半山庐

没想到我会喜欢上my fair lady……最初是听夜大那个辛辛纳提交响乐版的Lerner&Loewe song book，才发现my fair lady的音乐原来这么经典。那张CD的camelot和my fair lady真是百听不厌。

于是从图书馆借了本相关的书，又重温电影（N年前买的一张电影的DVD被淹没在一堆碟里不见了，只好又买了一张），慢慢开始欣赏台词对白的有趣之处。不同于b'way音乐剧的那种张扬的恶搞，或者装疯卖傻嘲讽世态的G&S轻歌剧，肖伯纳这种毫不造作的幽默被很好地夹带在言语之中，让人有时会心一笑，比某些让人狂喷的heartless恶搞剧要来得更易消化吸收。

UK 2001 revival的production现在还在英国巡演，官方主页做得挺漂亮。

www.myfairladythemusical.com

这也是老麦大叔的制作，Trevor Nunn执导，而且Choreographer居然是Matthew Bourne（就是AMP男版天鹅湖的编舞），这位最近似乎也常为音乐剧编舞。

官网上倒是没有多少剧照，不过想来也是非常华丽，而且编曲中不知不觉地加了些新鲜玩意，比如Eliza老爹那段with a little bit of luck中一段类似rap的说唱节奏，伴奏中爵士风味的钢琴，Eliza唱without you里突然冒出一句不羁的swing节奏，还有get me to the church on time里出来了London bridge is burning down, burning down, burning down......（里面只唱了这一句，突然想到这首英国儿歌的下一句是London bridge is burning down, my fair lady...看来又是有恶搞的成分在里头）。

听过的两个Eliza都不太尽人意，都有些让我不舒服的缺陷（太尖或者太泼）。电影里端正的小白Freddy也变得有点恶搞了。First cast的的Professor Higgins（Pryce大叔）相比电影也属于比较另类的表演，让人几乎觉得是有意避免模仿电影，他的professor脾气要好得多，不那么聒噪，而且表演上更加聪明，更稳持更酷一点。最后的I've grown accustomed to her face几乎是哭腔，差不多成了一首心酸感伤的情歌。不过不理解的是professor说完最后一句台词后，居然出来了疑为二人相视（or相拥）的放声大笑（倒……肖伯纳的结局……）。相比起来，很后来接手的同样是著名演员的Anthony Andrews就显得闷了些。

不过个人感觉UK revival里嚎头多了些，虽然与时俱进没错，但是某些演员的表演反而失去了一些原有的趣味，听观众的反应就有这样感觉。倒是OZ concert更加典雅怀旧，大概是受电影影响深一些。扮演Eliza的opera女高音嗓音不刺耳表演也端庄自然，其他角色也是不紧不慢一句台词就可以把观众逗乐，某人的Higgins虽然属于比较不成熟的类型，而且嗓音和演唱都过于的好，但还是很忠实，而且从纯听觉上说也不沉闷。

UK tour的官网上有一篇介绍Lerner&Loewe生平及创作经历的文章，他们二人是完全两个极端的人（性格，经历）。很多地方我都没怎么看懂，这句挺有意思：

找了好长时间终于找到Bernard Shaw的原著Pygmalion，也在这里放一个text文档

Shaw, George Bernard - Pygmalion.rar

下面想找1938年的电影来看。。。sigh，总是没想看的时候总能碰到，想找的时候就找不到了。

今年来讲过课的那个很romantic的意大利人，明尼苏达经济系主任。数学功底不错，喜欢上课不照备课本临时推数学推导，喜欢穿极花哨的各种衬衫，喜欢上课时缕他的长头发，大概很喜欢音乐，还有。。。应该是喜欢D版的人。。。

他最近跟另外某个人写了一本书Against Intellectual Monopoly （反对智力垄断）   可以免费下载
这个是他的co-author  David K. Levine   

在这一页他写了如何跟David Levine team work写出一本书的一些建议，概括起来的大意是：

首先你喃喃自语几句不明不白但是仍然可以make sense的话，让他去使劲想。他想出来的David式思路，3/4 的情况下跟你自己原先所料想的，基本是正交的。

然后你必须在亿万分之一秒内理解他想出来并说出来的东西，否则他的心思已经转到做其他N种事情上了。这个时候建议你指出，他所说的也许是真实的但是不够显然，你不能马上证明它，这种说法在99%的几率下是严格真实的，所以你不必为此内疚。

然后你就可以舒服地坐在下面看他在黑板上给你证明了，虽然他的证明可能依然跟之前他说的他对你最初嘟囔的那句话的意义的理解完全不同。

 

这里还有一个几个经济学教授的反垄断博客http://www.againstmonopoly.com/

从发日志的数量上来看这位David Levine教授果然是脑勤手勤的人，主要发的东西在Was Nepster Right？的分类里。（无形中让人猜测，他们也都喜欢免费的mp3）

Boldrin教授发的唯一一篇日志，还是关于上次他跟我们说的Pirate Party （请不要理解为“海盗派对”）

The Pirate Party: our kind of party!

有人些想学习Sweden建立美国的Pirate Party，Obviously, Professor Boldrin supports it! 

http://www.livebroadway.com/press_releases_2.html

THE LEAGUE OF AMERICAN THEATRES AND PRODUCERS RELEASES BIENNIAL REPORT– “BROADWAY’S ECONOMIC CONTRIBUTION TO NEW YORK CITY: 2004-2005 SEASON”

• BROADWAY-RELATED SPENDING HITS .8 BILLION
• VISITOR SPENDING UP 9%
• 12.5% JUMP IN BROADWAY- RELATED JOBS TO 45,000


(New York, April 5, 2006) After the setbacks of 9/11, Broadway’s economic impact on New York is on the rise. The latest biennial economic impact study by The League of American Theatres and Producers, “Broadway’s Economic Contribution to New York City: 2004-2005 Season,” reveals that the impact derived from Broadway-related spending has hit .8 billion – a 4% inflation-adjusted increase from .62 billion in 2002-2003. Although this figure is slightly below the .99 billion recorded in the 2000-2001 season before the effects of 9/11 it represents a significant 44% increase from the .32 billion in impact contributed in the 1998-1999 season.

Broadway's Economic Impact

Broadway Spending Millions of Dollars* Visitor Ancillary Spending 55.0 Capital Investment to Theatres .6 Production Expenses 15.6 TOTAL 88.2

*all figures in FY2005 dollars.

Visitor Spending
The impact derived from Broadway-related visitor spending, which includes ancillary costs such as hotels, restaurants and shopping, was up 9% from .79 billion in 2002-2003 to .06 billion last season. Direct spending on hotels saw the biggest increase, up 29% from 6.2 million in 2002-2003 to 2.7 million in 2004-2005, due to an increase in time and money spent in New York by domestic visitors.

“Like the rest of New York, Broadway was hit hard after September 11th,” commented Jed Bernstein, President of The League of American Theatres and Producers. “However, we’re pleased that our latest economic impact study shows a healthy increase in Broadway’s contribution to the city. The tourists, who are the backbone of the industry, are returning and spending more. Broadway is producing more new shows and has had a record number of playing weeks. All of these factors combine to play a vital role in ensuring the economic growth of one of New York’s premier tourist attractions.”

“Broadway plays an unparalleled role in the fabric of New York City’s identity as the culture and entertainment capital of the world,” said Mayor Michael R. Bloomberg. “Not only does it account for hundred of millions of dollars in visitor spending and tens of thousands of jobs, but also it establishes New York City as the home of world-class theatre and contributes to the City’s reputation as a center for the arts. It is truly one of our most treasured assets.”

Show Expenses
Impact from Broadway show expenses totaled .7 billion in the 2004-2005 season, representing a 54% increase from 1996-1997. The number of playing weeks (total number of weeks all shows played) were the second highest in recorded history, reaching 1,494. This figure is only topped by 1,544 playing weeks in the 2002-2003 season.

Along with 30 shows that carried over from past seasons, 39 new productions were mounted during the 2004-2005 season - three more than in the 2002-2003 season and 11 more than in 2000-2001. Producers spent an all-time high of 5.2 million to bring these shows to Broadway, representing a 23% increase from the 4.5 million spent in 2002-2003 and a 31% increase from 5.7 million in 2000-2001.

Inherent Contributions
From actors, directors and producers to waiters, taxi drivers and store clerks, Broadway supports a wide range of employment. The number of jobs depending on Broadway has jumped 12.5%, from 40,000 in 2002-2003 to 45,000 last season. Broadway shows and venues directly and indirectly employed 13,000 people, while 32,000 people were employed in local restaurants, shops, taxis etc. because of Broadway-motivated visitors.

Broadway also generated significant tax revenues for New York City, through taxes such as general corporation tax, bank tax, utilities tax, commercial rent tax and local property tax. Excluding corporate profit taxes, an estimated 4.8 million in local tax revenues may be traced directly to the Broadway industry.

“Broadway’s Economic Contribution to New York City” is published biennially by The League of American Theatres and Producers, which is the clearinghouse for information on the business, demographics and economic impact of Broadway theatre throughout North America. The League compiles various statistics and publishes extensive reports on a number of topics.

About the Methodology
All dollar figures in the report have been adjusted for inflation. Direct expenses were estimated based on information gathered from producers, theatre owners, and audience members regarding what they spent specifically for Broadway in New York City from June 2004 through June 2005. Ancillary visitor spending was determined from surveys administered to theatergoers throughout the season. This analysis was published in conjunction with the Alliance for the Arts.

About The League of American Theatres and Producers, Inc.
The League of American Theatres and Producers, Inc., created in 1930 is the official trade association for the commercial theatre industry. The League’s 500-plus members include theatre owners and operators, producers, presenters, and general managers in 140 + North American cities, as well as suppliers of goods and services to the theatre industry. Each year, League members bring Broadway to almost 30 million people in New York and across the US and Canada.

http://www.livebroadway.com/press_releases_24.html

THE LEAGUE OF AMERICAN THEATRES AND PRODUCERS PUBLISHES FIRST EVER ECONOMIC IMPACT STUDY FOR TOURING BROADWAY

• Touring Broadway Contributes .25 Billion To Communities Across The U.S.
• Broadway And Touring Broadway Combined Impact Is Billion
• Theatres Stimulate Local Economies By Attracting Visitors

(New York, June 14, 2006) The importance of Broadway’s economic contribution to New York has long been recognized, but now a new study by The League of American Theatres and Producers presents the scale of Touring Broadway’s financial impact. “The Economic Impact of Touring Broadway” reveals that in the 2004-2005 season Touring Broadway contributed .25 billion to metropolitan areas across the U.S.

Spending Component	Economic Contribution ($ millions)
Producer and Presenter Expenses	88.33
Theatre-Related Visitor Spending	58.97
TOTAL	47.30

The report estimates the impact of Touring Broadway to local areas, as well as to New York City, by analyzing the spending of the theatres, producers and audience members. Nearly 100 shows of varying sizes were presented in the “Broadway Series” of more than 250 theatres across the country.

The analysis quantifies Touring Broadway’s contribution to local communities:

· The bulk of Touring Broadway’s economic impact (.87 billion) directly supported the metropolitan areas that presented shows throughout the country by means of work in the area as well as audience ancillary spending

· On average, Broadway tours contributed an economic impact of three times the gross ticket sales to the local metropolitan area’s economy

· Theatres stimulated local economies:

- 54% of respondents reported that the theatre played an important role in their decision to come to that area
- Average Touring Broadway theatergoer lived 38 miles from the theatre
- Theatre-motivated individuals spent an average of on related expenses each time they saw a show, with dining before or after the theatre accounting for nearly half of all ancillary spending

The study also reveals Touring Broadway’s contribution to New York City:

· Approximately 7.7 million of Touring Broadway’s .25 billion contribution returned to New York City as a result of New York based goods and services, as well as actors and staff members who traveled with the touring productions but lived in New York, so returning a portion of their salary to the city

· Touring Broadway’s .25 billion, added to Broadway’s .8 billion economic contribution to New York (source: “Broadway’s Economic Contribution to New York City: 2004-2005 Season”), gives a combined impact of billion for Broadway overall

“Touring Broadway has grown so successfully over the years that it was important for the League to be able to have a benchmark to measure this growth and to help ensure its future development,” commented Jed Bernstein, President of The League of American Theatres and Producers. “Touring Broadway not only contributes to local economies by attracting visitors to the area, but benefits New York City indirectly by serving as an advertisement for shows on Broadway and encouraging tourists to visit New York.”

“Our goal here was to show that Touring Broadway shows and venues are not only critical to their cities as cultural institutions, but that they have a huge economic impact on the metropolitan areas,” commented Karen Hauser, Director of Research for The League of American Theatres and Producers. “Presenters and producers spend money to present shows and maintain venues. Moreover, the theatre attracts audience members whose ancillary spending supports other related businesses such as restaurants, parking and transportation, thereby supporting the local economies.”

"Touring Broadway shows contribute to the economic vitality of cities where they play. They attract visitors who eat at local restaurants and hotels, and employ local stagehands, musicians and other creative workers. Touring Broadway shows are an important ingredient to creating attractive cities with vibrant economies where people want to live, work and play," commented Tom Gabbard, President, North Carolina Blumenthal Performing Arts Center.

"This study finally reflects the significance of touring Broadway in each community, both as an economic impact and as a significant component in the quality of life in each community around the country," commented Albert Nocciolino, President, NAC Enterprises, Ltd.

“The Economic Impact of Touring Broadway” is published by The League of American Theatres and Producers, which is the clearinghouse for information on the business, demographics and economic impact of Broadway theatre throughout North America. The League compiles various statistics and publishes extensive reports on a number of topics. Printed versions of the reports are available for purchase online by clicking here.


###

About the Methodology
The estimates in the report are based on analyses of road presenter, production company and audience spending at 16 venues across the country, which are then extrapolated to account for the totality of road productions in the U.S. The report is compiled by Karen Hauser, Director of Research for The League of American Theatres and Producers.

About The League of American Theatres and Producers, Inc.
The League of American Theatres and Producers, Inc., created in 1930 is the official trade association for the commercial theatre industry. The League’s 500-plus members include theatre owners and operators, producers, presenters, and general managers in 240 cities across North America, as well as suppliers of goods and services to the theatre industry. Each year, League members bring Broadway to almost 30 million people in New York and across the US and Canada.

今天唱的“那些花儿”，给我逝去的四年大学生活，给我的同室JM，同窗好友：



那片笑声让我想起我的那些花儿
在我生命每个角落静静为我开着
我曾以为我会永远守在他身旁
今天我们已经离去在人海茫茫
他们都老了吧?
他们在哪里呀?
我们就这样各自奔天涯
啦……想她.
啦…她还在开吗?
啦……去呀!
她们已经被风吹走散落在天涯

有些故事还没讲完那就算了吧
那些心情在岁月中已经难辨真假
如今这里荒草丛生没有了鲜花
好在曾经拥有你们的春秋和冬夏
他们都老了吧?
他们在哪里呀?
我们就这样各自奔天涯
啦……想她
啦…她还在开吗?
啦……去呀!
她们已经被风吹走散落在天涯
where have all the flowers gone?
where the flowers gone?
where have all the young girls gone?
where did they all gone?
where have all the young men gone?
where the soldiers gone?
where have all the graveyards gone?
where have all they gone?
他们都老了吧?
他们在哪里呀?
我们就这样各自奔天涯

最近真的对my fair lady燃起了兴趣。没找到Bernard Shaw的《卖花女》原著，找到一本Pygmalion赏析。有关Professor Higgins的人物分析摘录：

Henry Higgins.

Higgins’ portrait is based to some extent on real-life models. One was the famous phonetics specialist Henry Sweet, a man still revered as one of the great figures in his field. Like Higgins, Sweet was short-tempered, eccentric, and completely devoted to his work. The other model was Robert Bridges, a famous poet and student of language with a special interest in the writings of John Milton, the English poet. Higgins too is deeply influenced by Milton .

 

Higgins’ most attractive characteristic is a certain innocence which is in contrast to his professional skill and intellectual sophistication. He causes much trouble to the people who come into contact with him—Elisa, Mrs. Pearce, Mrs. Higgins—but he has no intention of hurting anybody. He is neither cruel nor mean. He treats everyone fairly and decently according to his own standards. His responses to any situation are direct and immediate, and usually loud. He simply does not give much thought to people’s feelings.

 

Higgins’ own picture of himself is as an exceptionally amiable, mild, kindly man who is often victimized by the unreasonable behavior of other people. His good intentions, as well as his comically inaccurate idea of his own nature, make him consistently appealing.

 

But in actuality, Higgins likes to get his own way. When an idea seizes him, as in Act II, he rides roughshod over all opposition. He does not care for Pickering ’s doubts, nor for Mrs. Pearce’s disapproval, nor for Eliza’s ignorant terror. He tries to placate Mrs. Pearce by offering her a daughter to adopt (not asking her whether she wants one, nor asking Eliza whether she wants to be one). He weaves wild fantasies of rich marriages to tempt Eliza. He is as irresponsible as a child who will do anything to get its hands on a new toy

Balanchine的La sonnambula，也叫做sleepwalker或者night shadow. NYCB上的介绍：

Set in a darkly mysterious masked ball, the one-act La Sonnambula tells the story of a Poet who pays suit to a Coquette, who is escorted by the Host. After a series of exotic divertissements, the elegantly attired guests go in to supper, leaving the Poet to himself. In a moment, an apparition in white enters. She is a beautiful Sleepwalker. Entranced, the Poet tries repeatedly to wake her, but she eludes him. The jealous Coquette informs the Host of the Poet's advances to her; enraged, he stabs the Poet. The Sleepwalker reappears to bear the Poet's lifeless body away.

 

The atmosphere of sinister menace that shadows the story is underscored by the Coquette's elaborate, encircling movements, the ball's rather pedestrian social dances, and the enigmatic dance entertainment. The combination of these choreographic elements with the central pas de deux for the Poet and Sleepwalker delineate the spirit of the 19th century Romantic movement in stark contrast to the conventions it abhorred. 

搜了一下，La Sonnambula本来是伯辽兹的歌剧，但原剧情比这个明晰。这个短舞剧也被称作Gothic风格，因为它的迷一般的气氛。Balanchine没有对背景作任何解释，这提供了极大的想象空间。我看的是ABT  Baryshnikov的Poet，Ferri的Sleepwalker，录像画面看起来有些年头了。

诗人来到一家豪门的庭院舞会，并被男主人介绍给一个卖弄风情的贵妇，他们互相吸引，二人有一段缠绵的双人舞。像所有古典舞剧一样，席间有性格舞表演助兴，几段性格舞似乎都从经典中直接攫取，让我想到舞姬，胡桃夹子，还有天鹅湖里的小丑。然而最重要的就在所有人一下子离开消失，庭院旁的古旧塔楼窗户中透出冉冉移动的烛光，从塔楼的石门中走出一个年轻女人，她身着飘逸的睡裙，长发披散，双眼直视前方，右手向前举着一盏蜡烛，左手伸向身体一侧，自始至终她基本保持这个姿势。她动作轻捷地在庭院中游走，似乎行色匆匆在寻找什么又似乎完全没有目的，有时候她会突然在路的尽头停下来，有时候她快速地旋转，有时候她的身体像要倒下来。年青诗人向她鞠躬，但她完全没有反应，直接冲着他走过去，很快他发现她完全没有意识，她就像一个没有生气的娃娃，不管他怎么推拉她，碰她，她也只会顺着他的力量，她会像一个架子上的玩偶一样顺着他的力道旋转。但他无法唤醒她也丝毫不能吸引她的注意，当他有想亲近她的行为时她也会很自然地避开。他无法让她自然地停留在身边。

最后他讲她带入塔楼，不知道他们会发生什么，但这个时候贵妇在一旁窥见了这个情形，她有意偷偷告诉男主人，男主人突然愤怒起来，他掏出一把短刀冲进塔楼。我们知道里面发生了悲剧，青年诗人跌跌撞撞地走出来，眼光惊愕，似乎难以相信刚才发生的事情，他很快倒地死去。Sleepwalker从门里走出来，依然保持着那个姿势，但步伐伴着音乐变得缓慢起来，当她走到庭院中间时被诗人的身体挡住了去路，她无法正常地向前走，她的神情突然变得带有一些痛苦，只见她深深地后仰似乎有一丝挣扎，然后她直起身来，好像再次坚定了自己的意志，从诗人的身体上跨过去，径直又走到塔楼门前。

最诡异的就是结尾，那些哀悼中的客人和舞者抬起诗人的尸体，把他放在梦游者的双臂中，她双手托着他的身体走进塔楼，烛光又冉冉上升到塔顶，最后化作一颗星划过天空。

有许多不清楚的地方，比如贵妇与男主人到底是什么关系，男主人跟Sleepwalker有什么关系，他为什么会突然暴怒。在ballet talk上搜到人们的讨论也是零零碎碎并没有定论。有说法是Sleepwalker是男主人的妻子，被囚禁的，或者已经死去而灵魂尚在困扰着这栋房子。

不过，讨论的关键还在于青年诗人在遇到Sleepwalker时的表现，无疑这次相遇是一段非常不同寻常的经历，跟和贵妇调情完全不同。他的想法或者心理也许都会因此发生变化。有些演员的表现是当发现Sleepwalker没有意识反对自己时，他觉得很有趣，他觉得她可以任自己控制，他把她当作一个娃娃一样玩弄，甚至在后来走入塔楼你会觉得他对她心怀不轨。Baryshnikov就是偏向这种表演。但我不喜欢，这样的话他就只是一个轻薄的花花公子，他对Sleepwalker的出现没有任何心理上的感应，最后他死去并被带走，似乎是由于他的愚蠢欲望而成为Sleepwalker的一个牺牲品。我喜欢我所读到的另一种诠释，当他遇见他之后，显然他的心灵受到了很大的影响，他没有产生对她的任何欲望，他想方设法要唤醒她，但他无法吸引她的任何注意力，这是一个让他痛苦的过程。我们知道他是一个涉世尚浅的年轻诗人，他可能由此得到艺术的灵感，他可能会东西留传于世，但他很快被杀，这使这个故事成了一个真正的悲剧，最后他的身体被Sleepwalker带走，留给人更多的回味。


Ferri大姐年轻的时候颇清秀可人








演sleepwalker的都要这样抱着男主角还要爬上塔楼……



这里还有篇对NYCB 04年表演的review，男主角是NYCB的新秀，据说演的更加轻薄更带有肉欲。

http://www.danceviewtimes.com/dvny/reviews/2004/spring/nycb13.htm

I write some boots reviews in English so that only those who are interested and don’t mind my poor English would read it.

Les Miserables

Berlin , 19. September 2003

Olehg Vynnyk (Valjean), Uwe Kroeger (Javert)

Thanks to fujisaka for sharing this audio with me. In one word, it’s an excellent recording, though the sound is not rich enough (audio files only 55 kbps). The whole cast is quite good, which shows the base of well trained actors in German musicals. They all have beautiful voices and sound young, though I’d say less operatic, that is, a bit pop and in lack of richness. I was not too impressed by details, maybe it’s because of the language. The two ‘leading men’ both did a decent job, playing against each other. Uwe Kroeger is another Javert who had played Enjolras (and Marius and Feuilly…). He is famous for his abnormal role in Elisabeth and for once I thought him too queer to play other roles. However he could play normal roles like Chris in MS quite well. The suicide was well done. But the problem is he doesn’t sound like Javert at all, so you can guess what I think of him.

Those German fans are most enthusiastic. And they sometimes applauded at some unexpected moments, like when Javert was caught they laughed and applauded loudly, which makes me wonder what was going on.

Les Miserables 1989 Production

September 12, 1989

I have always wanted a stage recording of the original Australia cast before I can get the concert video. However it’s a pity that it still doesn’t have Philip Quast. The audio is old and not very clear. I used Audition to cut off most of its noise so that it sounds less harsh. (Again thanks to fujisaka for telling me how to tackle the noises).

The Australian cast impressed me as more wild and less controlled, like poto. Sometimes there seems to be a slight mess between actors and the orchestra.

I have no good opinion towards Rob Guest when I heard clips of his phantom but he turned out to be pretty good. His bring him home is most passionate. He is good enough for the MO award. Few Javert can equal Quast, but this one is a bit overacted. He tends to twist his voice, otherwise he could be wonderful. I always love Marina Piror’s voice and her unaffected air, and Peter Cousens is a dedicated young man. They make a adorable couple. The students are all excellent too. However the biggest weakness is eponine. She is just way off in my opinion. Well, I shouldn’t be too picky, but I can’t stand her tone.

You can bet that I’m enthusiastic in this audio mainly because of Warlow. I can’t say he is my No.1 for I still think Enjolras should have a brighter voice whose timbre could remind me the color of ideal. But Warlow…he is absolutely powerful and passionate on stage. He broke out like a thunder in One Day More, and in Look Down: where the SWELL who ran the show…such an angry tone. I have never heard an Enjolras with such a deep and rich baritone and with such power. It’s hard to imagine his way of singing changed so much in POTO only several months later.

The most touching moments are those small parts, like ‘she is the first to fall, the first of us to fall upon this barricade’ and ‘the people have not stirred, we’re abandoned by those who still live in fear…’, which reveal his skill of delivering emotion in simple phrases.

And the final battle is most heroic. They all like exploded. I absolutely appreciate their passion.