I'm a big fan of onstage transformation. One of my favorites with tech was Alan Cumming's Macbeth, where he turned upstage and the three tv screens above the stage became the three witches with three camera feeds. Simple and effective.
Even simpler (but much harder for the actor) was Jefferson Mays' performance in I Am My Own Wife. To craft so many distinct characters with small costume/prop adjustments, physicality, and vocal inflection was mesmerizing.
On the tech heavy side, the use of drop panels in the first mansion scene in A Gentleman's Guide to Love And Murder made me so happy. That production used so many old-school haunted house techniques that have survived for the better part of a century for good reason: they work. That they worked from the tip of the mezzanine to the front row of the orchestra is even more impressive. Those gags are all about perspective (they did the Disney following statue trick, as well) and every viewing angle was somehow accommodated.
Wonderland was not a great show, but the use of projections at the end of Act One to get the core cast through the looking glass was impressive. The different frames and back panel cracked open and exploded, and the cast seemed to disappear right in front of your eyes.
Maybe not "magic," but one recent example of a time I was completely mesmerized by onstage action was the transformation of the She Loves Me set where it goes from Maraczek's Parfumerie to the Cafe Imperiale. It was just so flawlessly executed, I was in awe the entire time watching the set transform.
Also recently saw Charlie and The Chocolate Factory and some of the set changes in that were also magnificent. The first time the TV comes out in Act 1 to introduce one of the kids who finds the golden ticket comes to mind, as well as the glass elevator. The elevator effect, paired with the song being sung in that moment brought out my inner child and almost had me in tears. Beautiful!
Also just remembered the revival of Side Show pulled off some fantastic shadow play during Cut Them Apart and as much as I hated the shoe-horned Houdini elements of the revival, I vaguely remembered being wowed by some of the tricks that happened during All In The Mind.
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...the revival of Side Show pulled off some fantastic shadow play during Cut Them Apart and as much as I hated the shoe-horned Houdini elements of the revival, I vaguely remembered being wowed by some of the tricks that happened during All In The Mind.
Interestingly it seemed that the shadow play of Houdini escaping from a straight jacket while hanging upside down was actually a prerecorded FRONT projection of a presumably different person performing the trick.
I'll second the cotton ball moment in An Octoroon- simple, but it completely took my breath away.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
I know that video wasn't of the Broadway production and there are odd cuts made in the video itself, but is that substantially different than what Fosse directed? I wasn't aware of any major changes in the staging.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
You guys are great for finding that moment in Pippin. I remember it differently at The Imperial but I appreciate you finding it and showing me when it happened during the show. Thanks to In Front and Wizard.
morosco said: "Interestingly it seemed that the shadow play of Houdini escaping from a straight jacket while hanging upside down was actually a prerecorded FRONT projection of a presumably different person performing the trick."
That makes sense, in the moment it was still kinda cool. More specifically I remember really loving it in Cut Them Apart when the doctor, the aunt and the surgeon all become one giant person, it was just a cool and creepy effect. Also, I've always loved that infamous moment that nearly decapitated Barbara Cook in Carrie (don't all jump on me at once) after Carrie destroys the prom where the giant staircase flies over her and the mom appears at the top. So gaudy and unnecessary, but still pretty cool.
In terms of high tech magic, Dracula's transformation in "Dracula" has always impressed me. In terms of lower-tech, almost not a trick at all, the scene in the 1998 "Little Me" when Martin Short appears to be in two places at once, talking to "himself" while one of his characters is onstage and the other one appears to be in the restroom, was amusing.
wonderfulwizard11 said: "I know that video wasn't of the Broadway production and there are odd cuts made in the video itself, but is that substantially different than what Fosse directed? I wasn't aware of any major changes in the staging.
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I was mostly reacting to "original Pippin," since the Katt one was, in fact, almost a decade after the original "Pippin," but my recollection from the Fosse biography is that there were some pretty substantial cuts and that Fosse was not happy with that production at all.
The entire production of Julie Taymor's A Midsummer Night's Dream....seriously proved she really is one of the best stage artists working in the field today, despite the hiccup (albeit large) of Spider Man.