myth. The opening song “The Road to Hell” introduces the characters, their roles in the story, and that the story is a tragedy, but they “were going to sing anyway”. As the play went one, I hoped that the ending wouldn’t be myth accurate. I wanted the things to end happily. 

Then the song “Doubt Comes In” is sung. It’s the third to last song and about how Orpheus has learned so much and he isn’t the happy-go-lucky naive, but determined boy anymore. He’s world weary and uncertain. He knows he could fail.

And he does.

The penultimate song is a retread of “The Road to Hell”. It reminds us that this story is a tragedy and that they’re going to sing it again and again, hoping that the ending will be different, knowing it won’t. “It’s a sad song, but we sing it anyway,” says Hermes - the lead to the Greek Chorus.

I loved it.

It was cathartic.

I wasn’t in the best place in my life and Hadestown allowed me to experience and express my sadness and frustration in a controlled environment. I was able to work through my emotions using characters going through their own trials and tribulations. The characters had failed and I felt like I was failing at life in that moment (I wasn’t but that was the feeling). 

I also loved the jazz music.

I’m currently reading the book Babel: or the Necessity of Violence by R. F. Kuang. By the title alone, I wouldn’t be able to guess if the book is going to have a happy or unhappy ending. I have a sneaking suspicion that it’s going to be unhappy and tragic, but cathartic. It’s about magic, the power of words and knowledge, early Victorian England, and colonialism. The main character was saved by a man who might be his father, while the rest of his family died of Cholera. He’s taken from his home in China to England and at first it seems like a wonderful opportunity for the orphaned boy. He’s trained in Latin and Greek and is accepted to Oxford’s translation program. However, the boy has questions. Why won’t the man explain his real relation to the boy? Who was the “previous one” he’s heard about? And why didn’t the man also chose to save his mother like he had been saved?

So far, I’ve only been able to answer one of the questions. Another is speculated at in the book. However, that last question, which the boy has asked over and over, has yet to be explicitly answered. It’s the lack of answer that gives us the biggest hint and allows the reader to infer that the man just didn’t see the boy’s mother as all that important. The boy is what the man wanted, the woman (who was also Chinese) was inconsequential to him.

It is hinted that the only answers the boy is going to ever receive are going to be awful and horrible. There isn’t a happy ending for the boy’s curiosity. So, what choices will he make. My guess, for a cathartic ending, is tragedy.

In comparison, I recently finished a book called Whalefall by Daniel Kraus (the book comes out in August, I won an advanced Readers Copy). This book has a “happy ending”. It’s a horror/thriller novel, so by happy I mean that the main character lives at the end. However, I’d classify this book as a tragedy because the main character, Jay, fails in his mission to find his father’s bones while diving off the California coast. The book covers the break down between Jay and his father’s relationship all while Jay is trying to escape being swallowed by a whale. Jay’s oxygen is getting low. He’s slowly being crushed by the whale’s muscles, depth pressure, and guilt.

It’s a painful book to read, but cathartic. I’d recommend it to people who have strained relationships with loved ones. There were times I needed to put the book down and just sit with my feelings.

And that’s why I like some tragedies. 

I originally asked: why do we like tragic stories? 

My conclusion is that that provide an emotional catharsis. They let people work through their own negative emotions in a controlled environment. It’s okay to cry when the main characters die. It’s okay to feel disappointed when they fail. Life isn’t all sunshine and roses when we forget that the sun can burn and roses have painful thorns. 

After all, everyone’s life story ends in death - which is a type of tragedy.

What are some of your favorite tragedies. Please let me know in comments.

If you enjoyed this post - or it really pissed you off - please like, share, and/or, leave a comment. I love hearing from my readers and I hope you guys like hearing from me.

Until next week.

Welcome to the Cabaret

This weekend has been an exploration of the arts for me. And while I’d love to go into details about all that I was up to, I think this topic deserves its own blog post.

Leave a comment if you’ve seen the movie or play Cabaret. The musical has many influences, but the main one is the book “Goodbye to Berlin” by Christopher Isherwood. The book is semi-autobiographical and takes place during the Weimar Republic in Berlin Germany.

And to add fuel to this fire, here's a controversial statement: I think students should be taught Cabaret. Not in college, but in high school...no younger than 12th grade. It's a tale of tragedy, accommodation, and the sinister way terrible ideas become mainstream that would make for a fascinating study in media literacy. The conservatives may clutch their pearls over the overt sexuality, gender fluidity, queerness, and other touchy subjects that are covered in this story. It's basically the book banner's worst nightmare - which might be why its so important to teach and discuss.

Cabaret is a fantastic glimpse into a very interesting point in history. One that should not be forgotten. And one that isn't discussed enough.

I haven’t read the book or seen the 1972 movie. Though I admit I know a bit about them from YouTube videos discussing queer history.

My first full exposure to the show was Friday at my local community center.

That’s right. I may have been spoiled by Broadway and the shows just off its street when I lived in New Jersey, but that won’t stop me enjoying local community theater productions either. And this production of Cabaret was very good.

The version I saw has been updated in the years since it first premiered in 1966. The story is also a little different from the 1972 movie. However, the songs are all there. 

I loved it!

The Emcee was great. I loved who they got to play Sally Bowels. The stage was well designed with deep reds and art deco browns. A soft smoke hung sinisterly in the upper rafters of the stage through most of the show. Always ominously looming over the characters.

Because despite the upbeat and happy performances of the member aid the Kit Kat Klub and the assurances that there are no troubles in its halls - evil is slowly pulling them into a death spiral. It’s 1929/1930s Germany guys - things are about to get really bad for a lot of people, particularly these characters.

Something y’all might not know about 1920s Germany - Berlin specifically - was that it was famous for its Cabarets, art, and queer scene. The world's first Transgender clinic with the largest research and resources on the LGBTQIA+ community was the The Institute for Sexual Research and was located in Berlin. I say "was" because like anything labeled "degenerate" by the ruling political party in the 1930s, it was destroyed. 

Nearly all of the art scene from the Weimar Republic's Berlin was destroyed. All that remains of it are written records of their existences and a few photos that survived into modern times. These are poor substitutes for the thriving art community was the cut short far too soon. We'll never know what these artists might have accomplished. 

"Goodbye to Berlin" is a record of the Berlin cabaret culture. This record has been morphed and transformed into the current Cabaret show. A show that is hilarious, sexually charged, queer, and sinister. 

It is at this point in my blog post that I will be writing about a story that was written over 50 years ago. If you are unfamiliar with Cabaret or how it ends and you chose to proceed, don't say I didn't warn you.

At first it's slow. The protagonist, Clifford Bradshaw meets a man named Ernst on the train. At the boarder Ernst hides one of his bags - claiming the contents are perfume and other knick-knacks that go over the legal customs limit. Ernst directs Clifford to a boarding house run by Fräulein Schneider, who tends to let the rules slide if it means that she still gets the rent at the end of the month. She is in love with a fruit seller, Herr Schultz, who is also Jewish. Ernst also tells Clifford to check out The Kit Kat Klub where he meets the flighty, yet lovable Sally Bowles and reconnects with an old flame...named Bobby.

So far, the story is full of people living a carefree life, celebrating the promises of a new year (Clifford arrives on New Year's Eve). The main conflicts are Fräulein Schneider and one of her tenets who brings home sailors every night, Sally breaking up with her boyfriend (who is also the club owner - and gets a fantastic break up song in the form of "Mein Herr"), and Clifford trying to figure out how to pay the rent. 

Ernst seems to be a friendly enough character. Not only does he get Cliff a cheap lodging, but eventually he becomes Cliff's first English student and then starts to recommend Cliff as a teacher to his friends. He knows Sally and frequents he Kit Kat Klub.

And then the end of the first act approaches. 

Everything seems fine. Everyone is having fun. Then Ernst takes off his jacket and we see his armband. 

Yeah - Ernst is a follower of a certain art school reject (and that's the closest I'm going to name that person). 

This is the point of no return for everyone in this story.

As the second act begins, we're treated to a chorus line of girls (plus the Emcee dressed as one of the girls) in a kick line and preforming some acrobatics. Close to the end of the number they start counting in German (makes sense, they are in Berlin). And then they make a very specific gesture that is related to a certain fascist political party.

This isn't the first time in the show that the certain political party was mentioned. Sally, intrigued by the fact that Clifford is a writer, picks up a book he is reading and assumes he wrote it. She then exclaims "Why it's in German!" 

Clifford is reading the certain art school reject's manifesto to "learn about the current politics". Sally is dismissive. After all "it's all just politics. What does that have to do with us?"

At the same time the adorable romance between Fräulein Schneider and Herr Schultz comes to a screeching halt because of what Ernst did at their engagement party (yeah - I didn't mention that part). Fräulein Schneider is a practical woman - she has a whole song about this personality trait in Act 1 called "So What?" - she's seeing the extent a certain political party has grown and how many of her friends and neighbors have joined. Herr Schultz, however, is optimistic. He believes ("as a German" himself) that everything will be fine. 

But a brick through Herr Schultz's fruit shop window frightens Fräulein Schneider to the point that she calls off their engagement. She knows that it's not just "mischievous school children" doing these things.

The Kit Kat Klub's show cuts in again with what appears to be a comedic performance of the Emcee with a person in a gorilla suit called "If You Could See Her". However, the last line is chilling and suddenly all the humor, all the laughter you've participated in is no longer funny at all. In fact, you might start to feel a bit uncomfortable, maybe even disgusted with yourself. 

There are quite a number of points in the show like this. The most famous song - also called "Cabaret" - is the second to last in the play. If you hear it on it's own, the song sounds like a fun up beat about enjoying life. However, just before Sally goes on, there's another scene that's a point of no return moment for these characters. 

Clifford, horrified that he's become friends with and working for a certain political party decides to leave and wants Sally to come with him back to Pennsylvania (she's actually from England). She's pregnant and has been living in a fantasy that it's Cliff's (it's not clear whose baby it is, but it's unlikely to be Cliff's). Sally doesn't want to leave Berlin - she loves it - and she's been invited back to preform at The Kit Kat Klub. Cliff doesn't want her to perform, he wants to marry her and start living like responsible adults. 

In many ways, Cliff is just as naïve as the other characters denying what's going on around them. Whereas he is politically knowledgeable, he isn't very good at understanding the people around him. Sally understands the world of performance and doesn't believe that anything else can touch her. It's just as much a fairytale as Cliff's vision of a long term relationship with her. He can't force Sally into a role she neither wants nor can thrive in. She wants to live life to the fullest, but not the longest.

That's the message of the song "Cabaret".

Cliff leaves Berlin alone, but with the barebones start of the novel that will make him famous. As he leaves, he starts to sing for the first time and is eventually overtaken by the Emcee. The Emcee reminds the audience that "Life is beautiful. The girls are beautiful. Even the orchestra is beautiful." The Emcee sings a similar song that he sang at the opening of the production, welcoming us in. However, this time the music is off. It more sinister sounding. 

The Emcee in the production I saw had his makeup smeared more and more as the Second Act went on. By the finally, it looks like he's been crying. Everyone came on stage. Three doors were opened. Herr Schultz stood in one. A gay couple in another. In the center was a lesbian couple fearfully holding each other. The background turned brilliantly white as the drumroll melded with a mysterious crackling sound. The smoke that had been hovering in the rafters now wafts on stage. The Emcee takes off his jacket and he's wearing a shirt with a pink triangle and a Star of David. He enters the center door with the lesbians. Three characters, a man dressed in a navy uniform, the owner of The Kit Kat Klub, and Ernst begin closing the doors while the other characters look away. Before his door is closed, the Emcee looks around as though begging someone for help.

The final door slams shut and the lights cut to black.

Cabaret is a tragedy. One that most people should realize going in. It takes place in Germany between two World Wars. Anyone who has taken a modern World History class knows what's about to happen to the majority of these characters. Cliff even asks Herr Schultz why he doesn't go to America with everything is going on - he has family there. But Herr Schultz wants to stay in Germany because it is his home and he is German. He is also Jewish. 

The Kit Kat Klub was lively, counter culture, and perverse, but it also accommodated and catered to people who hated them. In the end, it was destroyed. The fairytale turned into a nightmare.

Fräulein Schneider asks the audience several times during the production "what would you do?" She's asking for the audience to put themselves in her shoes, to empathizes with her.

We live in interesting times and if they don't seem all that interesting, then maybe you're not paying that much attention to what is going on around you. If you've ever asked yourself what you might do during a certain historic event such as the Civil Rights Movement or the Vietnam War protests, what you might have done during the Salem Witch Trials or the aftermath of 9/11 (this one is for the Z generation). 

I've asked myself that many times - mostly when I was still in school. 

Some recent current events have provided me with some answers. I can't say that I'm happy 100% with the ones I've found.

There are so many reasons Cabaret is a fantastic work of art. It's dark and tragic, but also fun and lively. You know what the ending is for these characters, but that doesn't stop you from hoping that this time - this show - they'll get a happy ever after.

Until next week. 

If you enjoyed this post (or it really pissed you off) please like, share, and/or leave a comment. I love hearing from my readers and I hope y'all like hearing from me.

Welcome to Phantom of the Opera

Don't cry for The Phantom, Broadway. The truth is he'll never leave you. He'll hide in the sewers with the subway rats and sneak through the rafters of the next show to find its home at the Majestic Theater. 

That's right - The Phantom of the Opera is leaving Broadway.

1988 may not have had social media like we do today, but Lord Andrew Lloyd Webber's famous (or infamous) show proudly welcomed local and (mostly) tourist alike to through its doors for an amazing performance. 

Sadly, all things come to an end...and the show fell victim to the pandemic. It will become a memory alone in the moonlight after February 23rd, 2023 - a few weeks after it's 35th anniversary. 

The musical is an amazing production. The movie that came out in 2004 and it does not do justice its source material (neither the show nor the book). There's something magical about seeing the candles rise out of the stage's fog while the orchestra swells. It's heart pounding watching The Phantom throw fireballs at Raoul and Christine - it's replaced by a silly sword fight in the movie. And the Chandelier falling at the end of the first act is incredible.

I'm glad I got to see it on stage at least once.

Though I will admit, this isn't my favorite adaptation of the story. That honor goes to The Phantom of the Opera Wishbone episode "Pantin at the Opera". A close second is the original Lon Chaney 1925 silent movie, followed by Phantom of the Megaplex and Phantom of the Paradise tied for third.

However, Lord Webber's rock opera entered pop culture, found a foothold in little theater kids' hearts and midwestern moms' souls, to explode into ubiquitous culture. Something Cats will never be able to do (please let the movie be a fever dream).

A YouTuber who did a lot of video essays on The Phantom of the Opera book and its many adaptations (including the musical, it's sequel, it's many knock offs) once said that "civilization will fall and Phantom of the Opera will still be playing on Broadway". They were kind of right. COVID-19 struck and the show managed to last a few years after its peak. 

Yet, the lack of tourism to New York and the very high budget needed to maintain the ability for a guy to throw a legit fireball at two other people was the death knell for the show.

The final performance will be held on Saturday, February 18th, 2023.

It was magical. It was fun. It had a great theater run. Such dazzling performances. How the tourists loved the performances. 

It was Broadway's Phantom of the Opera.

Let me know of any fond memories or your favorite adaptations of the story. I remember first seeing the movie with my cousin at my grandmother's house and then (reluctantly) seeing the stage production with an aunt and cousin after getting (severely) discounted tickets - I'm glad I did. 

I know the story has its problems and certain parts of social media are having fun with all of their "hot takes" (seriesouly don't look at the theater side of Twitter right now), but there's a reason this musical stuck around for so long and nearly everyone in the United States is familiar with this serialized French story. 

I think it has something to do with the amazing 80s guitar riff.

If you enjoyed this post (or it really pissed you off) please like, share, and/or leave a comment. I love hearing from my readers and I hope you guys like hearing from me. 

Until next week. 

By the way, I've made several references through out this post to other Webber musicals. Cats is directly called out, but I also referenced Joseph and the Amazing Technicolor Dream Coat, Evita, and Jesus Christ Superstar. Feel free to let me know if you spot them. 

Welcome to Watching the Stage

One of my goals for the start of this year, was to take advantage of the fact that I live within spitting distance of New York City. I am happy to say that I have been keeping to that goal.

And my favorite reason to go into New York is to see a stage show.

It doesn't matter if it's on or off Broadway, I've been having a lot of fun going to different plays and performances around the city, though I haven't gotten tickets to see Hamilton yet.

There are all types of stage performances. Musicals, dramas, comedies, classics like Shakespeare and the Greek tragedies, operas, and ballets. Each is unique in how they tell stories and convey emotions.

My current favorite play is Come From Away which is about how a small town in Canada took in about 3,000 people during 9/11 when all airplanes were grounded. The music is amazing and the stories are inspiring as well as heart breaking. What's really cool is that all the characters portrayed are based on the actual people who experienced the event.

What's really cool is how the set is designed. There's a rotating stage with fake trees, chairs, a "bar", and beautifully painted backdrop that reminded me of painted drift wood art. The band plays on stage, instead of in a pit and adds to the atmosphere. I hear there's a movie in the works, but no matter how well done the movie is, I don't feel it will have the same feeling as the play.

I'm not sure how to explain this feeling, but there is a big difference seeing a stage play and watching a movie based on that play. Plays rely on suggestion and imagination. When the lights go down and a single spotlight illuminates a solitary character on stage to give a soliloquy, it doesn't have the same effect as a character looking into a camera or giving a voice over to tell the audience what they're thinking.

Don't get me wrong, there are some plays that made the jump onto the big screen with success. West Side Story, Sound of Music, Hairspray, and especially The Rocky Horror Picture Show are all awesome movies (though I admit that I haven't seen them on stage). I even enjoy the 2004 Phantom of the Opera.

However, movies are a different medium from plays. Often scenes are squashed together or cut to make room for run time. Depending on the writers and directors, things can change drastically between stage to screen. That's not necessarily a bad thing, but it does change the experience.

To see "Phantom of the Opera" on stage is an entirely different experience. There's a reason it's one of the longest running shows on Broadway. The sets are a amazing, the effects are stunning, and to see the actors on stage is magic. I like the "Phantom of the Opera" movie. I love the Broadway show.

And there are a lot of plays in New York. New ones open every year, and there are even a few shorter runs with famous actors and actresses.

This is from the movie.

A few years ago, I saw The Front Page starring Nathan Lane and John Goodman. Yesterday, I saw Hillary and Clinton with Laurie Metcalf and John Lithgow. Both Adam Driver and Danieli Radcliff have recently been in shows that I nearly brought tickets for, while my mom was disappointing that we weren't able to see Jeff Daniels in To Kill a Mockingbird (tickets were about the same price as Hamilton when I finally started looking).

It's cool to see these actors in movies and TV shows. It's stunning to watch them preform live and on stage. Nathan Lane in particular is one of my favorite actors to watch on stage. His stage presence is captivating.

I do wish it wasn't super expensive to see plays though, especially in New York. There are ways to find cheaper tickets, but it's tough and the timing doesn't always work out. There are raffles and buy-same-day tickets, but they are hard to get.

If going to New York is a tough option, then check out what the local high schools or college are putting on. When I was still in high school and college, I'd go to the plays my school put on. I loved seeing Little Shop of Horrors and Thoroughly Modern Millie with my friends.

Some schools even put their performances on YouTube, which is how I saw the "Very Potter Musicals" (not "Cursed Child") and "Once Upon a Mattress".

And don't discount the film adaptations. I know I earlier said that the experiences are different (and they are), but that doesn't mean that that's a bad thing. The Harry Potter movies are very different from the books, but that doesn't stop me from enjoying them. There are tons of movies from the 30s and 40s which were originally plays (see my post on The Front Page for a great adaptation example).`

One of my favorite play adaptations is Angels in America. You can find the whole mini-series on Amazon Prime right now (and possibly HBO GO). It's about the AIDs epidemic in the 1980s. HBO put together a 6 part miniseries back in the early 2000s and if you haven't seen it, I totally recommend it. It is a play (both parts) that I hope to eventually see on stage, but for now, I'm happy re-watching the miniseries when I have the time.

Do you guys have any favorite plays or stage performances?

Until next week.

If you enjoyed this post (or it pissed you off) please like, share, and/or leave a comment. I love hearing from my readers and I hope you guys like hearing from