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Arts

Tiktok’s Ratatouille musical scurries into hearts worldwide

A Ratatarticle about TikTok’s Ratatousical

There are few things that are better than the TikTok theatre community coming together to turn Ratatouille into a musical.

Ratatouille, the 2007 animated film, follows the story of Remy, a very personable rat, who finds his way into a declining French restaurant and dazzles critics with his cooking prowess. Naturally, he can’t be seen as the chef; therefore, he enlists the help of Alfredo Linguini, a gangly dish boy desperate to keep his job at the restaurant. Remy (consensually) controls Linguini’s movements by tugging on specific strains of his hair and cooks up a storm. It’s safe to say that it’s a masterpiece.

Even before talks of a musical, Ratatouille was considered by many as one of the most meme-able movies, and was popular on TikTok and other social media sites for that reason. Its vibrant characters and dramatic plot, however, make it a lively story to adapt for the theatre.

The idea for the Ratatouille TikTok Musical didn’t just happen overnight. Em Jaccs, a TikTok content creator known for her musical numbers, posted a video on Aug. 10 of an original song based on the movie.

Quickly, the video gained traction and reached other people who thought that this musical was rat up their alley. For example, Daniel J. Mertzlufft, a composer and arranger on TikTok, saw Jaccs’ acapella song and added orchestration and an ensemble, giving it the full musical theatre effect.

More and more of theatre TikTok creators became enthralled with the nostalgic thought of a Ratatouille musical, affectionately known by some as the Ratatousical. They’ve been using Mertzlufft’s audio to come up with choreography, which others have been dueting with their own vocals. Some have begun writing their own original songs and even designing sets and playbills for this show.

While extremely entertaining, these videos were simply blessing For You pages worldwide without any clear direction.

That is until someone called Josh Abram rectified this problem by creating a TikTok account called @RatatouilleMusical.

At the time that this was written, the account had already garnered 75.6 thousand followers and 186.6 thousand likes. On Oct. 26, Abram’s first video was posted, calling actors, singers, tech designers, musicals, composers, songwriters, choreographers and dancers to come together to make this dream a reality.

“I don’t know how we’re going to do this, but we’re going to do it,” Abram says, urging people to email him with original art, dance, song and design.

The next day, an update video was posted, thanking creators for their overwhelming support. Abram explained that the first round of auditions will be held on TikTok, but further details would be announced shortly.

A week later, on Nov. 3, an FAQ video was uploaded to @RatatouilleMusical. It starts with a screen recording of the many emails the team has received and explains that they’re doing their best to respond as quickly as possible.

Abram says that in order to become involved, creators should show their work by tagging the account in their videos and emailing in their portfolios. It’s also specified that this is purely a “passion project” and that the Ratatouille TikTok musical has no affiliation with Pixar or Disney. As for how it’s going to work, they’ve decided that their first goal is to create a concept album and then expand the project to create a full virtual production.

I think considering everything that’s going on, it’s a really fun thing to be focusing on,” says Aleah, a first-year student in Concordia’s Acting for Theatre program who prefers not to disclose her last name.

Vassiliki Gicopoulos, a third-year Dawson Theatre student, says that she “laughed” upon hearing about the musical, but echoes Aleah’s sentiments that “it’s just a really cool way to unite people throughout the pandemic, because there’s not a lot of art going on.”

Lisa Rubin, the artistic and executive director at the Segal Centre for Performing Arts, finds this project “impressive and entertaining.” She commends the TikTok creators for “the speed at which they seem to be able to turn out such unique content in such short little bursts, and also their talent, their vocal ability, and their writing ability.”

Using TikTok as a platform for the Ratatousical also renders the show more accessible. Aleah recalls that in order to watch the Mean Girls musical, she had to watch a “bootleg” version recorded on YouTube. She says that “something like this is great” because it allows everyone to enjoy it.

Even more than that, people are coming together from all corners of the world to create and watch the musical together. In this way, TikTok’s Ratatouille musical “shows that the theatre community is a community,” according to Rubin.

Collective creation within the arts is not a new phenomenon, however. Melanie Thompson, communications manager at the Segal Centre, remembers a time when Weezer crowd sourced one of their CDs on YouTube. Nonetheless, she explains that the “resources that TikTok gives you and the medium of it allows you to do so much more.”

Therefore, Ratatouille’s “anyone can cook!” philosophy is echoed in the birth of the musical on TikTok — anyone can, and should, partake!

Anyone interested in contributing can email Josh Abram at ratatouillethetiktokmusical@gmail.com.

 

Visuals by @the.beta.lab

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Music

Fired up for The Firing Squad

The variety show, Art Machine, combines theatre and live music

Do you want to listen to live music and comedy at the same time? Well, look no further than Théatre Sainte-Catherine Café-Bar. The theatre’s brand new addition is Art Machine, a variety show that is accompanied by The Firing Squad, a newly-formed Montreal band. Art Machine began in late August of this year and takes place every Tuesday at 7 p.m.

The Firing Squad’s members are Gideon Yellin on guitar; Lloyd White on bass guitar; and Alex Lepanto on drums. All three members are excited to play jazz-funk music every week. “I just think it’s fun to play, so the more chances we get to play, it feels like I’m sailing,” said Lepanto. The band’s goal is to blend the Montreal jazz scene with the Montreal francophone comedy scene. “There’s some really, really talented comedians that show up here all the time,” said Lepanto. “It’s cool to kind of work and hang out with [these] people.”

The band members first got together at Théatre Sainte-Catherine Café-Bar during a production of MacBeth in late-January, where they each played the music to accompany the play. They enjoyed playing music together so much that they couldn’t wait to keep the fun going after the show. “On the last day of the show, Lloyd was like, ‘Yo, do you want to come over and jam some jazz?’” said Lepanto. It didn’t take long for them to hit it off, soon becoming The Firing Squad.

Since then, the band has been involved in the creation of a musical, in collaboration with the theatre’s artistic director, Alain Mercieca. The musical, called ATM: The Musical, was presented at the Just for Laughs festival this past June and won the Fringe Award for Best English Comedy. “So you can say we’re like the funniest band in jazz,” said Yellin. Mercieca said a big reason he invited the band to play at Art Machine is that he really enjoyed working with them this past summer. “The Firing Squad, those guys are great musicians, we’re pumped, we want to do more collaborate stuff with them, make Art Machine a full musical every once in awhile. The potential is huge” said Mercieca.

Band members of The Firing Squad: Gideon Yellin, Alex Lepanto, Lloyd White. Photo by: Isaac Latham

Art Machine is a collective that he knows has the potential to grow. “We’re happy with the acts and we’re happy with the band, so it’s just time to push it to everyone [and get] bigger crowds,” he said. The band is definitely excited to get the ball rolling, and really enjoys what they’re doing. “I feel like all three of us just kind of click on a love of jamming,” said White. “We all just love jamming with people, and that’s one of the reasons we love this sort of thing we’re doing, where we get to jam with different people every time.”

On top of playing at Art Machine, the band is also working on producing an EP, which they say should be out by the end of the year. “There’ll be something that people can actually check out when they want to know what we’re all about,” said Lepanto. “Until then, they just have to come [to the theatre].”

As the show gains popularity, the organizers of Art Machine are hoping to increase the number of fresh new faces to take to the stage. “We’re always looking for new talents to discover,” said Adama Diop, the show’s producer.

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Arts

More than just glass slippers and a love story

Cinderella brought magical comedy to Place des arts for four showings.

Rodgers and Hammerstein’s Cinderella offers a fresh take on a beloved story

When you think of a knight in shining armour, it typically doesn’t mean an actual knight in sparkly armour—but that’s exactly what Prince Topher (Hayden Stanes) wore as he strutted on stage. Not long after his entrance, he began to fight a gigantic monster while simultaneously looking rather dashing.

Rodger and Hammerstein’s Cinderella, the 2013 Tony award-winning Broadway musical, was at Place des Arts last week for a limited showing. Featuring a talented cast of singers and dancers, the magical show had a hopeful lightheartedness about it—while also featuring very real, self-reflective moments of social commentary.

The show recounted the fabled and beloved story of Cinderella (Tatyana Lubov)—a handmaid-turned-princess who wins the heart of the dashing prince with the help of her fairy godmother, a pumpkin carriage and a handful of white mice-turned-horses.

Although the plot focused on the prince’s search for his princess, Cinderella was so much more than just a love story about two characters destined to find each other. While keeping the classic essence and framework of the fairy tale, the Broadway musical brought a witty and comedic twist to it and delved into the characters’ hopes, dreams and fears.

Beneath the traditional romance lies the story of a lost prince who must rule his kingdom while keeping his parent’s legacy alive; of a bureaucrat trying to ensure the prince’s comfort and way of life at the expense of the citizens; of a mother who wants the best for her daughters; and of a hopelessly unromantic guy who just wants to take the girl of his dreams out on a date to serve soup at the soup kitchen.

Cinderella is hopeful, despite being used and abused by her stepmother and stepsisters. She is a young woman trying to find herself in a world that keeps putting her down, and she maintains an overt optimism and kind spirit despite her plight.

Prince Topher has just returned from university and wants to rule his kingdom as his parents did before him—in a just and fair manner. His associate makes it easy: hand over the signet ring and he’ll take care of the boring, dreary paperwork. The prince’s naïve trust for his advisor, Sebastian (Ryan M. Hunt), leads to political corruption—unbeknownst to the prince. After a lifetime of being molded by the people around him, he is eager to try and find himself.

The cast included a multitude of zany characters, including the passionate political activist Jean-Michel (Chris Woods) and Marie, a sometimes crazy and eclectic friend who ends up being Cinderella’s fairy godmother (Leslie Jackson). The characters’ witty dialogue and funny interactions all added to the comedic element of the show.

The strong cast, relatable characters and fantastic quips and dialogue were all brought together by the incredible set design. Without missing a beat, the stage transformed from a forest to a town square to the interior of a palace. These switches were so well executed that they were almost invisible—as if by magic.

Be sure to check out Place des Arts’ website for updates and information about other upcoming shows.

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Arts

Catch Me If You Can doesn’t take off

Brandon Schwartz stars as Frank Abagnale in an underwhelming musical adaptation at the Segal Centre

The production hits more lows than highs despite a tremendous effort from the ensemble

There’s only so much a talented and dedicated cast can do with a sinking ship. The Côte Saint-Luc Dramatic Society’s amateur production of Catch Me If You Can: The Musical is proof that all the enthusiasm in the world can’t disguise a boring piece of theatre.

While lead actor Brandon Schwartz is a trained jazz singer with a voice comparable to a young Josh Groban, the show’s music, written by Marc Shaiman and Scott Wittman, isn’t quite toe-tapping.

Based on the 2002 Dreamworks film of the same name, Catch Me If You Can follows the true story of a young con artist of the 1960s, named Frank Abagnale Jr., who manages to impersonate a pilot, doctor and lawyer all before his 19th birthday. While the film, starring Leonardo DiCaprio and Tom Hanks, is fast-paced and charming, the musical adaptation relies too heavily on corny jokes, meta self-awareness and extended jazzy dance routines better suited to a Broadway stage than a black box theatre.

Running long at two hours and 45 minutes, the dialogue and space between songs seemed to drag on and on. The ensemble of just over a dozen extremely dedicated dancers should be commended for their sustained energy and use of the small space in the Segal Centre’s intimate studio.

Brandon Schwartz stars as Frank Abagnale in an underwhelming musical adaptation at the Segal Centre

The chorus clearly spent many hours rehearsing many complicated choreographies created by Alexia Gourd that ultimately worked to their credit.

Actor Mike Melino, who played avid FBI detective Carl Hanratty, was a highlight. Melino’s gruff manners, thick moustache and steadfast commitment to his performance deserve special note. His lead songs, “Don’t Break The Rules” and “Little Boy Be A Man,” were a refreshing break from the often-repetitive melodies and routines.

Matthew McKeown and Marieve Guerin, who played Frank’s father and mother respectively, also deserve credit for lending their substantial talent to the production.

Despite the disappointing elements of the show, the production quality was surprisingly good. Many of the costumes were painstakingly handmade and what the space lacked in elaborate scenery, it made up for in the presence and playing of the live band.

While the story of Catch Me If You Can is light and fun, the musical fails in its presentation of any emotional depth. While Schwartz’s acting is partially responsible, the musical’s original reception on Broadway, closing after only 170 regular performances in 2011, says perhaps more.

Ultimately, the musical numbers, especially those given to female characters, fail to amaze and the choppy narration by Frank, paired with the self-aware framework of the show, seems like lazy writing more than anything else.

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Arts

Spring Awakening: The Musical revamps a classic

ere are Zachary Creatchman as Melchior and Gab Lubin as Wendla performing on stage. Photo by Joseph Ste-Marie

Singing about what it is like to be different

Spring Awakening: The Musical hit all the right notes, both literally and figuratively. From the talented actors to the musicality of this unconventional musical. It is currently presented at the Centaur Theater as part of the Brave New Looks program.  Christopher Moore and Gabrielle Soskin directed this adaption of the 2006 Tony Award winning musical based on the play by Frank Wedekind first premiered in 1906.

ere are Zachary Creatchman as Melchior and Gab Lubin as Wendla performing on stage. Photo by Joseph Ste-Marie

Spring Awakening: The Musical is a coming-of-age story in the shadows of a late nineteenth century German society that squeezes life out of the living. Two young friends, Melchior and Moritz, are faced with the pressures of becoming men, while Wendla and her friends navigate a world ruled by dangerous men and impulsive boys. Melchior and Wendla are grabbed by youthful love, while Melchior finds himself trapped in the confusion of growing up. Mistakes are made and decisions are taken, changing the lives of both the young and the old forever. The play deals with issues that were censored from public discourse in the past and are often scarcely tackled in an intelligible way in modern society, such as homosexuality, teenage sexuality and physical abuse. Although this material can be difficult to watch and will surely incite strong emotional reactions, Spring Awakening: The Musical talks about issues that are relevant to an inter-generational and widely diverse Montreal population.

Persephone’s revamped production takes this classic musical to new heights. The live music, the interplay of the lights, the energy of the cast, everything in this show makes you want to see it again. The audience can unmistakably feel the collaborative spirit of the ensemble throughout the play. Each actor can take us from sadness to hilarity in a heartbeat. Having seen the play before with almost the same cast, it was refreshing to see that the show was not at all a recycling of past success. This version was a huge development on an already strong foundation. Actors seemed really comfortable in their characters and the stories, lending a remarkable authenticity to the performance.

This is an excellent play for students of all ages and walks of life, particularly in our day and age. The play makes it easy for everyone to identify with the young souls seeking to understand the world around them, to feel love, to live life, to leave their mark. This musical leaves you with a feeling of hope for the future, a whole lot of relief from expelling welled-up emotions and a belly full of laughter for all the comedic genius behind what these young actors craft on the stage.

Spring Awakening: The Musical runs until Oct. 11 at the Centaur Theatre. Regular tickets are $35, student/senior tickets are $27. For more information, call 514-288-1229 or visit centaurtheatre.com.

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Arts

Wicked finishes its run on a high note

The standing ovation seemed to go on forever. It felt as though all of Place des Arts was on its feet, genuinely thrilled and grateful to the immensely talented actors and production team who had made the evening a truly magical experience.

The beloved story, The Wizard of Oz, was given new life in writer Gregory Maguire’s 1995 novel, Wicked: The Life and Times of the Wicked Witch of the West and has since been adapted for the theatre by Winnie Holzman with music and lyrics by Stephen Schwartz. The musical follows the story of The Wizard of Oz’s Wicked Witch of the West, before she was villainized and was still known by her birth name, Elphaba.

Elphaba is a feisty young woman, who has been misunderstood all her life because of the unfortunate green tinge of her skin and wants only to be like everyone else. At Shiz academy, where she is sent to study, she finds an unlikely friend in Gallinda Upland, a popular blonde queen bee, who later becomes known as Glinda the Good.

Elphaba has always dreamed of meeting the revered leader of Oz, the Wizard, but when she finally gets the opportunity she discovers things are not as they seem. Determined to save Oz from the corrupt Wizard, Elphaba vows to fight the injustice being done and is forced to flee the city. Painted as a rebel and a threat in the press, it is not long before everyone is forced to choose, are they with her, or against her.

At its heart, Wicked is a touching story about friendship and loss, and choosing a path in life before one is chosen for you.

The songs by Schwartz, which have become so iconic in the world of musical theatre in such a short time, were the best part of the musical, standing out above the stunning set, excellent choreography and fast paced and clever script. Big dance numbers like ‘Dancing Through Life’ were executed perfectly with practiced ease while touching ballads like ‘For Good’ really drove home the core messages and themes of the show.

The moment I arrived and took my seat in the balcony, I was shocked by the lavish set. I expected a lot from a show as celebrated as Wicked, but this was something else. There was an enormous dragon sculpture perched at the top of the elaborate set which spanned the stage with its wings. As the show began I was amazed to see its eyes begin to glow and its head to move menacingly along with the action. It was simply awesome to see how much work was put into this detail which had no actual bearing on the plot.

The cast was led by Stephanie Torns as Elphaba, and Jeanna De Waal as Glinda. Both actresses were incredibly energetic and lively, considering the show has been running since Aug. 1.

Torns was listed in the program as a standby for Christine Dwyer the usual lead, and it was announced just before the show that Torns would be taking the stage. If there was any doubt in my mind beforehand at having to watch the standby instead of the original casting choice, it was erased as soon as she opened her mouth. She was amazing. Torns definitely blew everyone away with her fantastic voice. She drew out her low melancholy notes, she belted her fierce high ones. She was by far the highlight.

It is always so refreshing to see songs which are so well known like ‘Defying Gravity’ and ‘Popular’, be given new life. A new twist or turn in the melody or in the way the actors deliver a certain line. Both female leads did a great job of this, staying very close to the cast recording that has been played over and over while still giving the songs personality.

The only major downside of the production was the character of Fiyero, who was played by Billy Harrigan Tighe. His singing was plain awful. Thankfully he only had two songs, but being the main romantic lead that eventually drives a wedge between Glinda and Elphaba, he was a let-down. He sang flat most of the time, which proved painfully noticeable and lacked the breath control to make it through the challenging songs gracefully. It’s possible that towards the end of the run, he simply threw out his voice, but he ruined one of my favourite songs, and that is unforgivable for a professional.

The supporting cast however, a group of about 28 actors, who played Ozian officials, students, flying monkeys, as well as larger characters like the wizard, were very strong. They all knew exactly what they were supposed to be doing and made it look easy.

Overall, the entire production quality was through the roof. The show far surpassed my expectations for a touring show! It was well worth the sixty-some dollar ticket.

When I was leaving, I heard one little girl say, “I would come see this musical everyday if I could.” I think that says it all.

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