CATS Out of the Box #MondayReviews #NanoPoblano2019

In December, a new movie version of CATS THE MUSICAL will be shown in theaters worldwide. I am a huge CATS-lover and let me tell you now: So far, I’m not liking most of the changes they’ve done. But, alright, I’ll give it the benefit of the doubt. Who knows? I might like it.

Anyway, below is the semi-review that I did on the original movie years ago. I call it “semi-review” because it’s more of a feature. Well, more of a fan-made writeup. This was posted way back in the old Multiply days. I have decided to share it again (1) since it’s timely, (2) to introduce new viewers to the original musical, and (3) to give them points of comparison once the new movie is released. I did edit things to correct some grammatical errors, shorten the piece a bit, and add some updates.

By the way, links to more reviews can be found in the CRITIC’S CORNER.

FAIR WARNING: I am posting a reaction-slash-comparison video on my vlog one of these days. Bear with me. Humor me.

A CATTY EXPERIENCE

Indeed, I could choose from a variety of movies that I have already seen. Instead, I chose to love a film that is, for sure, not on a lot of people’s favorites-list. It’s a story with a simple plot. Cinematography is good, not outstanding. The visual effects are there only because they are necessary. And then, there are glaring editing misses!

So what’s there to love, really?

CATS THE MUSICAL is simply not the kind of film most Filipinos would appreciate. Well, most people in general. But I am a musical-enthusiast, videophile, dance-lover and poetry-maker. That combination explains why I find CATS very entertaining, beautiful, and original. It is poetry in words, music, and motion, all rolled into one cool package. Great score, great singing, great dancing! In the words of T. S. Eliot, it is “ineffable…effable…eff-an-in-EF-fable!”

The History of CATS

In the past, stage musicals like OKLAHOMA and FIDDLER ON THE ROOF were made into successful films. Many were culled from classic literature such as OLIVER!, from Charles Dickens‘ book Oliver Twist. THE WIZARD OF OZ, meanwhile, was based from the 1939 film, which was an adaptation of L. Frank Baum‘s The Wonderful Wizard of Oz. As for WEST SIDE STORY, it was inspired by William Shakespeare‘s Romeo and Juliet.

Came the early ’80s and there was the musical genius Baron Andrew Lloyd Webber (ALW). He of the JESUS CHRIST SUPERSTAR and PHANTOM OF THE OPERA fame had a novel idea: Why not make a musical about cats based on the book his mom used to read to him — T. S. Eliot’s Old Possum’s Book of Practical Cats?

So CATS was conceived and developed. It was made by famous theatrical producer Cameron Mackintosh and ALW’s The Really Useful Theatre Company. CATS was officially ‘born’ in London’s West End, at New London Theatre, on May 11, 1981. Then the show made its Broadway debut on September 7, 1982 at the Winter Garden Theatre.

The sung-through musical proved to be a hit and won many awards and accolades. For quite a time, it was the longest-running musical as it was performed on West End stage for two glorious decades! There were 8,489 shows in 21 years. On Broadway, it ran for 18 years with 7,485 shows.

A true Taurean, CATS was as stubborn as a bull, refusing to budge from its position as the “World’s Best-loved Musical”. Well, that was until LES MISERABLES took its place in 2006. Sadly, CATS bid farewell to Broadway and West End in 2000 and 2002 respectively. (Ed. Fortunately, it’s currently back in the game, enjoying the limelight, entertaining more theatre fans, and translated into multiple languages.  “As of 2019, Cats remains the fourth-longest-running Broadway show and the sixth-longest-running West End show.” Oh, and it had a worldwide gross of US$3.5 billion by 2012.)

In 1998, ALW pushed the barriers further by producing the film version of CATS. It was, in fact, the first of its kind, an actual stage performance captured on film. In essence, they picked up where they left off, only with a different medium. Directed for film by David Mallet, the musical was shot in London’s Adelphi Theater by running through the whole production twice and then adding other essential shots. They did it in a span of 18 days. Meanwhile, costumes and make-up were toned down for film.

Original performers like Elaine Paige and Ken Page took on the roles they originated on West End (her) and on Broadway (him). The show also brought in veteran actor Sir John Mills for a special role. ALW then chose actors he thought could best portray the 28 other important characters. The cast were chosen from productions that were then currently showing the musical. Judging from the performances captured by the lenses, it seems that ALW’s team chose wisely and well.

The Story of CATS

The story unfolds as the Jellicle Cats meet at a junkyard for the annual Jellicle Ball. In attendance are the adult cats and the kittens that are on the verge of adulthood, probably attending their first ball.

Led by the protective silver-and-grey tom, Munkustrap (Michael Gruber), they sing, dance, do acrobatics, and bask at the Jellicle moon. That is, while they await the arrival of their leader, Old Deuteronomy (Page). Every year, just before dawn, Deuteronomy makes what is known as the “Jellicle Choice”. He chooses the cat who gets the chance to be reborn, allowed to go up the Heaviside Layer (their kitty heaven), and “come back to a different Jellicle life”. Anyone interested could ask to be given this privilege.

During this time, the audience is given the chance to get accustomed to the characters. Some are easy to remember. That’s due mainly to particular costume designs that stage productions almost always follow . (Thanks, John Napier.)

For those familiar with the show, some characters are instantly recognizable. For instance, Victoria The White Cat (Phyllida Crowley Smith), the tuxedo cat Quaxo (Jacob Brent), the Siamese feline Cassandra (Rebecca Parker), or the twins Coricopat and Tantomile (Tommi Sliiden and Kaye Brown respectively). Some performers first show up as swing or supporting casts, wearing costumes specifically designed not to stand out. They later emerge as important characters. It is hard, though, to miss such a man (or cat) the size of Mister Page.

As the waiting continues, the presence of some adored cats are acknowledged. Jennyanydots The Gumbie Cat (Susie McKenna), with her tiger stripes and leopard spots, is a tabby perceived as lazy by her owners during the day. But she gets busy at night teaching or disciplining mice, roaches and beetles. The supposedly smart Bustopher Jones (James Barron) is a well-respected cat in his “coat of fastidious black” and “white spats”. He is revered when all he actually really does is eat.

The Rum Tum Tugger (John Partridge) also makes sure that his presence is known. He is “vain”, “perverse” and “inconsequent”. And yet, he is the object of almost every she-feline’s affection. The kittens and the sensual Bombalurina (Rosemarie Ford) idolize him like a sexy rockstar. Complete with a lion’s mane, a kiss-me curl, and gyrations, he is the show’s trademark Elvis. The Elvis theme is one that ALW plays with from time to time. Case in point: the Pharaoh in JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT. Together with Munkustrap, Tugger serves as another main storyteller.

Grizabella The Glamour Cat (Paige) – ironically un-glamorized now – then enters the scene. Excited to be back after years of absence, Grizabella is saddened when the others avoid and ostracize her. Needless to say, she is forced to stay away and watch from afar. Meanwhile, the notorious Bonnie-and-Clyde tandem of Mungojerrie and Rumpleteazer (Drew Varley and Jo Gibb respectively) are caught doing their usual naughty antics and misdeed. The comical troublemakers end up staying all throughout the party.

The Jellicle leader soon appears, to the delight of his followers. For further entertainment, the cats do a parody of warring dogs, with the “intervention” of The Rumpus Cat (Frank Thompson). Dancing resumes after. At some point of the elaborate dance number, the mating process happens. It’s a sort of PG-13 moment when the kitten Victoria “becomes” an adult cat. She mates with Plato (Bryn Walters) while the others also do their – uh – thing.

When it is over, Grizabella returns and tries to join the ball once again. She is still regarded as an outcast. Feeling alone, she sings the now-popular song “Memory”, sadly reminiscing her lovely past. She does not know that Deuteronomy is still there and leaves disappointed.

Soon after, the cats return and Deuteronomy tries to explain to them the meaning of real happiness, to no avail. So to get the message across, he conveys it in simpler words through the kitten Jemima (Veerle Casteleyn). She somewhat sings entranced. Jemima’s maturity at her age is evidenced by her understanding of Grizabella. She is always the first to try and touch the outcast only to be pulled away by the older cats.

Gus The Theatre Cat (Sir John Mills), senile as he is, also attends the gathering and talks of the good ol’ days. He makes you shed a tear or two at the end of his song. He leaves behind him a sad atmosphere. which Skimbleshanks The Railway Cat (Geoffrey Garrat) enlivens again through his storytelling and pantomime acts.

Chaos erupts as the criminal Macavity The Mystery Cat a.k.a. The Hidden Paw (also Walters) emerges and catnaps Old Deuteronomy. As they worry about their leader, Macavity returns in a different form. But the sensitive and rather dramatic Demeter (Aeva May) sees through his disguise and exposes him. A fight inevitably happens and sometime later, the Jellicle leader is somehow rescued. With the help of the magical Mr. Mistoffelees (also Brent) and the kittens — the wise and sweet Jemima and the kind, queenly Victoria — Deuteronomy is finally able to make the Jellicle Choice.

Thoughts on CATS

For anyone wanting entertainment-value, CATS will not be a disappointment. But to the uninitiated, the whole story may not be easy to follow. I had to watch it several times myself before I fully understood everything.

It also helped that I had the libretto downloaded from the Internet back then. That made it easier to understand and better appreciate the actors’ various accents. Varley’s and Gibb’s were particularly harder to follow for me, to be honest. Understanding the words made their lively performance more fun to watch.

Most of the characters that were introduced/announced were old. It was natural for Deuteronomy to choose among the elders. They had been there, done that, enjoyed things they would want to relive like Gus, regretted things they would like to change like Grizabella.

Grizabella did not use her youth wisely. Once it was gone, she was left with nothing but her memories. She felt the sting of loneliness, lamenting the meaning of real happiness. The brief but memorable duet of the old and the young in “Memory (Reprise)” emphasized this. One represented hope and innocence; one represented loss and grave regrets. Meanwhile, we saw a stunning performance from both actors. It is arguably one of the best scenes from the film.

Between Griz and Gus, however, the latter gets my vote. Sir John Mills was a very convincing Gus that I actually shed some tears almost every time I watched him. A brief performance worthy of an award!

The stage production itself is to be applauded, in my opinion. Few musicals can do what CATS do. They may have one or two of the elements, but the show offers more.

There’s great poetry (with additional texts from Sir Trevor Nunn), though already antiquated from the start. Understandable. The book the show is based on is old. What’s amazing is they somehow pull it off. If you’re not into poetry, you’ll tend to forget it anyway as you enjoy watching the cats and their various antics. You won’t really notice that it’s poetry.

There’s wonderful music. A lot of times, it is operatic, which, I admit, may not suit some theater-goers. They might find the show boring because of the music. I think most avid supporters of musicals will not mind, though. Many musicals tend to be operatic.

The dance numbers are totally awesome! I am so impressed by the dancers who train really hard to move like real cats, even think like real cats. They make dancing seem easy when it isn’t. It takes dedication to achieve the craft. CATS’ dance routines also differ in genres (e.g. ballet, lyrical, even acrobatic). That makes the whole show quite interesting. Credit goes to Dame Gillian Lynne. I think productions still follow her choreography up to now. I saw a live performance some years ago and it was like watching the movie.

The set is not breathtakingly impressive compared to other shows’ and yet, very appropriate. Just imagine that you are an actual Jellicle Cat — the set will make sense. The way going to the Heaviside Layer is a bit of a turn-off for me. Other than that, well, I really don’t mind anything else.
I love other musicals as well. What sets CATS apart for me, though, is the fact that it is a complete package. I consider watching the movie as an actual adventure.
Truth be told, it isn’t really the story that has made the most impact on me. I am viewing this from the perspective of a musical-lover, not a film enthusiast. CATS is a stage musical, first and foremost. Despite its flaws, the movie deserves to be praised for the sheer originality alone. That’s what thinking-out-of-the-box is about.
And I am so glad CATS is out! 😉
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Hey, guys, I found this nice page on the musical, check it out: Cats (musical)

Romeo and Juliet Fever #atozchallenge2015

M of A to Z“M” is for Musicals. Yes, I am a musicals enthusiast, if you don’t know me yet. I like to watch musicals on TV, film and stage. I only get to watch actual musicals once or twice a year due to either budget (many that I’d like to see tend to be costly for someone like me) or venue (they don’t normally show in places near me). When I do get to watch, I normally try to purchase playbills. I may forget about buying other souvenirs, but never the playbills! That’s where you get to know more about a production, its cast, etc.

And because I’ve been in a Broadway-mood lately due to my recent post, I would like to share to any musicals fans out there the full film version of the French “Romeo and Juliet: from Hate to Love” musical that stars Damien Sargue and Cecilia Cara.

Roméo et Juliette: de la Haine à l’Amour is a French musical based on William Shakespeare’s play Romeo and Juliet, with music and lyrics by Gérard Presgurvic. It premiered in Paris on January 19, 2001…Since then, the musical has been performed in Verona, Rome, Canada, Antwerp, London, Amsterdam, Budapest, Szeged, Moscow, Vienna, Bucharest, Seoul, Pusan (South Korea), Taipei, Monterrey, Japan and Shanghai and has been translated into several languages, including Flemish, Italian, Hungarian, Russian, English, German, Spanish, Romanian, Japanese, and Korean.” (WikiPedia)

damien-sargue-cecilia-cara

Damien Sargue and Cecilia Cara as Romeo et Juliette

This is one of only two full film versions I viewed online. I really like this one — the voices (although Juliette sounds more mature for a girl supposedly around 14, but this is theater and she has a nice voice anyway), the costumes, most of the acting. The other version I saw, which I won’t say whose, I did not like at all. It looked like something performed in school rather than professional theater, and the acting! There are just no words! A few songs in and I gave up. It was hard watching them, really. Meanwhile, when it comes to the singing, I am also very partial to the voices of the Belgian cast. I don’t think there is any full online version of theirs, professionally filmed or otherwise, but I have the recording, as shared by another theater enthusiast.

Oh, let me share that there is a whole site dedicated to the R&J musical created by my fellow-Veerle fan, VeerleBub. Check out the Romeo + Juliet the Musicals Website. It’s not the musical’s official site, but it’s rather informative and a bit comprehensive, even including translations. I liked visiting there during my R&J fever years ago. Unfortunately, it’s not updated anymore and the owner lost the rights to the original domain, it seems. Think I’ll go contact her again if I can.

Anyway, here’s the film version I promised. As always, ENJOY!

Little Dove: Cat of a Feather #atozchallenge2015

Ladies and gentlemen, today I share to you one of my most favorite stage thespians. I bring you…LITTLE DOVE. Oh, and all images and videos, unless indicated, are not mine, just to make it clear. Also, this was written circa 2006, just so you know. However, I’ve been updating it from time to time and adding images and links 🙂

From Gazet Van Antwerpen

This is Veerle Casteleyn
and this is my most favorite photo of hers. Photo credit: Gazet Van Antwerpen

CAT OF A FEATHER

Truth be told, there isn’t much to be said about Veerle Casteleyn… Uh, let me rephrase that—there isn’t much info available about this li’l lady, not even in the whole, wide world of the web. Any true-blue Veerle-fan knows that.

Her First Catwalks

Veerle Casteleyn was born in Vlaanderen, Belgium on March 6, 1978. ‘Veerle’ is Flemish for ‘feather’, which appropriately describes her to a ‘T’. Figuratively speaking, of course. Lithe and graceful on her feet, it’s no wonder. After all, Veerle is a dancer first before actress and singer, with quite a credible resumé in dancing tucked under her belt. She is a sweet/light soprano and wonderful actress. A fantastic all-around thespian…

[Ed. ‘Veer’ is said to actually mean ‘feather’ in Dutch, based on some research. Meanwhile, ‘Veerle’ is said to mean ‘travel to battle’ or ‘battle traveller’. In some ways, an individual maybe considered a battle traveller so Veerle may very well be one anyway. I still do prefer to liken Veerle to a light feather.]

Her official foray in the performing arts really started when she began training as ballet/jazz dancer at the Municipal Institute for Ballet in Antwerp, Belgium. She performed in “Joint Venture”, “Initiate”, “Fanfare”, “The Three Musketeers” and “Self-Made”. More roles came after school–an orphan in “Annie”, Liesl in “The Sound of Music”Sylvani a.k.a. Jemima (meaning ‘little dove‘) in “CATS the Musical” (she played the role both in the Antwerp and a London production), and more roles as understudy.

In 2002, she successfully essayed the role of Julia in “Romeo en Julia: van Haat tot Liefde” (R&J), the Belgian production of, well, you’ve guessed it by now. That was her first-ever lead role, complete with a CD release of the show’s songs where you can hear her sing, and believe me, as you will later find out, her voice before was and still is a subject of much debate.

What Curious Cats Ought to Know
veerle-casteleyn-as-Jemima

Veerle as Jemima in the film version of CATS The Musical

To those not familiar with Veerle, she is actually best-known (so far) as Jemima, the cute kitten in Andrew Lloyd Webber‘s (ALW) “CATS The Musical” video, whose wisdom is far beyond her years; the kitten that made Veerle famous (to musical-lovers, at least). On second thought, Veerle made Jemima famous. Though she was first played by the great Sarah Brightman (best-known as the original Christine Daaé of “The Phantom of the Opera”, another ALW masterpiece), Jemima had always been a minor role and was not at all that noticeable until Veerle came along and immortalized her on video.

Veerle was only about 19 or 20, the youngest in the whole ensemble in fact, when she joined the production.  She would later play Jemima on a more regular basis in the West End, as well as do swing parts (a swing is like a bit player) and, more impressive, Victoria the White Cat and Rumpleteazer as an understudy. These two latter roles should tell you how great a dancer Veerle really is. After all, both require superb dancing skills and “Energizer”-charged moves. Not to mention, playful with a sensual flair. Vicky alone always gets to display her dancing prowess, often taking center stage.

ALW had to choose the best performers for the roles, especially since the show was to be shown in another form. Jemima’s role called for a “little, young thing with a wonderful, wide-open face” and Veerle was definitely IT. (See her in the video below smiling so sweetly with Jo Bingham who played Etcetera at 0:29-0:31, then choreographer Gillian Lynne is talking about her as you see her at 1:00-1:09).

(Below, you’ll see her all over the video having her whole look done)

(Now watch her duet with the great Elaine Paige…)

Many viewers get enthralled upon seeing her sweet face and large, expressive eyes during her solo parts. Maybe it helps that she is, indeed, a lovely girl with an unusual charm even sans makeup. However, any other lovely girl would have been hard-pressed to pull it off the way she did in the film. Veerle obviously knew how to work it and project what needed to be projected. Besides, she was not all-face, too. She was the shortest but she wasn’t short in talent at all. She proved to be one of the giants, holding her own against or alongside other great talents like John Partridge (as Rum Tum Tugger) and Phyllida Crowley-Smith (as Victoria).

(This was the first-EVER video that I saw of her online WITHOUT the makeup…I was so excited!!! I forget what year that was, but the Internet wasn’t like how it is now, so it was not easy finding it. In fact, I think somebody just shared it in the forum that I joined in. Very short interview clip, but very dear.)

This Cat’s Meow

Undoubtedly, it is her duet with the Great Elaine Paige who reprised her role as Grizabella, that often leaves the biggest mark in most viewers’ mind. Paige is obviously way up there in the superstar department, having amazingly sung the most original version of ‘Memory’. Still, perhaps, part of the charm of the said duet is “Veerle’s” singing voice…

Now is the time when I have to address the issue of dubbing. In the credits, you will read somewhere that Jemima’s singing voice was dubbed by Helen Massie. That is correct. The long-standing issues here have been: “Why was Veerle dubbed?” and “Didn’t she sing anything in the film?”

The why has been answered time and time again! It wasn’t because she couldn’t sing, but due to her strong accent at the time of the filming that affected her English. Veerle may not be the greatest soprano around, and maybe she was pretty raw back then, especially with no formal voice training, but she delivered. Quite convincingly, in fact. As for the second question, it has not been properly addressed yet. Nevertheless, we who have seen the film more than we should can say that she actually did sing in many parts of the video. Where exactly? I will leave the fun of finding it out to you.

[Ed. THIS is how her voice would have sounded singing her solo parts or with a few cats, just fast-forward to 1:30, though she is everywhere in the vid dancing. Meanwhile, CLICK HERE and HERE to hear her sing in “R&J” — these are my fave of hers from that musical, her first real recording ever, though the voice is really raw, but I think that’s exactly what made her perfect for the role of a young and naive protagonist. She sang in seven songs. Meanwhile, I found her discography as well.]

veerle-as-jemima-in-CATS-DVD

The CATS DVD Jemima poster…Image from the Net but I’m pretty sure The Really Useful Group (RUG) has the rights to this as well as all other CATS images

As I said, Miss Feather made Jemima, so much so that when the movie was released, the wide-eyed, innocent-but-wise li’l kitty was a big hit. Soon, the movie’s off- and on-line release posters and ads featured Jemima holding a “CATS” DVD, etcetera. Why not Grizabella? Or Old Deuteronomy? Or Munkustrap? Or Rum Tum Tugger? Or any of the major roles? The answer may have been “Why not Jemima?”

Jemima is also easily remembered now. The girls love to imitate her and wish they look like her, cat or not. The boys mostly drool at her (especially those who look for and find her unmade-up countenance). Let’s face it. She is easily one of the most beautiful cats in the show, if not the most, ’cause that, of course, depends on taste.

Let the Cat Play

Moving on…Post-“CATS”, Veerle did several plays/musicals onstage again. As mentioned, she did the London production. Then it was in various other productions for her as she toured UK/Europe, The Netherlands and her home country, Belgium: “Carousel” (as Louise in the UK tour),“A Little Night Music” (as Fredrika on the Netherlands tour), “R&J” (Belgian production…another girl acted for The Netherlands tour), “Fiddler on the Roof” (as Chava…great solo ballet sequence, I’m sure), “Alleen op de Wereld” (as the adult Remi), “Dracula” (as part of the ensemble), and “Mamma Mia!” (ensemble).

romeo-en-julia

Veerle played the lead female in Romeo en Julia opposite Davy Gilles. The show was produced by the Belgium Music Hall

romeo-and-julia-death scene

Julia is devastated to find Romeo without life…

She didn’t always get the major parts. But that’s show business. Veerle knows that. Meanwhile, she also found time to make her TV debut in an episode of the police show “Flikken” (‘Police’, in the Sporen episode) as Elke de Brock, rape victim.  Then she became part of the short-lived courtroom drama “De Wet Volgens Milo” (‘The Law According to Milo’) (2004-2005) as law firm intern Sonja who’s “youthful enthusiasm and ambition often gets her into trouble” (this is a loose online translation of the info I found on the show’s site).

If that wasn’t enough, some people reported spotting Veerle in a commercial somewhere, but they’re just speculations. Meanwhile, as far as I know, aside from singing in the “R&J” soundtrack, she recorded at least one song (again, as far as I know for now) for the “Alleen op de Wereld” soundtrack (CLICK HERE).

(See her in “Romeo en Julia — van Haat tot Liefde” at 8:42-8:51, so do a fast-forward thing. Had to find the best vid that clearly shows her especially with Davy)

(Her guest starring role in “Flikken”, ‘Sporen’ episode. Do not even try to auto-translate, it sucks)

(Very short clips from the TV show she was a part of…Is it me or does somebody love mixing reddish shades and blue?)

The Cat of a Feather

Veerle knows she has yet to make a bigger mark to be really called famous, despite the fact that she indeed achieved semi-superstar status with a still growing number of fans scattered all over the globe. She has achieved something that most performers still only dream of. Yet, swell-headed she is not.

Ironically, this girl is a very shy individual in person, embarrassed by the amount of attention given her. Perhaps, too, she feels the pressure of living up to what people expect from artists they admire, or it’s possible she simply does not like being admired for her looks alone. Veerle has actually expressed surprise and bewilderment by all of this. She is so unassuming to the point of being unintentionally private; thus, we only have what little more personal information about her we have. This, by the way, does her real good. Stalk her not, please.

It has been proven several times that she isn’t a snob either. Veerle might be private, but she is definitely not a snob. Though the instances are few, accounts of her have been made, not any of them negative. Not yet. Hope not. If you’re lucky, she just might recognize and surprise you by linking arms with you at the parking lot (that is, if her shyness does not get to her first). She may visit your forum and leave a message even if only once.

veerle-casteleyn-forum-post

To everyone’s surprise and delight, Veerle actually posted a message on the forum! Shoney Cat was going to The Netherlands to see her perform live in a musical. Johan is Veerle’s friend. Jemimus, the original forum’s creator, had seen Veerle many more times than any of us at the the time, plus Veerle knew him…To enlarge, right-click, “View Image”, then zoom in/out

She may meet up with you if she knows you’ve come all the way from across the globe just to watch her in a show, which dialogues you don’t understand anyway. Or she may spend even just a bit of time chatting with you online.

veerle-casteleyn-chats-online

The very rare moment that Veerle actually went online and chatted with her fans. Shared by Steven, the forum moderator at the time…To enlarge, right-click, “View Image”, then zoom in/out

That is provided that you…

(1) will understand she types slow, being admittedly not-so-techno- and Net-savvy.

And….

(2) won’t go borderline creepy and scare her away.

And of course, ambush photo shoots with fans, that’s a given…

veerle-casteleyn-autograph

See how nice her pernmanship is! This is a cropped portion lifted off an actual poster she personally signed for a fan

That’s about it when it comes to getting a bit more glimpse of what Veerle is.  And oh, did I tell you she has a very nice, curvy penmanship?

Cats Sometimes Take a Bow, Too

At present, as of this writing, Veerle is already preparing—or maybe already rehearsing—for the role of Electra for this year’s Dutch production of “CATS”. Yes, you die-hard Veerle-fans, I hate to be the bearer of a really-not-so-“bad” news, but she isn’t playing Jemima. Veerle opted not to do her, a personal decision. [Ed. See update after this article.] I am not surprised. One can only do a routine role so much. She said it herself, she wants a new challenge.

Veerle Casteleyn may still be ‘a kitten still wet behind the ears’ (sorry, I just like saying that), but one thing is definite–this cat is not going anywhere but up! Kitty heaven, here she comes!!!

 

Copyright © J.Gi Federizo

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UPDATES: Veerle has since done the Dutch “CATS”, as reported she would do, and I gave a link to a vid somewhere above. She was a swing member doing…

“…(1st cover for Electra, 1st cover for Sylvani aka Jemima, and 2nd cover for Victoria). She took over the role of Jemima full-time in the summer of 2007. ‘CATS’ premiered in Rotterdam in October, and toured the Netherlands until October 2007.” (Wikipedia)

Then she did “Les Miserables” (ensemble), “Oliver!” (ensemble/Charlotte) and “Musical Droomvlucht” (ensemble). From what I found out, she worked or works (not sure if she still does–dunno if it was a one-time deal or what) as a choreographer for Diluna Dansstudio. She choreographed their 2015 “CATS” musical, as can be seen below. They are the ONLY pics of the ever-elusive Veerle I’ve found from there. There’s not even a mention of her there except on NieuwsBlad.be. On the caption, she was said to be a top choreographer, so I am hazarding a guess that she’s been doing choreography these past years.

I am most probably right as I recently found — or rather, someone else found and privately shared to me — recent proof of it. If I were Dutch or Belgian, I probably could actually find her. We think we also found a real social media account. She’s really kept everything very private, you won’t exactly see a thing on her own page to confirm anything. Besides, it seems inactive. If it is her real account, she probably won’t want it shared to the public unless it’s a fan page. So forgive me if I don’t share it. Please don’t ask for it from me even secretly. I intend to honor my promise to the sharer and especially to respect Veerle’s privacy. If people start flooding her inbox with messages, she could guess I gave her away — I don’t want her to hate me.

We did try our luck by sending messages to her, but..well, we know our Veerle. I just told her it’s okay and I’m just happy to have found her. Anyway, let’s just see if she attends the premiere of the new CATS movie. My guess is she won’t be there, but I’ll let her surprise us 🙂

veerle-castelyn-choreography

Veerle doing choreography for Diluna Dansstudio’s “CATS” show

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I wonder which part of the musical she is working on here….

See if you can find Veerle here

You can actually find the above same article as The Veerle Essay, posted with my permission, at the Unofficial Veerle Casteleyn Fansite, which is owned by a fellow fan. There’s a mention of a certain “Gracie” as author — that’s me.

You see, I wrote this first for my Multiply blog years ago, and around the same time, I joined the Steven’s Veerle Forum, which I believed to be already inactive for years. But I found out the “new” one, VeerleForum.com , and registered. The old became inactive not because it had a few active members but due to technical problems (won’t go into details anymore). I had been a fan a few years before the writeup.

If you’re looking for more updated info, based on my current research, as I keep saying, not much has been found out about her in later years, which saddens me a bit. I’ll continue my research, though. Do let us know of any new information about Veerle. You’ll be compensated with a lot of virtual hugs, kisses, and heartfelt thank-yous!

 

Lastly, just to let you know, this is my  “L” post for the A-to-Z Challenge (so that explains the title more, hee…).

L

Lea, Kim and Miss Saigon

lea-salonga

So pretty. This is one of the pics they use when she does shows and guest stints

I’ve never been one to request for a photo-op with an artist, regardless of whether I like him/her or not. I just content myself with looking then say, “Alright, I’ve seen you, and I can now put you in my Artist I Saw Personally list.” But you know what? I decided long ago that if it were Lea Salonga, I would break my rule and be more, let’s just say, “proactive.”

Did I? Break the rule, I mean? Yes, I did, back in 2008. For Miss Saigon‘s first-ever Kim, I did, gladly. Oh, but that story I will reserve for some other time.

Right now, I just would like to share to you my favorite artist and this video that was recently taken, from the 25th anniversary of the musical Miss Saigon. She is joined in a song here by fellow-Filipina Rachelle Ann Go who currently plays Gigi (also first played by Filipina Isay Alvarez) on West End. I’ve never been a Rachelle Ann fan but I think she did well here, fortunately.

If you are a play or musical enthusiast, this is for you! If you are not one, or not yet one, I hope you enjoy this as well  🙂

 More of it in the Philippine Star and Rappler

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Well, this is embarrassing. The video is now set on private. Oh, well. The link stays until I find another one on YouTube.

Anyway, I hope you enjoyed that…I mean if you were able to view it before. Feel free to share your thoughts below 🙂

To Sing or Not to Sing?

NOTE: Technically, it’s still February at the other side of the world. Also, technically, I heard that in the lunar calendar, it’s just the 29th of January. So technically, the Love Month isn’t over yet, and if we follow the lunar calendar, it hasn’t even begun. That said, here’s one of the things to share for this month’s special theme, which is love 🙂

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If I were made to choose between being able to write and being able to sing, what do you think would I have chosen? If you said writing because I am a writer, well, you got it…

write-idea

WRITING IDEAS, OR…

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…SINGING MY HEART OUT?

…QUITE WRONG.

Hands down, I would choose to retain my ability to sing, regardless of whether I could carry a tune or not. I may not be able to write, but I’d still  have my imagination with me, which was how I started my stories in the first place. Also, telling stories is not confined to writing alone. Since I’d still have my voice, I could either dictate my pieces to someone who’d write them all down, or do either live or recorded storytelling.

Now singing! No, I wouldn’t be able to do that without the voice, nor could anyone else. Unless I just hummed, which is not really singing, is it? Even if I attempted to do some beatboxing, that would still require sounds that I would not be able to make. Writing is my expression of my thoughts, but singing is the expression of my soul.

I LLLOOOOOVVVEEE SINGING…

I really was the shy, silent type when I was a little kid. To say “extremely shy” would probably be an exaggeration already, but that was  enough to make me ashamed of singing out loud. I loved music, but except for the few times I was in the mood to perform for my only usual audience — my mother — and during Music class in school that I secretly enjoyed, no one could make me sing. Not that anyone actually asked, with the exception of my mother, in which case, I am not even sure if she did ask or I volunteered.

I really did love singing. When I was young, I would  sing just a tad louder than a whisper when I was alone. But whenever somebody came into the room or went near me wherever I was, I would immediately stop singing, act matter-of-factly and pretend I was doing nothing of the sort seconds ago. Imagine, I would even react this way at home and around my family. Why this was so is still a mystery to me. Did I suffer some kind of trauma or ridicule when I was much littler that this affected me the way it did? I cannot remember a thing about it, and if ever it did happen, what was it? or who was it?

The only thing I know is it was also myself who decided that if I wanted to sing, I would. Why would I bother about what they thought? So by fourth grade, I allowed myself to express more freely. I would be singing at the terrace and then someone would pass by and I gathered a lot of courage just to keep from stopping or keeping it down. This certainly had its benefits because I started realizing that I could, kind of, actually carry a tune.

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Samples of local “song hits.” Image from the writeup on the movie based on the most popular Philippine song mag, JINGLE, that was older than myself, I think

Inspired by this realization, I found myself saving my daily allowance and buying “song hits” (referring to song magazines). Soon, I was the most updated in class when it came to new songs and, weirdly, I knew many of the featured old songs as well (some songs even came from much older eras like the 30s). This became my hobby until the sixth grade, collecting song hits that I still actually have in possession.

As I got older, I fell in love with singing more. I was never the best, I know, and had never really joined anything musical. I kept the singing to myself most times. I dabbled into some songwriting, too, but not one of my songs have any actual music till now, mainly because I have never learned to play any string or percussion instrument. That’s why they’re not so good, anyway. Meanwhile, I developed an eclectic taste in music. I came to like almost any music genre, old and new, local and foreign, pop and classic, instrumental and otherwise.

The only ones I never ever liked were hard metal stuff because I could and can never understand why all the hard growling and shouting that do not sound anything like words and are hurtful to the ears are considered singing. I don’t mean just rock. Legitimate rock, I like. But there are “songs” that sound anything but songs. Before you go all-Rambo against what I said, though, I am not judging you. This is personal opinion and taste. In fact, if I tell you now that I love show tunes, you are welcome to hate them. They are not me, the person, such as heavy metal songs aren’t you.

While we’re on the subject of show tunes, I was a junior in high school when I developed an interest in musicals, thanks largely to our Music teacher. Actually, I came to really appreciate music because of what she taught us. I remember she had a certain theme every year that all students experienced in class. I said all because in school, she was our only Music teacher and, thank goodness, there were just four sections per year level. Still, that’s a lot of kids to handle. Anyway, Broadway musicals was the theme that year.

I had long-before seen The Sound of Music (too many times to count!) and Annie on TV. That year, I appreciated show tunes more. (There’s really a side story to this involving Les Miserables and batch unity, one I will save most probably for a separate post.) Our teacher let us watch the West Side Story, Fiddler on the Roof, Oliver, Sound of Music (I think), South Pacific, and The King and I. I may be forgetting some more, but you get the idea. Whenever it was movie time, I was a very serious, very willing student.

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“Miiiidniiiighhtt….All alone in the moooonliiiiight….” This is Andrew Lloyd Webber‘s CATS The Musical, my most-est favorite of my most favorites. Love the singing, love the dancing!

This love for show tunes grew that when I was working already, I began watching actual shows if the budget allowed it or when I had time to save up. I’ve also been buying my own copies of movie musicals. Never mind that neighbors think me weird watching those and singing loudly along. People do tend to judge what they don’t understand; they probably don’t understand why I could love rapping at the same time either.

I have never been an actual theater person and I don’t get to see every thing that’s played on stage due to budget constraints, but that didn’t stop me from creating a Broadway-themed group in Multiply called HERE’S TO BROADWAY!!! It slowly grew into the musical-lovers’ group with the most members in Multiply-land. Unfortunately, we all know what happened to Multiply.

Now here I am. I love to sing, definitely, even when there are people around. Just don’t approach me and actually ask me to sing or I’ll clam up. I’m okay with people hearing me, but when they let me know they’re listening, I get all…EEK.  Don’t ask me why because I can’t even explain it myself. The only reason I sang for my friends’ weddings were because, well, they’re friends and I didn’t want to disappoint them by turning down their requests…aaaand because I’d rather sing a song and get it over with in three minutes than be a bridesmaid, HA HA HAAA!!!

So, to sing or not to sing? That is not even supposed to be a question. Sing, absolutely.

Lastly, I guess I’ll share these only-a capella samples I did around four years ago. I recorded these while in the bathroom so I could hide and that’s why I was in a hurry. I could have done better but, oh well. The first is originally by Lea Salonga so if you want to hear that, I’m sure it’s in YouTube. It’s quite a videoke favorite here. It’s also my blogs theme 🙂 The second is from the animation film version of The Little Mermaid, which I haven’t really seen yet because I am mad they murdered classic literature. Anyway, because I don’t have copies in my laptop of these, they will open a new tab and direct you to my Facebook video posts instead.

Hate the singer, not the songs, please 😉

The Journey

Part of Your World

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Do you love to sing? Share it to us! We have to take dares sometime 😉

By the way, I have certain “project” so I urge you to please ask me any question in the comment boxes below. THANKS!

On a High…

So last Thursday, I was just buying a hotdog sandwich at the burger place very near the dorm when someone stood beside me and said in a low tone, “Don’t go up the dorm yet” like some sneaky “holdaper”, I half-expected to be robbed. Of course, I was surprised and had to scrutinize and realized it’s my theater-person friend “W”.
Copyright © Atlantis Productions

Copyright © Atlantis Productions

Apparently, she had two free tickets to Atlantis Productions‘ presentation of Tony awardee In the Heights and was hoping (but not really expecting ’cause she knew I often came home late these days, er, nights) to invite me to come with her. Apparently again, the one supposed to go with her backed out. Hurray for me!!! As they say, one person’s trash maybe…Okay, not trash, really, but you get the analogy, right? RIGHT?

So, not to waste more time as it was way past 7pm and the show was to start at 8pm, we brought everything that was with me back to Ayala and into the Carlos P. Romulo Auditorium at RCBC.

While it was good because it was free (he he, the best things in life), it was actually a really good experience! I think anyone who shelled out and will shell out money for it was/will not be disappointed. Non-fans of rap may actually like this rap-filled show. You can’t understand everything – heck,  even rappers might not understand every word – but you can surely understand what’s happening. There’s lots of hip-hop with also lots of salsa, merengue, soul thrown in – modern meets classic Latin, I say.

What struck me about the interwoven stories are their similarities to the Filipino scene, from the everyday hardships to the sense of family. Even to the idea that people get into their heads that America is the answer to everything. Just ask the main character’s father.

The main character, by the way, is Usnavi (hee-hee about the name, wait for the punchline), played by Nyoy Volante. Nyoy surprised me in Hairspray before, he surprised me even more in In The Heights. I never expected he could rap, and so well at that, he could give any rapper a run for his money. Rapping with a very passable accent. Not perfect, but hey, who’s complaining? There was a smooth way about him that I loved listening to him every time. Either that was actually because of his style or because of the way the piece was composed, I don’t know, and I really don’t care because I loved it!

Taken by Jaime Unson

The two leads, Nyoy Volante and K-La Rivera. Image from BroadwayWorld.com, photo by Jaime Unson

It was my first time to watch most of the performers. I was surprised to see Jackie Lou Blanco and I had to think hard before I realized I was looking at Calvin Millado. Jackie Lou was good in one of the songs, basically her solo, which title I have yet to find out (sorry, as of now, I have not gotten hold of a programme ’cause it was all so sudden, besides, I don’t think there were available programmes that night already). Calvin’s portrayal as the father of the Rosario Family, for me, was very touching.

I was not surprised to see reality singing competition show (or whatever you call it) finalist K-La Rivera because my friend mentioned her while I tried to gobble down my sandwich fast inside a taxi on the way there. Acting-wise, she’s okay. Nothing “Ooh”-worthy, but okay. She has a very nice singing voice, I must say. Many more training to go, perhaps, but very promising. She should do this more often. Less TV, more theater, ’cause in theater, she doesn’t have to scream to be appreciated.

I had been crushing on Felix Rivera before so it was a treat to see him again onstage. Ever the heartthrob, he got to ***spoiler alert*** kiss the girl again. I truly love his vocals. Very nice, very apt for musicals. I really appreciated him in Avenue Q that I watched sometime ago. Very commendable, too, were veteran thespian Ms. Jay Glorioso who was Usnavi’s adoptive lola and Bibo Reyes whose Sonny was quite the comic relief. Ima Castro was there, too. A very reliable performer she was, of course, though I felt her character did not showcase her talent that much. I wish I had seen Aida; I bet I would have enjoyed her.

Tex Ordonez wows in the song “Carnaval Del Barrio.” Image from BroadwayWorld.com, photo by Jaime Unson

But oh, my fave of them all that night was Ms. Tex Ordonez! I was so impressed, I actually made sure I asked my friend about her name. Her Daniela was wicked good! I never for a moment doubted she was a Latina living in Washington Heights. The look, the actions, the delivery of words,..excellent portrayal! She rivaled Bibo in the funny department… Hmnn… Actually, she was the funnest and funniest (sorry, Bibo, but you do get the second place award). Kudos to her!

On to the other actors and swings. It was apparent that one requirement for them to be part of the show was for them to be good dancers. They were expected to dance various numbers. Personally, I felt that much was lacking. Not really in the routines but in the dancing itself. Awkward moments, unsure steps, shaky lifting executions…But okay, it was just the start, it was not even really the real first night. I supposed they would get better every night.  One curious question though: Who was that Ralion Alonso look-alike? If I didn’t know better, I’d think it was him, only he didn’t grow older.

Now the music! Some beats were catchy enough, if only one was fast enough to catch all the words. I didn’t think anything was memorable. Still, I am not closing my doors. I think these are the kind of songs that you let grow on you. I wonder where I can get a soundtrack…

That said, this show is very much recommended. If you have the time, try and catch it. It’s got a limited run so don’t miss it now. Better yet, do as I did. Buy a hotdog sandwich and you just might get a ticket, for free.

That’s the whole cast for you. Image from BroadwayWorld.com, photo by Jaime Unson