A few times listening to Utopia I felt as if she was singing to herself, like making herself believe how she could get out of the sorrow and all that, and it felt strangely distant to me. It’s funny cause I went through so many personal losses around the same time as she did and as Vulnicura came out, and I completely fell in love with that record, but I couldn’t relate in the same way with this one. ![]() ![]() I cannot say why but the melody of Saint sounds like something out of a Disney soundtrack, it’s so well-crafted, though lacking in energy a little to my taste. ![]() Either you like it or you don’t.īeing a musician myself I get what she was trying to do here, but the result is something I honestly don’t enjoy listening as a whole, the exception being just a few tracks: Arisen My Senses, Blissing Me, Gate and Tabula Rasa (even though the lyrics here are cringe-worthy, the music is superb). song structure shouldn’t be a surprise to anyone either at this point. Here I’ll also add that she was very outspoken about wanting to “break free” from the verse-chorus-verse form since Biophilia, so the lack of trad. But to be fair, this is nothing new, she’s been on this path for many years now (probably since Vespertine/Medúlla) so people shouldn’t be surprised. I don’t like that it being 70+ minutes she spends most of that time doing what sounds like improvising her singing or trying to add another layer on top of the already cluttered songs. Dolan’s consideration of the ‘inherent ephemerality’ of the utopian performative provides an opportunity to recognise the syncopated resistance of the 11 o’clock number, unleashing the implications of this utopian performative moment which allows the audience to ‘experience their affective power’ (Dolan).First, let me say I agree with a lot of the comments before, so I’ll just add my 2 cents: & Juliet ultimately reinforces dominant ideologies, maintaining the status quo. Contemporary musical theatre has witnessed the rise of herstories over histories and revisions of classic texts which appear to centre women and their narratives. Often musicals create a disjunctive sensation for the feminist spectator as shows utopian energies and promises juxtapose with the world outside the liminal utopic theatrical space, where there is the ‘lack of a culture that allows women the space to feel their ‘experiences’ acknowledged and celebrated’ (Aston). Building on Richard Dyer’s work (1977) this paper considers the utopian possibilities within the musical, while recognizing the contradictions at the heart of the genre. The song reveals the limitations of the ‘just feminist enough’ commercial musical theatre practice whilst allowing different temporalities, perspectives and possibilities to be explored and enacted. This paper reads ‘Roar’, the musical’s 11 o’clock number, as a moment of feminist utopia. The jukebox musical & Juliet (2019) takes the final line of Shakespeare’s original ‘Juliet, and her Romeo’ and imagines what might have happened had Juliet’s story ended in possibility rather than tragedy. In: Utopian Studies Society Conference 2022,, University of Brighton.įull text not available from this repository. ![]() Star-crossed utopia and dissonant pleasure in & Juliet (2019).
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