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Wow. It's like we're in a new millennium or something. Eurovision just got big. Huge. There are 13,000 fans in the Globe Area and they're all cheering, they've all got flags and almost none of them are wearing jackets and bow-ties. There is no polite applause and looking at the programme any more. This is modern stadium gig, not a polite music concert. There are screens everywhere. There are screens on stage. Moving screens on stage. Those screens aren't just there to show the scoreboard either. There are flags and the logo. It's the first Eurovision where screens are becoming part of the performances.
It is dark - certainly compared to the previous two years. The stage itself is circular, central and feels relatively small in comparison to the arena it is in. The moving sculptural backdrop revived in 1999 is absent, replaced by those five movable vertical screens. Given that the stage is circular and in an arena, the audience surround the stage on the sides rather than sat facing only. The entire studio-centric mentality has been swept aside.
1999s performances felt static, without much in the way of camera options, no Steadicam nor much in the way of an ability to put on a show. 2000 on the other hand has lots of options. I don't know if the delegations were given information beforehand and the choice of what to put on the screens, but it feels as if they might have been. Several of them opt to have the screens off or have generic images, suggesting that they were unprepared for the staging question! Others came with designed screens (for example Austria), which add to the performance
There some onstage effects - dry ice is used, but there's no (noticeable) wind machine or pyro. There are also remarkably few props. The drums are all set up on moveable platforms that can be wheeled on and off stage quickly. Larger props may have been an option, but no one utilised them.
The scoreboard has increased in size and is a permanent stage feature, used as part of the introduction to each act. A rather square sans-serif font has been chose for the most part, but it's alongside a more conventional sans-serif which feels confused, especially when it comes to the postcards. Two different design aesthetics if not clashing, then living as uneasy neighbours.
The green room feels more of an after thought. It's located a long way from the stage, in the backstage area. There's some astroturf , a few sofas and a lot of black curtains indicating they're probably in a prop warehouse or a loading bay. When the winners are called to stage at the end there's a minute long Spinal Tap-esque journey thorough backstage corridors to reach the stage again.
Another new(ish) thing is the black-and-white backstage camera, showing acts as they're about to take to the stage greeting the acts who are just coming off it. This was tried once before - in 1978 when acts greeted each other in the same way. It's good to see that comradeship and mutual support.
Overall a major step into the 21st century. The crowd increasing in size from 2,000 in 1999 to 13,000 in 2000 is the biggest difference - the whole atmosphere has changed purely by the act of selecting this venue. The stage and production design was by Mikael Varhelyi with the graphics and logo designed by Stockholm Design Lab.
Nine Things To Expect From Sweden And Eurovision 2024
Nine Things To Expect From Sweden And Eurovision 2024
Location, Location, Location
It’s safe to say that SVT will be hosting the Contest in Sweden. That means the three former hosting cities will be on everyone’s radar. It’s relatively easy to rule out Gothenburg, The Scandanavium Arena’s roof is too low, and does not have the structural strength for a modern Song Contest. The city council president Jonas Attenius has pointed out that discussions…
tOkay, so I am late to post this, but I’ve been very busy with school work these last few weeks and I kinda forgot about it. But now I’m free for a bit and I finally got around to writing down some high lights from when I went and saw CATS here in Stockholm last month! While the show was very similar to the 1998 movie that I’ve seen plenty of times, similar choreography, set, costumes and everything, it did have a few moments that I really wanted to share with you. I’m only sorry I couldn’t provide visual aide but hopefully my descriptions will be enough to paint a picture for you.
So without any further ado, let’s get to it!
1. Mistoffelees acting like Munkustrap’s second in command director, always prominent around numbers and directing other cats while Munkustrap is busy or leading a number. He was also tap dancing along with Munkustrap, Demeter, Bomba and Jelly during Jennyanydots number which I loved!
2. During Rum Tum Tugger’s song, despite no clear Tuggoffelees moments, Mistoffelees had moments of looking both disinterested by Tugger or like he wanted to join in the fun but kept getting shooed away by Munkustrap or Skimbleshanks, acting like an overprotective dad/brother to Misto. Clear “why can’t I play with the cool kids?” energy.
3. On a similar note Mistoffelees is the first one to try to get closer to Grizabella, looking quite curious of her, only for Munkustrap to pull him back, similar to the 1998 movie. Munkustrap is Misto’s big brother in this version and you cannot change my mind!
4. Bombalurina acting very much like a protector to the tribe, especially the kittens, actively keeping them away from Grizabella and protecting them from Macavity.
5. Demeter showing strong compassion and sadness for Grizabella, especially while singing ‘Grizabella the Glamour Cat’, clearly feeling very sorry for her and is seemingly the only one who does. Meanwhile Bombalurina acts like a protective girlfriend and glowers at Grizabella while Demeter looks sad for her. Munkustrap wants her to leave, but refuses to look at her face.
6. Tugger acts very much like a cool, aloof teenager who is ‘too cool to play with the other kids’ when he doesn’t act like a diva. For most of act 1 and part of act 2 he is seen hanging around the back, sitting on the oven and just watching. When he joins in on Old Deuteronomy’s song, Munkustrap turns to look at him with a look that says “what are you doing? How dare you interrupt me trying to praise dad, you little sh*t!” Also he looks like he wants to strangle him for a moment, complete with appropriate hand gestures. But once Tugger makes it clear he isn’t going to do anything, he relaxes as they begin to sing together, though they do exchange brotherly slaps on the arms and shoulders before Old D shows up.
7. However, during Gus’ number he takes a moment to flirt with Bombalurina, then shows to encourage Gus, takes part during The Battle of the Pekes and the Pollicles, hugs Gus to comfort him after the number is over and helps him put on his old coat again, clearly concerned for him. Then during Skimbleshanks song, he plays along with the other cats, helps build and play with the train, leads Old Deuteronomy after they start dancing after him (Like Munkustrap in the 98 version), gives him a hug, then him and Munkustrap make the tower for Skimble to stand on at the end of the number. Munkustrap was the bottom while Tugger held his arm!
Speaking of Gus, he is very excited to talk about himself and what he’s done in his acting career, is very frustrated about how ‘kittens aren’t trained the way they should be’ and the younger kittens are openly offended. Most notable were Cassandra sitting and pouting with her arms folded like a child and Tugger, who’s been chilling on the oven the whole song, sitting up and giving a look that says ‘now you listen here old man!’
Also he is clearly having the time of his life haming it up to 11 for the tribe, especially as the Rumpus Cat. Though Jellylorum looks a bit annoyed at times, like she wants him to sit down and rest not prance around on stage and possibly overdo it. “Yes, yes grandpa you are very impressive now please sit down before you hurt yourself.” She even tries to lead him off stage before Pekes and the Pollicles number and looks frustrated when he turns around and goes “I could do it again!”
Mistoffelees is also very active during the show, often seen at the front during dance numbers, openly using his magic, sits on Old Deuteronomy’s side, while Munkustrap is on the other. He is also shown to be very protective of the tribe, at one point he literally leaps onto the car, almost attacking Grizabella to chase her off after she shows up in the middle of the Jellicle Ball before lighting the party lights with his magic and party kicks back up again.
Also, at one point Mistoffelees is standing behind the other cats and Old D (I think somewhere behind the tire-throne?), seemingly using his magic to direct/making the other cats’ dance the way he is. It’s a cool concept, but I wasn’t quite sure what it was supposed to mean.
Mistoffelees’ is the this Jellicle Ball’s dance director, fight me!
Line ‘Felines and Friends, I give you the Magical, the Marvelous Mister Mistoffelees!’. Don’t know if this is commonly used these days but I kinda love it.
Grizabella going to the Heaviside Lair. Again, don’t know what the common use is for the show these days, I’ve only seen the 98 movie and the Broadway revival from 2016. But in this show she had a harness on and once she was lead up on the tire-throne, she was lifted into the air, as the colors of the rainbow shining around her as the other cats sang her into her next life. I literally cannot give the moment enough credit with my words, it was just beautiful and I’m so sad I couldn’t catch it on video or photo for you!
All in all, I had a fantastic time and I wish I could go see it again!
(also, I am so sorry for how Getting To Know You hasn’t been updated in forever, I will get to it soon I promise!)
