Richard Kaufman wrote: he sings the title song of Mindfreak on every episode.
that song always makes me cry.
John Carney wrote:Richard Kaufman wrote: he sings the title song of Mindfreak on every episode.
that song always makes me cry.
Richard Kaufman wrote:Maybe it was pre-recorded sound track. Siegfried and Roy used to have that at their show--loud applause and so on, mixed right into the music at the end of the show.
Dustin Stinett wrote:I cant think of Criss Angel now without giggling because of how Joel McHale described him a couple weeks ago on The Soup:
a lisping Doug Henning who in six months will have a career as a childrens party entertainer.
Terry wrote:On TMZ last night, they quoted an audience member saying, "Angel makes David Copperfield look good and he's an old guy".
Real difference in edited TV and a live show.
After reading Doug Elfman's now-famous column outlining the audience reaction to the first previews of BELIEVE, I just HAD to go see it before Cirque either a.) fixes it, or b.) closes it for major re-working.
Caught the show this past Saturday night, and the bottom line is that it truly is every bit as bad as the Review Journal made it out to be. BELIEVE is flat out boring, silly, and unengaging, but somehow better than ZAIA.
Like ZAIA, though, the root of the problems lies in inept writing/direction. Trying to re-write the rules of theatre is one thing, but being oblivious to the basic principles is another. On the whole, BELIEVE comes off as if the Goth kids from High School were given $85 million and a DVD of Julie Taymor's production of "The Magic Flute", and given the mandate to create a Cirque-style production.
The premise is promising, but saying it is poorly executed doesn't even start to do it justice.
The show begins as a typical Las Vegas magic show, though following a staged accident, we're transported into Criss' subconscious where the rules of logic, gravity, and reality need not apply.
Sounds cool- right? It's not.
Flawed from the outset, after the accident where there should be a big TRANSPORTIVE MOMENT, the show comes to a grinding halt with a video clip, followed by a puppet rabbit reading the "rules of the house", followed by the big rabbit dance number. That critical moment of engagement/buy-in never takes place, and therein, the manifested universe is not once convincing or especially interesting.
Sadly, it's downhill from there. The show degrades as it wears on, as exemplified in the following sequence;
On the large screen, GIANTS emerge from the foggy woods as physical GIANTS (Michael Curry puppets) come in from stage right and stage left. Criss rips off their frocks to reveal that they are not giants, but rather half a dozen MOLE PEOPLE working the inner mechanisms of GIANT "ROBOTS". Having seen through their act, there's only one thing left to do- a DANCE OFF!
We go to the underground lair home to the mole people, who therein perform a large dance routine before Criss rises from his throne only to win the "dance battle"- a display so powerful it sends the mole people running off in all directions.
Criss assesses the situation and the scattered remains of the giant sitting on the floor, and REFERENCING THE AUDIENCE, tell the four Valet characters that "these people paid good money to be here tonight! We should build them something!"... ... ... makes sense- right?
So, as the Valet characters start putting these pieces together, Criss turns to the audience and explains "now, you're not gonna believe this! this happens every night! every night around 7:50, these guys fall for this! watch!". The monster constructed from the pieces comes to life, chases everyone around the theatre a bit, and eventually it turns out to be Criss inside the puppet (one of the show's several obvious uses of body doubles).
Sadly, this is a mild example of the show's many inane sequences that border on bad children's theatre with a budget.
In the end, you're left initially with a sense of "what the [censored] was that", followed by a bitter taste that for me, now 5 days later, still hasn't shaken off. "This Gig Is F****d" indeed.
Given the technical elements in place, BELIEVE is fixable, though by my estimation only 15-20% of what's on stage now is salvageable. A new director with a solid vision is what's needed to recoup this train wreck. I would also suggest re-thinking the price structure- regardless of what the future holds for BELIEVE, it will never be worth Cirque's top price tier, and quite frankly feels rather out-of-place in a setting such as LUXOR.
Most significantly of all, is that this is the first time the public is calling Cirque out on its faltering standards in a big way.
Anyone else who's seen the show agree? Disagree?
Man I hope ZED is great...
Ray T. Stott wrote:[font:Times New Roman][size:11pt]Sounds like the groundwork has been laid for a 21st century version of the 1849 Astor Place riot with the notable exception of the actions of only one prima donna precipitating the affair.[/size][/font]
Not sure about the riot part but a sort of magician's duel, as in the latter part of the movie "The Prestige" might be fun for audiences and good for both of them. IMHO this could work well given their basic branding is distinct.
Now as to which if either could take the stage and do a better Hamlet...
Alfred Hayes wrote:It's sad when we so often see how "Home Grown" is thought far less of and about, than the lesser quality "Imports". This is especially true in the entertainment field.