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Rob Lowe's West Wing confession

Rob Lowe has spoken candidly about leaving one of his most acclaimed TV shows. The 59-year-old actor has opened up about leaving The West Wing, which first aired in 1999 with Lowe playing the character of Sam Seaborn, the Bartlet administration's deputy communications director, on the very first episode of the show. The show ran for seven seasons and went off the air in 2006, although Lowe left the show during season four. Despite the show's popularity, Lowe said that leaving the show when he did was the best decision to make for him and his future career. Speaking candidly on the Stitcher Studios' podcast Podcrushed, Lowe was asked about why he left the show, and he summed up his departure with an analogy. He said, "I walked away from the most popular girl at school, but I also knew that it was a super unhealthy relationship, and it was the best thing I ever did." The unofficial story when Lowe left the show, as reported by <a href="https://www.cnn.com/2002/SHOWBIZ/TV/07/24/west.wing.lowe/index.html" target="_blank" rel="nofollow noopener" data-i13n="cpos:3;pos:1" data-ylk="slk:Daily Variety;cpos:3;pos:1;elm:context_link;itc:0" data-rapid_p="33" data-v9y="1">Daily Variety</a>, was that he was doing so because he couldn't get the salary that he wanted. As Lowe explained to Podcrushed hosts Penn Badgley, Nava Kavelin and Sophie Ansari, his decision had boiled down to one thing. "I felt very undervalued," said Lowe, the author of 2012's Stories I Only Tell My Friends. "Whenever I talk to actors who complain about, you know, their relationships on their shows, it happens. It happens in any workplace. You could be in an environment where people sandbag you, want to see you fail, don't appreciate you, whatever it is and whenever I share my stories, people are like, 'I will never share my own stories again.'" "They would make your hair stand up and there's some of them I wrote. I shared some of them in my book, but I purposely didn't share half of the other ones because it would make the people involved look so bad that I didn't want to do it to them." "So, I did not have a good experience. Tried to make it work and tried to make it work and tried to make it work and then what happened was my kids were getting to a certain age where I could see them having first girlfriends or friends and being in a relationship that was abusive and taking it," said Lowe, the father of sons John Owen, a 27-year-old actor, and venture capitalist Matthew, 29. "She's the popular girl, everybody likes her, she's beautiful, it must be great. All the things that people would say about making The West Wing to me. It's so popular, it's so amazing, it must be amazing, but I know what it's like and if I couldn't walk away from it, then how could I empower my kids to walk away from it?" When Lowe did leave the show, he issued a statement on why his character would be written out. "As much as it hurts to admit it, it has been increasingly clear, for quite a while, that there was no longer a place for Sam Seaborn on The West Wing," he said, <a href="https://www.cnn.com/2002/SHOWBIZ/TV/07/24/west.wing.lowe/index.html" target="_blank" rel="nofollow noopener" data-i13n="cpos:5;pos:1" data-ylk="slk:per CNN;cpos:5;pos:1;elm:context_link;itc:0" data-rapid_p="36" data-v9y="1">per CNN</a>. "However, Warner Bros. has allowed me an opportunity to leave the show as I arrived ... grateful for it, happy to have been on it and proud of it. We were a part of television history and I will never forget it." Image credits: Getty Images

"Prima donna in pigtails": how Julie Andrews the child star embodied the hopes of post-war Britain

In June, the American Film Institute presented its 48th Life Achievement Award, the highest honour in American cinema, to the beloved stage-and-screen star <a href="https://www.afi.com/laa/julie-andrews/">Julie Andrews</a>. On conferring the award, the AFI praised Andrews as “a legendary actress” who “has enchanted and delighted audiences around the world with her uplifting and inspiring body of work”. As anyone who has seen Mary Poppins (1964) or The Sound of Music (1965) can attest, “uplift” is central to the <a href="https://www.sensesofcinema.com/2002/female-glamour-and-star-power/andrews/">Julie Andrews screen persona</a>. It is a sweetness-and-light image that is easy to lampoon. <a href="https://www.instagram.com/p/BZtTQSbl-nw/?hl=en">Andrews herself</a> is alleged to have quipped “sometimes I’m so sweet even I can’t stand it”. But it’s an element of feel-good edification that fuels much of the star’s iconic appeal. The idea of Julie Andrews as a figure of uplift has a long history. Decades before she attained global film stardom in Hollywood, Andrews enjoyed an early career as <a href="https://www.tandfonline.com/doi/abs/10.1080/19392397.2022.2109303">a child performer</a>. Billed as “Britain’s youngest singing star”, she performed widely on the postwar concert and variety circuit with forays into radio, gramophone recording and even early television. Possessing a precociously mature soprano voice, Andrews was widely promoted in the era as a <a href="https://paralleljulieverse.tumblr.com/post/63601790519/julies-status-as-a-juvenile-prodigy-possessed">child prodigy</a>. A 1945 BBC talent report filed when the young singer was just nine years old enthused over “this wonderful child discovery” whose “breath control, diction, and range is quite extraordinary for so young a child”. <h2>‘Infant prodigy of trills’</h2> Andrews made her professional West End debut in 1947 where she dazzled audiences with a coloratura performance of the Polonaise from Mignon. Newspapers were ablaze with stories about the “12-year-old singing prodigy with the phenomenal voice”. Reports claimed the pint-sized singer had a vocal range of over four octaves, a fully formed adult larynx and an upper <a href="https://en.wikipedia.org/wiki/Whistle_register">whistle register</a> so high dogs would be beckoned whenever she sang. On the back of such stories, Andrews was given a slew of lionising monikers: “prima donna in pigtails”, “infant prodigy of trills”, “the miracle voice” and “Britain’s juvenile coloratura”. While much of it was PR hype, the representation of Andrews as an extraordinary musical prodigy resonated deeply with postwar British audiences. The devastation of the war cast <a href="https://www.ncbi.nlm.nih.gov/books/NBK436946/">a long shadow</a>, and there was a keen sense a collective social rejuvenation was needed to reestablish national wellbeing. The figure of the child was pivotal to the rhetoric of postwar British reconstruction. From political calls for <a href="https://journals.sagepub.com/doi/full/10.1177/0363199020945746">expanded child welfare</a> to the era’s booming <a href="https://www.jstor.org/stable/30036327">family-oriented consumerism</a>, images of children saturated the cultural landscape, serving as a lightning rod for both <a href="https://www.iwm.org.uk/history/growing-up-in-the-second-world-war">social anxieties and hopes</a>. In her status as “Britain’s youngest singing star”, Andrews chimed with these postwar discourses of child-oriented renewal. A popular myth even traced her prodigious talent to the very heart of the Blitz. Like a scene from a morale-boosting melodrama, the story claimed the young Andrews was huddled one night with family and friends in a Beckenham air raid shelter. In the middle of a communal singalong, a powerful voice suddenly materialised out of her tiny frame, astonishing all into silent delight. <h2>‘Our Julie’</h2> One of the most pointed alignments of Andrews’ juvenile stardom with a discourse of postwar British nationalism came with her appearance at the <a href="https://www.royalvarietycharity.org/royal-variety-performance/archive/detail/1948-london-palladium-">1948 Royal Command Variety Performance</a>. Appearing just two weeks after her 13th birthday, Andrews was the youngest artist ever to participate in the annual event. It generated considerable media coverage and yet another grand nickname: “command singer in pigtails”. Andrews performed a solo set at the event, and was also charged with leading the national anthem at the close. Ideals of restorative nationalism shaped Andrews’ child stardom in other ways. Much of her early repertoire was markedly British, drawn from the English classical canon and rounded out by traditional folk songs. Press reports emphasised, for all her remarkable talent, “our Julie” was still a typical English girl thoroughly unspoiled by fame. In accompanying images she would appear in idyllic scenarios of classic English childhood: playing with dolls, riding her bicycle, doing her homework. Elsewhere, commentary was rife with speculations about Andrews’ prospects as “the next <a href="https://en.wikipedia.org/wiki/Adelina_Patti">Adelina Patti</a>” or “future <a href="https://en.wikipedia.org/wiki/Lily_Pons">Lily Pons</a>”. The mix of nostalgia and hope helped make the young Andrews a reassuring figure in the anxious landscape of postwar Britain. <h2>All grown up</h2> Little prodigies can’t remain little forever. There lies the troubled rub for many child stars, doomed by biology to lose their principal claim to fame. In Andrews’ case, she was able to make the successful transition to adult stardom – and even greater fame – by moving country and professional register into the American stage and screen musical. Still, the themes of therapeutic uplift that defined her early child stardom would follow Julie Andrews as she graduated to become the world’s favourite singing nanny. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/prima-donna-in-pigtails-how-julie-andrews-the-child-star-embodied-the-hopes-of-post-war-britain-188363" target="_blank" rel="noopener">The Conversation</a>.

Music

Neighbours star launches new political career

Former Neighbours actor Madeleine West has shared an unusual career move. The mother-of-six recently launched a political campaign, that will see her run in the 2023 NSW state election for her local seat of Ballina as an independent. Madeleine kicked off her campaign with an appearance on The Project to explain what prompted such a radical change. “I’m running for state, so let's not confuse the issue; it is not about the federal campaign, but I believe that politics is for the people and it’s about being the voice of the people,” she said. Ms West raised concern over “a huge disconnect between the haves and have-nots” in the exclusive seat of Ballina, which encompasses the Byron Bay Area. “My area is beautiful, we see it on Instagram and everyone celebrates it as a tourist destination, but the reality is the people serving the coffees and cleaning up the Airbnbs can’t afford to live in the Shire any more,” she said. “I’m lucky to have a national platform, yes, but I think that makes me uniquely qualified to bring a spotlight on local issues because what we’ve been through realistically is a microcosm that the rest of Australia can expect to experience,” Ms West said. Madeleine West became a household name over 20 years ago when she started playing Dee Bliss on Neighbours. She played the role for three years, before coming back for another three year stint in 2017. More recently, the 41-year-old has taken an active role in reforestation projects, while also helping in flood clean up efforts. She said being a politician came down to being accountable and genuinely caring about the community – including the “community” of Australia. <div id="indie-campaign-gjlHkw5w3ytYFCUrwpez-0" data-campaign-name="NCA NATIONAL Politics Newsletter OneClick SignUp" data-campaign-indie="newsletter-signup" data-jira="TSN-40" data-from="1628604000000" data-to="1885298400000"></div> “I’ve been agitating for change for a very long time in a lot of different philanthropic spheres and now I want to be the change that I want to see,” she said. Image credits: Ten / Instagram

West Side Story actress snubbed from Oscars

West Side Story actress Rachel Zegler claims she was not invited to the 2022 Oscars, despite the film receiving seven nominations. When a fan commented on Rachel's Instagram expressing their excitement over seeing the actress's Academy Award outfit, the breakout actress replied, “I’m not invited, so sweatpants and my boyfriend’s flannel.” Rachel's followers immediately jumped to her defence with messages of shock and surprise, considering the film she is starring in received a Best Picture nomination. “Breaks my heart. You were the best part of that movie. Surely Steven Spielberg could do something about this,” one fan wrote, referencing the film’s legendary director, who is also nominated. “Step up to the mic? How’s the leading actress of a movie that’s up for seven Academy Awards not invited? How does that make any sense?” another commented. After the influx of confused comments, 20-year-old Rachel said she didn't understand the snub either, but she would still be cheering on the musical from home. “IDK y’all I have tried it all but it doesn’t seem to be happening,” she wrote in a second comment. “I will root for West Side Story from my couch and be proud of the work we so tirelessly did three years ago.” The young actress has already won a Golden Globe award for her portrayal of Maria Vasquez this award season, stumping movie fans even more. Despite the outrage, she also thanked her fans for their shock over the apparent snub, saying, “I hope some last minute miracle occurs and I can celebrate our film in person but hey, that’s how it goes sometimes, I guess.” “I’m disappointed, too. But that’s OK. So proud of our movie.” Image credits: Getty Images

Movies

West responds to Putin placing nuclear arsenal on high alert

As tensions and fighting continue to escalate between Russia and Ukraine, the US and NATO have slammed Putin's decision to put Russia's nuclear forces on high alert. Speaking at a meeting with his top officials, Putin directed the Russian defence minister and the chief of the military's General Staff to put the nuclear deterrent forces in a "special regime of combat duty." The Russian president also discussed the hard-hitting sanctions that have been placed on Russia, and Putin himself. "Western countries aren't only taking unfriendly actions against our country in the economic sphere, but top officials from leading NATO members made aggressive statements regarding our country," Putin said in televised comment. White House press secretary Jen Psaki said the dangerous move was part of a wider pattern of unprovoked escalation and "manufactured threats" from the Kremlin. "This is really a pattern that we've seen from President Putin through the course of this conflict, which is manufacturing threats that don't exist in order to justify further aggression — and the global community and the American people should look at it through that prism," Psaki told ABC's George Stephanopoulos on 'This Week'. She added, "This is all a pattern from President Putin and we're going to stand up for it, we have the ability to defend ourselves, but we also need to call out what we're seeing here from President Putin." In reaction to the nuclear alert, NATO Secretary-General Jens Stoltenberg told CNN, "This is dangerous rhetoric. This is a behaviour which is irresponsible." Given that Russia, as well as the US, typically have both land and submarine-based nuclear forces on alert for combat at all times, the practicality of Putin's order is not yet clear. As the conflict only continues to grow with Moscow troops drawing closer to Kyiv, Ukrainian President Volodymyr Zelenskyy confirmed that a delegation would meet in an undisclosed location on the Belarusian border to discuss peace talks. Image credits: Getty Images

News

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story. These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film. Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium. To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts. <h2>DO use real locations creatively</h2> Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way. A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane. <a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> In The Heights (2021) is a love letter to the Washington Heights area of NYC. IMDB In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings. See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town <h2>DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding</h2> Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction. Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations. <a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Chicago (2002), features musical numbers entirely set within the character’s internal fantasies. IMDB This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience. The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret. Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals. <h2>DO fix problems with the dramatic unfolding of the source material</h2> Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River. In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place. The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled. <a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical. IMDB It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!) See also: Hair, Hairspray, Tick Tick Boom <h2>DON’T adapt a musical to film that didn’t work on stage</h2> Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage. Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen. Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth. <a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical. IMDB Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music. Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice. I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/169946/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/gregory-camp-1280180">Gregory Camp</a>, Senior Lecturer, <a href="https://theconversation.com/institutions/university-of-auckland-1305">University of Auckland</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946">original article</a>. Image: 20th Century Studios

Movies

From Chicago to West Side Story, how to successfully adapt a musical from stage to screen

The second half of 2021 is proving to be a peak time for movie musical-goers, with the release of critically acclaimed In the Heights, disastrously received Dear Evan Hansen, and Steven Spielberg’s hotly anticipated West Side Story. These films lead to reflection on one of the stranger sub-genres of film history — the musical stage-to-screen adaptation. To film a stage show (as in the recent professionally shot films of Hamilton and Come from Away), or merely to create bigger stage sets in a studio (there are many examples of this, from Guys and Dolls to The Producers) is not truly to adapt a musical to film. Instead, adaptors should use the tools unique to film to re-interpret the musical in this different medium. To help us through the vicissitudes of adaptation, here is an idiosyncratic list of a few DOs and DON’Ts. DO use real locations creatively Location shooting is a frequent tool used to enhance the realism of film musicals, but placing the un-realism of song and dance in a real place can backfire and create an uncanny valley. Locations are best used in a super-realistic way. A successful recent example of this is In the Heights. Director Jon Chu and his production team shot much of the film in Washington Heights in Manhattan, but in a way that the neighbourhood seems a natural place for music-making: very careful lighting, colour-timing, and the occasional unobtrusive effects shot lift the story out of the mundane. <a href="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437093/original/file-20211213-21-hr5jsr.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> In The Heights (2021) is a love letter to the Washington Heights area of NYC. IMDB In the number When the Sun Goes Down, lovers Benny and Nina begin singing naturalistically on a fire escape, but then a set on hydraulics, green screen, and “magic hour” lighting come together to enable a gravity-defying dance across the rooftops and walls of the apartment buildings. See also: Fiddler on the Roof, Jesus Christ Superstar, On the Town DON’T ghettoise all of the musical numbers to a stark dreamland covered in artistic scaffolding Counter to the previous guideline about using real locations for musical numbers, some film musicals go too far in the opposite direction. Two musicals directed by Rob Marshall, Chicago and Nine, puzzlingly use the same solution to try and hedge their bets: the dialogue scenes happen in realistic locations (1920s Chicago and 1960s Rome, respectively) but the musical numbers are relegated to their characters’ internal fantasies, which in both cases means studio-like settings that allow for dancers to be placed in aesthetically pleasing formations. <a href="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437098/original/file-20211213-27-qhe4i9.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Chicago (2002), features musical numbers entirely set within the character’s internal fantasies. IMDB This strategy gets the filmmakers out of having to bridge the gap between speech time and music time, but the narrative innovations of both shows are smoothed out on screen. That makes for a less interesting filmgoing experience. The exception that proves the rule here is Cabaret, in which director Bob Fosse removed all of the “book” songs and kept only those performed in the titular cabaret. Through innovative intercutting and montage the cabaret songs pervade the whole texture of the film, however, resulting in one of the most “musical” of all musicals. DO fix problems with the dramatic unfolding of the source material Show Boat was the first stage musical to attempt a truly epic form, covering twenty years of story time and locations all along the Mississippi River. In 1927, stage mechanics had not caught up with librettist Oscar Hammerstein II and composer Jerome Kern’s ambitions, and the musical, brilliant and groundbreaking as it was, suffered from overlength and a dramatically clumsy second act. The production team fixed these issues in the 1936 film version, as the technologies of montage, dissolve, and cross-cutting that were possible on film allowed for a more effective unfolding of time and place. The 1965 film version of The Sound of Music similarly fixes problems in the stage version; another epic musical, the stage version feels hemmed-in and stifled. <a href="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437103/original/file-20211213-21-1maqjdh.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> The Sound of Music (1965) uses film techniques and editing to improve on a ‘stifled’ stage musical. IMDB It is allowed to breathe on film, and the songs are moved around to better reflect what they are actually about (My Favourite Things on stage is sung by the Mother Abbess to cheer up Maria before she leaves the convent!) See also: Hair, Hairspray, Tick Tick Boom DON’T adapt a musical to film that didn’t work on stage Poor Alan Jay Lerner. After the extraordinary success of the film version of My Fair Lady, Lerner attempted film adaptations of three of his other musicals that had been less successful on stage. Camelot, which had a healthy run on Broadway because of its star actors (Julie Andrews, Richard Burton, and Robert Goulet), its Oliver Smith production designs, and a few excellent songs, rather more than for its unconvincing storyline and structure, was a natural for screen adaptation. But non-singer stars (Richard Harris, Vanessa Redgrave, and Franco Nero), unconvincing plot revisions, and dull direction by Joshua Logan caused it to be an inert behemoth on screen. Lerner tried again with Paint Your Wagon in 1969, based on a much earlier stage musical that had been only mildly successful with a few hit songs (notably They Call the Wind Maria). But once more, non-singer stars (Lee Marvin, Clint Eastwood, and Jean Seberg), unconvincing plot revisions, and dull direction by (again!) Joshua Logan resulted in yet another inert behemoth. <a href="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img src="https://images.theconversation.com/files/437105/original/file-20211213-27-1dca0r1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" alt="" /></a> Paint Your Wagon (1969) is generally acknowledged as a poor example of a film musical, and a stage musical. IMDB Third time was not a charm, with On a Clear Day You Can See Forever. This time the stars were singers: Barbra Streisand and Yves Montand. Unfortunately, their talents were hidden by another poorly revised screenplay and, unlike the other two films, this one could have used more of everything, especially music. Writing this has made me realise that successful stage-to-screen adaptations are quite rare. For every Cabaret there are two Annies and a Man of La Mancha. Spielberg’s new West Side Story will be the first musical he has directed in his long career, and musical-lovers everywhere are optimistic that he will do this classic musical justice. I merely hope that the only scaffolding to be found is on the fire escapes of 1950s Manhattan!<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important; text-shadow: none !important;" src="https://counter.theconversation.com/content/169946/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a rel="noopener" href="https://theconversation.com/profiles/gregory-camp-1280180" target="_blank">Gregory Camp</a>, Senior Lecturer, <a rel="noopener" href="https://theconversation.com/institutions/university-of-auckland-1305" target="_blank">University of Auckland</a> This article is republished from <a rel="noopener" href="https://theconversation.com" target="_blank">The Conversation</a> under a Creative Commons license. Read the <a rel="noopener" href="https://theconversation.com/from-chicago-to-west-side-story-how-to-successfully-adapt-a-musical-from-stage-to-screen-169946" target="_blank">original article</a>. Image: 20th Century Studios

Movies

Mel Gibson called out by West Wing star in scathing op-ed

West Wing actor Joshua Malina has called out Mel Gibson and his employment in show business amid the controversial scandals surrounding the actor. Malina, who plays Will Bailey on the political drama, has questioned why Gibson is still employed in Hollywood despite his long history of alleged anti-Semitism, homophobia and bigotry. In a recent op-ed for The Atlantic titled <a rel="noopener" href="https://www.theatlantic.com/culture/archive/2021/12/mel-gibson-anti-semitism/620873/" target="_blank">Cancel Mel Gibson</a>, Malina wondered why Hollywood's 'cancel culture' seemingly doesn't apply to Gibson. "Gibson is a well-known Jew-hater (anti-Semite is too mild). His prejudices are well documented," Malina wrote. "So my question is, what does a guy have to do these days to get put on Hollywood's no-fly list? I'm a character actor. I tend to take the jobs that come my way. But — and this hurts to write — you couldn't pay me enough to work with Mel Gibson." Mel Gibson has reportedly been cast in the upcoming John Wick prequel spin-off series titled The Continental, and is also rumoured to be in talks to direct Lethal Weapon 5. Malina continued, wondering when someone's ignorance and hatred outweighs their impressive resume. "Now, I love the Lethal Weapon movies (at least the first few). And Danny Glover's a gem," Malina continued. "But Gibson? Yes, he's a talented man. Many horrible people produce wonderful art. Put me down as an ardent fan of Roald Dahl, Pablo Picasso, and Edith Wharton; can't get enough of what they're selling." "But these three had the good taste to die. That makes it a lot easier to enjoy their output. Gibson lives. And Tinseltown need not employ him further." Joshua Malina goes on to say that the point of 'cancel culture' is to hold people accountable for their actions, but those in Hollywood often get a free pass because of their celebrity status. "If Gibson is welcomed back to direct the latest instalment of this beloved franchise, it may be time to stop publishing think pieces about the power of 'cancel culture,'" Malina wrote. "Because if he can continue to find big bucks and approbation in Hollywood, cancel culture simply does not exist." Image credits: Getty Images

Surprise twist in casting of Prince William

Hit Netflix show The Crown has finally announced their Prince William after a nationwide search. <a rel="noopener" href="https://variety.com/2021/tv/news/the-crown-prince-william-dominic-west-son-senan-1235114068/" target="_blank">Variety</a> exclusively revealed that the Prince will be played by newcomer Senan West: the real life son of Dominic West who will play Prince Charles. The 13-year-old has been cast as a slightly older Prince William, as the show will portray him in his teenage years as he begins to mature into a young man. He will make his on-screen debut in the final episodes of the upcoming season alongside his father. It is believed the young actor submitted an audition tape for the role, which captivated the show's producers. As well as being in scenes with his father Dominic, Senan will be acting alongside Elizabeth Debicki, who will play his mother Diana. Prince William had only just turned 15 years old when Princess Diana died in a car crash in Paris in 1997, alongside her Dodi Al Fayed. Dodi Al Fayed will be portrayed by Khalid Abdalla in the upcoming season of the show, as producers of The Crown have not yet commented on whether Diana's death will be depicted in the series. Despite no formal confirmation, the casting of the upcoming season suggests that viewers will at least see the events leading up to the crash. The new cast, which changes every two seasons to reflect the royal family's lives, will see Imelda Staunton replace Olivia Colman as Queen Elizabeth II and Jonathan Pryce portray Prince Philip. Lesley Manville will play Charles's aunt Princess Margaret, while Jonny Lee Miller is set to make an appearance as Prime Minister John Major. Image credits: Netflix / Getty Images

First look at Aussie actress playing Princess Di

Fans of the Netflix hit show The Crown have been treated with a first look at Australian actress Elizabeth Debicki in her role as Princess Diana in the show's upcoming season. Debicki will be starring the show's fifth season alongside Dominic West, who will be playing Prince Charles. Netflix shared exclusive images of the two new cast members on their Instagram today, sending fans of the show into a frenzy. "Our new Prince Charles (Dominic West) and Princess Diana (Elizabeth Debicki)," the caption read on Netflix's official Instagram account. <img style="width: 500px; height: 244.7833065810594px;" src="https://oversixtydev.blob.core.windows.net/media/7843250/screen-shot-2021-08-18-at-30021-pm.png" alt="" data-udi="umb://media/e01e6f7cab7a431e96718e67e74f3953" /> Image credit: Instagram @netflix Production of the highly-anticipated new season began last month in the UK, as fans of the show are counting down to the release which has been pushed back due to the pandemic. Season five is reported to be focusing ion the royal couple in the earl 1990s, beginning when their marriage became turbulent before their separation. The Crown has become known for recasting actors for different seasons as a way to age the characters accordingly, without having to rely on prosthetics and heavy makeup. <img style="width: 500px; height: 244.74959612277866px;" src="https://oversixtydev.blob.core.windows.net/media/7843251/screen-shot-2021-08-18-at-30038-pm.png" alt="" data-udi="umb://media/b1c478472f5243f6a362c68cd450bdf8" /> Image credit: Instagram @netflix Diana and Charles will be played by Debicki and West in season five, who respectively succeed Emma Corrin and Josh O'Connor in the roles. Emma Corrin and Josh O'Connor scored Emmy nominations for their portrayal of the royal, leaving very big shoes to fill for the newly cast actors. The release date for The Crown season five is still unknown. Image credits: Instagram @netflix

Dead body found in pond at Prince William and Kate Middleton’s west London home

The deceased body of an unidentified woman has been pulled out of a lake in front of Prince William and Kate Middleton’s home at Kensington Palace in west London. The corpse was found in Round Pond which is only a short walk from the Palace gates. Metropolitan Police were called just after 7 am local time on Saturday, August 29. The woman was announced dead at the scene and while police say the death is not being treated as suspicious, they have confirmed that investigations are still “ongoing”. A post-mortem examination will take place. The Duke and Duchess of Cambridge, along with their three young children, reside inside the Palace. However the family were reportedly visiting the Queen at Balmoral in Scotland on the day the horrifying discovery was made. <img style="width: 500px; height: 281.25px;" src="https://oversixtydev.blob.core.windows.net/media/7837749/round-po-nd-royals-1.jpg" alt="" data-udi="umb://media/d62a9a486233425dbbb523364672070f" /> Newlyweds Princess Eugenie and husband Jack Brooksbank also live on the grounds of Kensington Palace in a cottage. However, it is not known if the couple were present when the body was found. Initially, authorities thought the body belonged to poet laureate Sir John Betjeman’s grandaughter Endellion Lycett Green. She had been missing for a week but reportedly was later found alive. Her brother John Lycett Green wrote: “My sister Endellion is alive, safe and well. “Thank you all for the support and love you showed for Delli and her family. “Sorry to all of you that, like us, were grieving for the wonder that is Delli. We were told a body was found and was her. “It was not, and Delli was found last night. “RIP the soul that was found in Kensington Round Pond on Saturday morning.” Kensington Gardens, which includes the Palace and the Round Pond, is said to remain open to the public while police investigations continue.

News

US holiday: East Coast or West Coast?

East or west, which is best (for you)? Landscapes Winner: West Coast One of the world’s most breathtaking coastlines, golden sand beaches, starkly beautiful desert, iconic national parks and jaw-dropping mountains – the West Coast has this category in the bag. The East Coast is lovely in its own way, but you won’t find the sheer variety of dramatic landscapes that you get at every turn in the West. History Winner: East Coast All of the USA’s oldest European settlements are on the East Coast and you can step back as far as the early Spanish settlers. Visit the oldest city in the country, St Augustine in Florida, then see where the first Pilgrims arrived to settle the new world around Boston and New York City. Weather Winner: West Coast The weather on much of the West Coast is practically perfect year round. Hot dry summers, cool mild winters and hardly any of the extremes that you’ll experience in the east. Plus, you can travel just a little way inland for your hit of snow at resorts like Lake Tahoe. Culture Winner: East Coast Los Angeles has around 100 museums. New York is home to more than double that. Over East, you’ll also find the most famous theatre strip in the world, Broadway, plus a rich literary tradition, galleries, fantastic bookstores, national monuments and much more. Food Winner: it’s a tie People like to make fun of American cuisine, claiming it’s all fast food in enormous sizes. But in reality, you’ll find some of the most exciting, innovative, delicious food and exceptionally good produce in the USA. In the East, you can feast on fresh lobster every day or tuck into a classic New York steak. West side, try on trend food trucks, the latest celebrity restaurant and out of this world Mexican-inspired meals. Have you ever travelled in the US? Where did you visit?

International Travel

Dramatic black sand beaches of Auckland’s west coast

New Zealand travel writer Justine Tyerman and family visit the dramatic black sand beaches of Auckland’s West Coast… The first glimpse of the black sand beach at Piha with its mountainous surf thundering in from the Tasman Sea, swirling around the haunches of the giant crouching lion, stopped us in our tracks. Accustomed to the golden sands and more docile surf of the East Coast, the wild West Coast where the sand shone like pewter or black pearls, seemed other-worldly. The sound of sirens as the Piha lifeguards roared out through the ferocious waves in their IRBs on one of their famous rescue missions added to the drama of the scene. Short of time, we chose Piha as the base for our annual family get-together because it’s close to Auckland and none of us had ever been there before. Just 50-60 minutes’ drive from the airport, it was easy for us to collect our far-flung family flying in from distant places, and run away for a long weekend together. The Hillary Trail We spent a long weekend hiking the spectacular Hillary Trail, a 76km multi-day hike from the Arataki Visitor Centre in the Waitakere Ranges to Muriwai Beach. It’s named in honour of the famous Kiwi explorer and mountaineer Sir Edmund Hillary who came to the rugged Waitakere Ranges to prepare for his expeditions. During our stay, we managed to tick off a sizeable chunk of the trail from Anawhata to Whatipu, albeit the cushy way, returning to our luxurious home base every night. A highlight was the Piha to Karekare stretch of the walkway which was high above the coastline and rich in history. The track begins at the end of Log Race Road, a reminder of the intensive logging of kauri in the area during the late 1800s-early 1900s. Logs were transported by tramway from Anawhata to Paratutai Wharf at Whatipu where they were loaded onto ships for export. Also at the start of the track is a relic of WW2, the foundations of a radar station where the skies and seas were scanned for signs of invading Japanese. Sited on Hikurangi, the highest hill in the region, the station was part of a coastal network, and a key part of New Zealand’s home defence system. The station was later used in experiments to pinpoint sources of radio emissions from space, research which laid the foundations for the modern science of radio astronomy. Information boards and audio recordings give a fascinating account of the life of the station. Te Ahua Point Lookout is a site of deep historical significance to Te Kawerau a Maki iwi, the tangata whenua of the region. Gazing out to sea, there’s a striking pou (carving) of a beautiful, young noble woman named Hinerangi after an honoured Turehu ancestress. Hinerangi and her husband lived happily at Karekare for many years until one day he was swept away by a wave while fishing off the rocks at Te Kawa Rimurapa in Mercer Bay. Grief-stricken, Hinerangi climbed to the top of the highest cliff and sat there for days, scanning the turbulent seas, longing for her husband’s return. She eventually died of a broken heart and her sad face is said to be etched in the cliff face. The site is called Te Ahua o Hinerangi — The Likeness of Hinerangi. Recent archaeological excavation shows the headland is one of the oldest settled areas of the Waitakere Ranges and was a sanctuary and defensive position for Te Kawerau a Maki. The track took us high above Mercer Bay with its sphinx-like rock formations to a lookout where we could see the shimmering black sands of Karekare Beach, recently named one of the world’s most beautiful beaches, and the vast expanse of the Whatipu Scenic Reserve in the distance. That evening we rewarded ourselves with burgers and fish and chips at the Piha Surf Lifesaving Club as the sun set over the Tasman, an awesome sight for a family of East Coasters who are accustomed to sunrises over the Pacific but seldom see the sun sink into the ocean. It was dazzling. Home swapping Accommodation was at a premium that weekend, but thanks to my membership of the international home swap club, Love Home Swap, we found a primo place in a perfect location. I joined Love Home Swap in 2013 and the Piha house is one of many fabulous private homes we’ve stayed at around the world. We stayed five nights and paid precisely nothing… unless you take into account the beer and nibbles we shared with owners, Dave and Emma, who joined us for a chat one evening. That’s another great factor about Love Home Swap — you make new friends wherever you go, people who not only entrust you with their lovely homes but also introduce you to their communities and networks, and give you the inside goss on where to wine, dine, hike and sightsee. Dave, an advanced paramedic and former Piha lifeguard, and Emma, who works for the design label Sabatini, were delightful company with a wealth of knowledge about the area. We felt like celebrities after they told us we were living in a film set for the new TV series 800 Words which screens on TVNZ1 on Sunday evenings. We’ve kept in touch with many people we’ve met through Love Home Swap over the years. The ‘stays’ are managed by an exchange of points, a form of currency, rather than an actual home swap, although that’s always an option. It often does not suit members to swap simultaneously so the points system provides the flexibility and freedom to stay wherever and whenever you choose. Dave and Emma earned 750 points for our stay which they can ‘spend’ anywhere in the world at a time that suits them. Keen surfers, they may well turn up on our doorstep in Gisborne one day. The house Built of silvery Lawsons cypress, the design of the house was visually striking, featuring two cubes of different heights, the larger, taller one resting on the smaller, lower one, with a void between. A front north-facing deck leads to a tropical sun-filled garden and outside dining area with a massive macrocarpa table, while the back deck with its spa pool are suspended above the dark, moody, misty Waitakere Ranges with Karekare Beach in the distance. A covered passageway frames the view like a living artwork. Huge glass doors can be swung into place to enclose it and provide shelter in wet or windy weather. Designed by Tim Dorrington of Dorrington Atcheson Architects, the house was built with easy-care, hard-wearing materials like the polished concrete floors in the open plan kitchen-living-dining area. A hefty macrocarpa servery board, hand-made by Dave, sits on the recycled oak kitchen island, while the main workbench is stainless steel. A cosy, carpeted lounge with panoramic windows overlooking the wooded Waitakeres and Karekare Beach steps down from the kitchen. A comprehensive TV/home entertainment centre lines one wall while comfy bean bags, built-in seating and a wood-burning stove create a snug, intimate feeling. Upstairs, spacious, airy bedrooms, balconies and a bathroom also have spectacular views. It was the perfect location for our foursome to rebond after too long apart. The place just seemed to have good feng shui. It’s a house with a smile. Have you ever been to Auckland? Image credit: Justine Tyerman Justine Tyerman stayed at Dave and Emma’s Love Home Swap property at Piha. Visit <a href="http://www.lovehomeswap.com/" target="_blank">Love Home Swap</a> to view over 100,000 properties in 150 countries: Getting there: <a href="http://www.jucy.co.nz/our-vehicles/motor-homes/casa-plus/%20%20%20" target="_blank">JUCY Rentals</a>.

Domestic Travel

Over60 travel diary: Cruising the West Caribbean

Rosie Hersch, 68, is a retired pharmacist, whose hobbies include studying, cooking and theatre. Her biggest passion is travel and like the song says, “I've been everywhere man (well almost).” We arrived at 9.30 pm, Fort Lauderdale time on March 10. It was a balmy Florida night. After a smooth check-in at our resort hotel on the beach it was straight to bed. We woke next morning surprisingly energetic. The very first thing we did was to knock on the hotel room door of our London friends who had also arrived the previous night. We spent March 11 and 12 together catching up, laughing over the good times, sharing stories about our kids and grandchildren back home, sunbaking, shopping and dining at two great restaurants, PF Chang, the first night and Coconut on the second night. March is spring break for the college kids that go to universities in the Southern American states. You can believe everything you see on those American college movies. They had invaded our hotel and during those two days they would gather on the beach in front of their fraternity flags. The girls in their flimsy bikinis much to the eyeful pleasure of my Peter and London Peter, and the guys hauling their alcoholic drinks. When night fell they became extremely noisy party animals. They would be still celebrating at 4 am. But we were all so excited about what was to come that we did not mind the noisy continual racket of these kids. The cruise March 13, our anticipated embarkation on the Celebrity Equinox had arrived. So the four of us booked a maxi taxi and headed for our ship which was to take us to the West Caribbean. Our London friends had New Hampshire friends whom we had not yet met who were joining us on this cruise. I was greatly anticipating meeting them. We did not know it as we approached our beautiful ship but we were about to have a wonderful time, the six of us, over the next 11 days. The boarding went smoothly and quickly. Ah, that glass of champagne that is offered as you step from the gangway into the foyer of deck 5. Three beautiful days at sea followed. There is no better feeling than sitting on your stateroom balcony, looking out at an ocean that stretches as far as the eye can see, listening to the swish and roar of the waves beating against the sides of the ship that glides gently along and feeling that cool Caribbean breeze gently fanning your face and blowing your hair so soothingly. So many activities, so much to do on a sea day if that’s your bag. If that is not your thing, lying on a pool lounge, soaking up the warmth of the tropical sun, the pool waiter handing you that delicious Daiquiri, ear phones plugged in to your favourite I tunes is such a pleasurable experience. Day 4 and we were in Costa Rica. We visited the Veragua rainforest exploring the flora and fauna on a tram top ride above the trees, walked a trail though the under growth then took a riverboat ride on the Tortuguero canal past mangroves, palms, plantains, watching for the numerous species of birds, sloths, alligators and cayman. Day 5 came and we were in Colon, east of Panama. We were driven to the Gatun locks to witness two ships pass through the locks. It is an incredible sight to see two enormous ships steadily transiting the canal with only about 18 inches clearance on both sides of the ship’s hull. Next stop, the man-made Gatun lake where the ships await passage through the Panama Canal either to the Pacific from the Atlantic or vice versa. Again, we witnessed nature’s beauty and saw more wildlife. We then alighted from a pier on the lake to visit a village of the Emberá Indian tribe. Through an interpreter, the chief, speaking in the Emberá language, told us that this entire area is a world heritage protected reserve and the tribes that live around this huge lake are not allowed to hunt any form of wildlife. Fishing is however permitted but watch out for the crocodiles that live in these waters! Day 6 and 7 and we are in a very hot Cartajena, Colombia. The old town has such beautiful Spanish and Moorish style architecture. A most enticing walk lead us to the house where Sir Francis Drake lived for a month to rest between his adventures on the high seas, plundering the Spanish forts and fleets for their gold and other valuables in the service of his Queen Elizabeth the first. After some shopping, we returned to the ship. This was an overnight stay in this port. The next morning many left the ship to further explore or to take an excursion. I stayed on board to relax and just chill out. There is so much history in this place but the heat was too brutal for me to venture out again Day 8 and another beautiful sea day was spent attending lectures about the Caribbean, enjoying the culinary delights on board and browsing the many sales in the onboard shops. Around 4pm the heavens darkened, the wind came up and it was time to leave the poolside deck chair and retire to our cabin, to sit on the balcony and watch the dark clouds transform into rain. We were heading for Georgetown, Grand Cayman Island, and I was thinking what a shame I don’t have a small fortune to deposit in an offshore tax free account in one of the many banks on Grand Cayman. Then it occurred to me that I was still so lucky that I could afford to travel to this far-off destination. Day 9 and we had arrived in Cozumel, Mexico. We headed by ferry to the mainland of the Yucatan Peninsula and then bussed to a Mayan ruin site. For those of you who have visited Pompeii, Herculaneum, Ephesus in Kusadesi or the Pyramids this is a tour, the travelling time of which took a total of 4 hours, was not as good as anticipated. If you have not seen ruins of the past then this excursion will most likely intrigue you. Day 10 and our last day spent at sea again, heading back to Fort Lauderdale and for most disembarkation on Day 11. But, not for me. Peter and I were staying on board to do a second cruise, this time to the East Caribbean. All through that last day people were grumbling about having to pack and go home. Wherever I was I must admit I was very cheekily gloating to other passengers that I did not have to pack because I was staying on board. I probably depressed at least 100 people that day. It was pretty naughty of me. However, I was both sad and excited. I was sad because our London friends and our New Hampshire friends were leaving but happy because my sister and brother-in-law were embarking for this second, my big birthday cruise. The last and only time that I had ever holidayed with my sister was 54 years ago when I was only 16. Keep an eye out for part 2 of Rosie Hersch’s cruise story. Do you have a travel story to share? <a href="http://www.oversixty.com.au/community/contributor/community-contributor/" target="_blank">Click here</a> to share your story with the Over60 community.

Cruising

The strange reason this Aussie beach turned neon blue

A bloom of bright blue bioluminescent algae has blistered beaches on Tasmania's north-west coast. Bioluminescent phytoplankton or "sea sparkle" thrives in calm and warm sea conditions, and a bright bloom of it was spotted at Preservation Bay on Saturday night. Photographer Brett Chatwin said he'd been taking nature photographs on the coast for 10 years and had never seen the phenomenon. "It was very interesting watching this iridescent aquamarine colour light up the waves as they crashed," Chatwin said. <img width="500" height="488" src="https://oversixtydev.blob.core.windows.net/media/36751/in-text-algae_500x488.jpg" alt="In -text -algae"/> Image credit: Instagram / rosieshousewynyard "It was as good as shooting the Aurora Australis, but a bit easier." Chatwin said he used a digital SLR camera to capture the glowing waves at Preservation Bay. He said it was difficult, but possible, to snap a shot using smartphone technology. Bioluminescent phytoplankton turns bright blue when threatened. It's difficult to determine how long it will remain in a single area. Have you ever witnessed this pheonomenon? Written by Imogen Elliot. Frist appeared on <a href="http://www.stuff.co.nz/" target="_blank">Stuff.co.nz</a>. Hero image credit: Instagram / discerning_gent

International Travel

New version of cult 80s show Monkey Magic returns to TV

If you watched TV at all during the 80s, chances are you’re familiar with the English-dubbed Japanese cult TV series Monkey (more commonly known as Monkey Magic after its catchy theme song). If it was a favourite of yours, we’ve got good news – Monkey is making a comeback. Netflix will team up with ABC and TVNZ to create a “big budget fantasy drama,” titled The Legend of Monkey, consisting of 10 half-hour-long episodes inspired by 16th century Chinese story, Journey to the West, which follows three fallen gods (Monkey, Pigsy and Lion) as they attempt to “bring an end to a demonic reign of chaos and restore balance to their world”. <img width="498" height="245" src="https://oversixtydev.blob.core.windows.net/media/35623/image__498x245.jpg" alt="monkey magic" style="display: block; margin-left: auto; margin-right: auto;"/> “The mythical tale of the Monkey King is a story that continues to captivate global audiences,” said head of children’s TV at the ABC, Michael Carrington. “Our production partner See-Saw Films [The King’s Speech, Lion] is bringing The Legend of Monkey to life through incredible locations and sets, an acclaimed production team and an exciting diverse young cast. We can't wait for fans to see this new series that features the heroes they love and we are just as excited to introduce this reimagined magical and exciting world to a whole new generation of viewers.” Among the Aussie and Kiwi cast members are Chai Hansen, Luciane Buchanan, Josh Thomson and Emilie Cocquerel. It will premiere on the ABC, TVNZ and Netflix globally next year.

The Northern Territory’s secret mountain range

Ever heard of the West MacDonnell Ranges? We didn’t think so. Here’s why you need to add it to your travel wishlist. Where are they? The MacDonnell Ranges stretch for hundreds of kilometres either side of Alice Springs. As the name suggest, the West MacDonnell Ranges roll out to the west of the town and became part of a national park in 1992. The park is easily accessible by round and can be reached all year round, though it is more comfortable during the cooler months from April to September. <img width="498" height="245" src="https://oversixtydev.blob.core.windows.net/media/35420/image__498x245.jpg" alt="Image_ (186)"/> Why are they so special? The short answer is, they are incredible beautiful. People tend to imagine the centre of Australia is nothing but dry and red. The West MacDonnell Ranges are stunningly beautiful with ochre coloured quartzite peaks, dramatic gorges, permanent waterholes and twisting trees under an endless bright blue sky. It’s a simple, quiet sort of beauty that you will find yourself falling in love with. The area is the traditional home of the Western Arrernte people, who have been living here for at least 20,000 years. The have a strong connection with the land and their Dreamtime stories tell of the giant caterpillars that became the mountains. <img width="498" height="245" src="https://oversixtydev.blob.core.windows.net/media/35421/image__498x245.jpg" alt="Image_ (187)"/> What can I do? The most famous tourist attraction in the West Macs (as they are known) is the Larapinta Trail. It’s one of the best walking trails in the country, a 223-kilometre ribbon that winds right through the ranges. There are 12 different sections, so you can walk part of it for a day or take on the whole journey over a couple of weeks. The walk runs very close to the main road, so it’s easy to pack a day bag and head out to walk one of the easier sections. There are lots of other great walking, trekking and cycling trails around the region. You can cool off with a dip in a hidden watering hole, climb to the top of one of the towering peaks or enjoy the shade of a steep gorge. There are many rare and threatened plant species to be found as well as curious wildlife and majestic birds. The area used to be part of Australia’s great inland sea, so there are lots of fossils embedded in the rocks – keep your eyes peeled. Have you ever been to the West MacDonnell Ranges?

International Travel

The Simon & Garfunkel Story comes to New Zealand

Their voices provided a soundtrack to an entire generation, and now, Simon and Garfunkel’s iconic music is returning to our shores thanks to a unique new production fresh from London’s West End. The Simon and Garfunkel Story stars Gregory Clarke as Paul Simon and Joe Sterling as Art Garfunkel and explores their rise to fame, tumultuous relationship, that iconic performance in Central Park, and – of course – the music. Over60 chatted with Gregory Clarke about what drew him to play a music legend, and why it is that Simon and Garfunkel’s music continues to resonate with so many. What drew you to this role? Have you always been a fan of Simon & Garfunkel? Yes. As pure coincidence would have it, Simon & Garfunkel have been one of my all-time favourite groups since my teens, when I started getting into music properly. As a fan of acoustic stuff and harmonies, it's no surprise I found those guys pretty quickly! For our readers who haven’t heard of the show, could you give us a brief overview of what we can expect from it? What’s special about it? It is a 2-hour journey through the life of Simon and Garfunkel, from their start as schoolboys trying their hand at rock n roll, all the way through to their split at the height of their fame. Along the way you get all the hits you want to hear, as well as a couple of lesser-known gems. With a live band accompanying the two voices and acoustic guitar, we are able to really get as close as possible to recreating the classic sound you hear on those great records. As the title suggests, we also tell their story, so you might find out a few things you didn't know in these two and a bit hours. We even recreate the famous reunion Concert in Central Park. What do you think it is about Simon & Garfunkel’s music that is so timeless? I think the songs written by Paul Simon at that time had a pretty unique blend of wit, social commentary, and good old fashioned melody and harmony. Essentially it comes down to the fact that you can’t help but sing along to basically every song in the repertoire! It's more than just fluffy, soulless pop, it has real heart, his stuff. A couple of the songs we do I find difficult every night due to the emotional pull of the material. What is it like playing a real, live person as opposed to a fictional character or historical figure? Do you know if the real Simon & Garfunkel have seen the show? There is a certain… not a pressure, but a responsibility when playing a real person. The temptation might be to go out and do a caricature to ensure you hit all the expected quirks and smirks, but I think it’s more important to capture an essence and bring your own energy, whilst obviously getting as close to the look and sound as you can. As far as I know neither Paul Simon nor Art Garfunkel have been to see us as yet, but that's certainly something we'd love, and if you're reading lads, your tickets are on me, pop along! Simon’s voice is quite distinctive, is your voice naturally quite similar or did you have to learn how to imitate it? I found that I have a similar soft tone, and also naturally produce that 'twang' he has, and that has made it easier to get close to the distinctive voice of Paul Simon. There are a few tips and tricks I have picked up along the way to help get me there. What has the response been like from long-time Simon & Garfunkel fans? Well we are uniquely placed to answer that question actually! Every night without fail we make it part of the evening that immediately after the show ends, Joe (who plays Art) and I head straight to the front of house foyer where we're able to chat to the audience, pose for photos, sign programmes and answer any questions people might have. So it enables us to get direct feedback from an audience of (generally) long-time Simon and Garfunkel fans. Overwhelmingly positive would be the response, and every night we get told wonderful things like “You really took me back to my teenage years” and “We saw them back in the day and it was like seeing them all over again”. It seems to enthuse and excite and stir emotions as well. People are very, very kind. Is there anything you’ve learnt about Simon and Garfunkel in your preparation for this show that isn’t widely known? Apparently they didn't get on from time to time. Who knew? [Laughs] No, but the thing that has struck me, looking more in depth at the pair, is actually how close the friendship is, despite their differences. I saw footage of them quite recently, sitting together just watching a baseball game from the stands, chatting and laughing, and it's there as plain as day – just two mates who clearly still enjoy each other’s company. As it were, just two ‘Old Friends’. The Simon and Garfunkel Story tours Australia and New Zealand from July 6 to 22. For more information and to buy tickets, <a href="http://www.thesimonandgarfunkelstory.com/australian-tour-dates/" target="_blank">click here</a>. Related links: <a href="/entertainment/music/2016/05/best-movie-soundtracks-ever/">The best movie soundtracks of all time</a> <a href="/entertainment/music/2016/03/best-emotional-songs/">10 songs that always bring a tear to your eye</a> <a href="/news/news/2016/01/simon-and-garfunkel-reunite/">Simon & Garfunkel reunite one last time</a>

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