I went to see the Chelsea vs. Liverpool game on Sunday at Stamford Bridge, courtesy of Tish and his family (thankyousosomuch), and as a first premiership game, it was incredible. I have to admit that seeing the players in the flesh felt more 'live' than real life. I don't know if that makes sense, but they're really big, like a different species of human altogether.
Watching them warm up was surreal, and shooting practice even more so since we were seated three rows from pitchside behind the shed end goal. The atmosphere was hellishly intimidating, and I think the away supporters spent a lot of time with their backs to the pitch singing songs at the Chelsea supporters, pausing only to hurl obsceneties at any Chelsea player that came within spitting distance, the mildest curse being "fat bastard", aimed mostly at Lampard. Then the first goal was scored. Liverpool seemed to deflate slightly, and the three sides of Chelsea crowd turned towards us and sang more songs.
It was really strange watching a match without replays. You never really know what's going on or why the referee stopped play, and I completely missed the part where Robben 'won his Oscar' because it was down the other end.
Yesterday saw me in my first game since the end of November. They weren't a particularly good team, so we were quite relaxed, maybe a little too relaxed at some parts, but it was great being on the court again.
Tuesday, February 07, 2006
Friday, February 03, 2006
Phantom of the Opera II
I thought I'd review our Phantom outing properly seeing as we don't get to go to musicals very often and we only get visitors from halfway across the world every so often, the last one being Cassie, who we also took to a musical.
We were ushered into our seats after five or six ticket checks (the theatre has over employment issues) and after the nauseating sense of vertigo passed, there I was squinting down at the stage hoping to high hell that the scenery wasn't going to stay like that because there was an incredibly huge grubby curtain obscuring everything but 2 square meters of stage. Thankfully I, in all my musical-going naivete, was very relieved to find out that the curtain was merely a prop in the first scene, and soon disappeared in a flash of lights at the chandelier was hauled up to the ceiling (i.e. level with us), to be replaced by several obstinate heads and the backsides of several more late arrivals.
After the first half of spectacular stage effects and so-so singing, we jumped out of our seats at intermission and lurked at the back until the ushers got lost in the confusion of toilet-desperate people before making a run for the empty seats three rows from the front of the tier. About six rows closer, slightly fewer heads, and from the opposite side of the stage, the supporting actor, Raoul suddenly went from looking young and gorgeous to tubby and old. The singing continued in the same vein but the effects just got better as the Phantom got hoisted up and down in a peculiar cherubic swing that descended from the ceiling. For someone who had the potential to generate Batman-like mystery and magnetism, it was a strange choice of vehicle.
The best scene in the whole show was the masquerade. The worst was probably the pivotal moment in which the Phantom appears behind the mirror in Christine's dressing room. From where we were sitting, he was just a hand. What an anticlimax.
Then when he ripped off his mask, I just didn't get it. How come the hair on his entire head goes all tufty and patchy? He just had a full head of well-greased hair that definitely wasn't waving around with his half mask - where did it go? And it's also really cool that he gets to play with a funky cane that spits fire, but he should just stop faffing about and zap Raoul's ageing ass.
I fully recommend it though. It's a must see, if just for the effects.
We were ushered into our seats after five or six ticket checks (the theatre has over employment issues) and after the nauseating sense of vertigo passed, there I was squinting down at the stage hoping to high hell that the scenery wasn't going to stay like that because there was an incredibly huge grubby curtain obscuring everything but 2 square meters of stage. Thankfully I, in all my musical-going naivete, was very relieved to find out that the curtain was merely a prop in the first scene, and soon disappeared in a flash of lights at the chandelier was hauled up to the ceiling (i.e. level with us), to be replaced by several obstinate heads and the backsides of several more late arrivals.
After the first half of spectacular stage effects and so-so singing, we jumped out of our seats at intermission and lurked at the back until the ushers got lost in the confusion of toilet-desperate people before making a run for the empty seats three rows from the front of the tier. About six rows closer, slightly fewer heads, and from the opposite side of the stage, the supporting actor, Raoul suddenly went from looking young and gorgeous to tubby and old. The singing continued in the same vein but the effects just got better as the Phantom got hoisted up and down in a peculiar cherubic swing that descended from the ceiling. For someone who had the potential to generate Batman-like mystery and magnetism, it was a strange choice of vehicle.
The best scene in the whole show was the masquerade. The worst was probably the pivotal moment in which the Phantom appears behind the mirror in Christine's dressing room. From where we were sitting, he was just a hand. What an anticlimax.
Then when he ripped off his mask, I just didn't get it. How come the hair on his entire head goes all tufty and patchy? He just had a full head of well-greased hair that definitely wasn't waving around with his half mask - where did it go? And it's also really cool that he gets to play with a funky cane that spits fire, but he should just stop faffing about and zap Raoul's ageing ass.
I fully recommend it though. It's a must see, if just for the effects.
Wednesday, February 01, 2006
The Phantom of the Opera
Phantom was pretty good, very cool set with smoke and fireworks and everything. The first half was good, the second half maintained the momentum quite successfully, and intermission entertainment was provided courtesy of Jer and Weng.
Me: So how do you think all these performers break into these musicals?
Jer: Break in? Huh, what would they steal?
Weng: I think once the music starts, they go.
Tish: These guys are not a representative sample of Malaysians.
Tish answered with the above disclaimer followed by the very sensible answer, "They apply", but to be fair, we didn't give him an equal chance at an original, unbiased answer because I was laughing hysterically at the first two. At least you can't fault them for being helpful.
Me: So how do you think all these performers break into these musicals?
Jer: Break in? Huh, what would they steal?
Weng: I think once the music starts, they go.
Tish: These guys are not a representative sample of Malaysians.
Tish answered with the above disclaimer followed by the very sensible answer, "They apply", but to be fair, we didn't give him an equal chance at an original, unbiased answer because I was laughing hysterically at the first two. At least you can't fault them for being helpful.
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