Mikagasmic Pics - Part 5

[Sarah_Lollipop]

it's probably making worse .. ah, he should get slapped on the wrist for everytime that hand of his touches his throat *puts on ala's voice* NYET MIKA!

 

hope he gets better too

 

:roftl:

[norwalk174]

There's a huge pic from this photo shoot here:

 

http://www.sr.se/press/bildmapp/240782_130_170.jpg

one day i was looking through extra large images of mika and found 3 different ones

[hotdlp]

one day i was looking through extra large images of mika and found 3 different ones

 

oh where!!!??

[norwalk174]

oh where!!!??

 

well there's three let me find them...

[norwalk174]

 

 

[norwalk174]

i don't think the first one worked...

 

just in case

[Ceci_B]

he looks gorgeous in the black and white picture.,...well at least for me he does look like it

[IngievV]

You've probably all read this before, but it's about Mika's performance in Cabaret:

 

Lyndsey Turner’s impressive

production of Kander and Ebb’s

musical, Cabaret, reached audiences

at Millicent Fawcett Hall after a near five

month rehearsal period and endless

amounts of hype. Not only did tickets for

three available performances sell out within

an hour, but an additional performance was

added to cater for the high demand. This too

sold out extremely quickly. Expectations

were therefore high for this production,

which gives musical theatre a welcome

return to Westminster.

 

John Kander and Fred Ebb’s musical, made

famous by the 1972 film starring Liza

Minnelli, follows the time spent by novelist

Clifford Bradshaw in 1930s Berlin during the

rise of the Nazi regime. Through his frequenting

of the Kit Kat Klub, a sleazy night

spot, he meets singer/performer Sally

Bowles with whom he develops a relationship.

However during the piece, the tensions

of the increasingly powerful Nazi forces

become apparent. Beyond its memorable

tunes and witty lyrics and Broadway-esque

glitz, Cabaret is a

serious piece of theatre which Lyndsey

Turner’s production successfully manages to

highlight, as well as providing us with spectacularly

good entertainment.

 

Throughout the evening it becomes apparent

that Turner is clearly at ease with the big

musical numbers, from the show-stopping

Willkommen (which starts the show) to the

wittily danced and choreographed Don’t Tell

Mama. The inventive, sassy choreography is

well danced out by Kit Kat Girls, Boys and

Hostesses, and their energy right through

never fails. The playing space is limited, but

the crowd and club scenes look very impressive

too, and John Larkey and Daniel

Greenwald’s lighting effectively conjured up

the dark sleaziness of the Kit Kat world. The

big songs, which have emerged as classics

in their own right, were delivered by the

large cast with punch and clarity, even

though the quality of the ensemble singing

sometimes dithered.

 

One of the main problems with Cabaret as a

stage musical is Joe Masteroff’s clunky

lyrics, full of duff lines and malapropisms

which must be just as hard to act as they are

hard to hear. Masteroff’s book is also quite

fragmented so that the audience and characters

are jumped around from club to bedroom

incoherently and with little effect other

than to disjoint the production. This is not

helped by dramatic scenes which occasionally

lose pace through underpowered delivery

and feel under-polished. Otherwise however,

the well cast principals perform well.

Tamsin Omond as night club gal Sally

Bowles, brings tremendous presence to her

scenes both as an entertainer but also as a

very human, fragile character lost to herself

in a world of singing, dancing and sex. Her

belter voice is a strong driving force for her

club numbers, whilst her rendition of the title

song in which Sally breaks down is deeply

moving. As her frustrated love interest, Jack

Farthing is pleasantly voiced and convincing

in his character, even if his relationship with

Sally Bowles is never quite believable. The

evening’s events are overseen by Mica

Penniman’s kooky, eccentric Emcee. His

lurking presence throughout is often amusing,

but grows increasingly sinister as the

evening comes to its climax. Strongly sung

and wittily acted, Penniman’s performance

seemed to delight and intrigue audiences

nightly. Also impressive were Sarah Pett and

Alex Bradford as an elderly couple whose

sweet, growing relationship is inevitably torn

apart. Their singing was especially good,

and their affection believably sweet. Hal

Brindley as Nazi supporter Ernst Ludwig

also provided a suitably stern and menacing

performance whilst also being very well sung.

[Petra]

[norwalk174]

You've probably all read this before, but it's about Mika's performance in Cabaret:

 

Lyndsey Turner’s impressive

production of Kander and Ebb’s

musical, Cabaret, reached audiences

at Millicent Fawcett Hall after a near five

month rehearsal period and endless

amounts of hype. Not only did tickets for

three available performances sell out within

an hour, but an additional performance was

added to cater for the high demand. This too

sold out extremely quickly. Expectations

were therefore high for this production,

which gives musical theatre a welcome

return to Westminster.

 

John Kander and Fred Ebb’s musical, made

famous by the 1972 film starring Liza

Minnelli, follows the time spent by novelist

Clifford Bradshaw in 1930s Berlin during the

rise of the Nazi regime. Through his frequenting

of the Kit Kat Klub, a sleazy night

spot, he meets singer/performer Sally

Bowles with whom he develops a relationship.

However during the piece, the tensions

of the increasingly powerful Nazi forces

become apparent. Beyond its memorable

tunes and witty lyrics and Broadway-esque

glitz, Cabaret is a

serious piece of theatre which Lyndsey

Turner’s production successfully manages to

highlight, as well as providing us with spectacularly

good entertainment.

 

Throughout the evening it becomes apparent

that Turner is clearly at ease with the big

musical numbers, from the show-stopping

Willkommen (which starts the show) to the

wittily danced and choreographed Don’t Tell

Mama. The inventive, sassy choreography is

well danced out by Kit Kat Girls, Boys and

Hostesses, and their energy right through

never fails. The playing space is limited, but

the crowd and club scenes look very impressive

too, and John Larkey and Daniel

Greenwald’s lighting effectively conjured up

the dark sleaziness of the Kit Kat world. The

big songs, which have emerged as classics

in their own right, were delivered by the

large cast with punch and clarity, even

though the quality of the ensemble singing

sometimes dithered.

 

One of the main problems with Cabaret as a

stage musical is Joe Masteroff’s clunky

lyrics, full of duff lines and malapropisms

which must be just as hard to act as they are

hard to hear. Masteroff’s book is also quite

fragmented so that the audience and characters

are jumped around from club to bedroom

incoherently and with little effect other

than to disjoint the production. This is not

helped by dramatic scenes which occasionally

lose pace through underpowered delivery

and feel under-polished. Otherwise however,

the well cast principals perform well.

Tamsin Omond as night club gal Sally

Bowles, brings tremendous presence to her

scenes both as an entertainer but also as a

very human, fragile character lost to herself

in a world of singing, dancing and sex. Her

belter voice is a strong driving force for her

club numbers, whilst her rendition of the title

song in which Sally breaks down is deeply

moving. As her frustrated love interest, Jack

Farthing is pleasantly voiced and convincing

in his character, even if his relationship with

Sally Bowles is never quite believable. The

evening’s events are overseen by Mica

Penniman’s kooky, eccentric Emcee. His

lurking presence throughout is often amusing,

but grows increasingly sinister as the

evening comes to its climax. Strongly sung

and wittily acted, Penniman’s performance

seemed to delight and intrigue audiences

nightly. Also impressive were Sarah Pett and

Alex Bradford as an elderly couple whose

sweet, growing relationship is inevitably torn

apart. Their singing was especially good,

and their affection believably sweet. Hal

Brindley as Nazi supporter Ernst Ludwig

also provided a suitably stern and menacing

performance whilst also being very well sung.

 

wish i could've been there he started being called eccentric a long time ago:naughty:

[Petra]

You've probably all read this before, but it's about Mika's performance in Cabaret:

 

Lyndsey Turner’s impressive

production of Kander and Ebb’s

musical, Cabaret, reached audiences

at Millicent Fawcett Hall after a near five

month rehearsal period and endless

amounts of hype. Not only did tickets for

three available performances sell out within

an hour, but an additional performance was

added to cater for the high demand. This too

sold out extremely quickly. Expectations

were therefore high for this production,

which gives musical theatre a welcome

return to Westminster.

 

John Kander and Fred Ebb’s musical, made

famous by the 1972 film starring Liza

Minnelli, follows the time spent by novelist

Clifford Bradshaw in 1930s Berlin during the

rise of the Nazi regime. Through his frequenting

of the Kit Kat Klub, a sleazy night

spot, he meets singer/performer Sally

Bowles with whom he develops a relationship.

However during the piece, the tensions

of the increasingly powerful Nazi forces

become apparent. Beyond its memorable

tunes and witty lyrics and Broadway-esque

glitz, Cabaret is a

serious piece of theatre which Lyndsey

Turner’s production successfully manages to

highlight, as well as providing us with spectacularly

good entertainment.

 

Throughout the evening it becomes apparent

that Turner is clearly at ease with the big

musical numbers, from the show-stopping

Willkommen (which starts the show) to the

wittily danced and choreographed Don’t Tell

Mama. The inventive, sassy choreography is

well danced out by Kit Kat Girls, Boys and

Hostesses, and their energy right through

never fails. The playing space is limited, but

the crowd and club scenes look very impressive

too, and John Larkey and Daniel

Greenwald’s lighting effectively conjured up

the dark sleaziness of the Kit Kat world. The

big songs, which have emerged as classics

in their own right, were delivered by the

large cast with punch and clarity, even

though the quality of the ensemble singing

sometimes dithered.

 

One of the main problems with Cabaret as a

stage musical is Joe Masteroff’s clunky

lyrics, full of duff lines and malapropisms

which must be just as hard to act as they are

hard to hear. Masteroff’s book is also quite

fragmented so that the audience and characters

are jumped around from club to bedroom

incoherently and with little effect other

than to disjoint the production. This is not

helped by dramatic scenes which occasionally

lose pace through underpowered delivery

and feel under-polished. Otherwise however,

the well cast principals perform well.

Tamsin Omond as night club gal Sally

Bowles, brings tremendous presence to her

scenes both as an entertainer but also as a

very human, fragile character lost to herself

in a world of singing, dancing and sex. Her

belter voice is a strong driving force for her

club numbers, whilst her rendition of the title

song in which Sally breaks down is deeply

moving. As her frustrated love interest, Jack

Farthing is pleasantly voiced and convincing

in his character, even if his relationship with

Sally Bowles is never quite believable. The

evening’s events are overseen by Mica

Penniman’s kooky, eccentric Emcee. His

lurking presence throughout is often amusing,

but grows increasingly sinister as the

evening comes to its climax. Strongly sung

and wittily acted, Penniman’s performance

seemed to delight and intrigue audiences

nightly. Also impressive were Sarah Pett and

Alex Bradford as an elderly couple whose

sweet, growing relationship is inevitably torn

apart. Their singing was especially good,

and their affection believably sweet. Hal

Brindley as Nazi supporter Ernst Ludwig

also provided a suitably stern and menacing

performance whilst also being very well sung.

Someone give that man a part in a film!!!!!!

[Ceci_B]

 

 

 

*dies* love the pic the seocnd pic (witht he 5 fingers)

[Petra]

[Mici]

You've probably all read this before, but it's about Mika's performance in Cabaret:

 

Lyndsey Turner’s impressive

production of Kander and Ebb’s

musical, Cabaret, reached audiences

at Millicent Fawcett Hall after a near five

month rehearsal period and endless

amounts of hype. Not only did tickets for

three available performances sell out within

an hour, but an additional performance was

added to cater for the high demand. This too

sold out extremely quickly. Expectations

were therefore high for this production,

which gives musical theatre a welcome

return to Westminster.

 

John Kander and Fred Ebb’s musical, made

famous by the 1972 film starring Liza

Minnelli, follows the time spent by novelist

Clifford Bradshaw in 1930s Berlin during the

rise of the Nazi regime. Through his frequenting

of the Kit Kat Klub, a sleazy night

spot, he meets singer/performer Sally

Bowles with whom he develops a relationship.

However during the piece, the tensions

of the increasingly powerful Nazi forces

become apparent. Beyond its memorable

tunes and witty lyrics and Broadway-esque

glitz, Cabaret is a

serious piece of theatre which Lyndsey

Turner’s production successfully manages to

highlight, as well as providing us with spectacularly

good entertainment.

 

Throughout the evening it becomes apparent

that Turner is clearly at ease with the big

musical numbers, from the show-stopping

Willkommen (which starts the show) to the

wittily danced and choreographed Don’t Tell

Mama. The inventive, sassy choreography is

well danced out by Kit Kat Girls, Boys and

Hostesses, and their energy right through

never fails. The playing space is limited, but

the crowd and club scenes look very impressive

too, and John Larkey and Daniel

Greenwald’s lighting effectively conjured up

the dark sleaziness of the Kit Kat world. The

big songs, which have emerged as classics

in their own right, were delivered by the

large cast with punch and clarity, even

though the quality of the ensemble singing

sometimes dithered.

 

One of the main problems with Cabaret as a

stage musical is Joe Masteroff’s clunky

lyrics, full of duff lines and malapropisms

which must be just as hard to act as they are

hard to hear. Masteroff’s book is also quite

fragmented so that the audience and characters

are jumped around from club to bedroom

incoherently and with little effect other

than to disjoint the production. This is not

helped by dramatic scenes which occasionally

lose pace through underpowered delivery

and feel under-polished. Otherwise however,

the well cast principals perform well.

Tamsin Omond as night club gal Sally

Bowles, brings tremendous presence to her

scenes both as an entertainer but also as a

very human, fragile character lost to herself

in a world of singing, dancing and sex. Her

belter voice is a strong driving force for her

club numbers, whilst her rendition of the title

song in which Sally breaks down is deeply

moving. As her frustrated love interest, Jack

Farthing is pleasantly voiced and convincing

in his character, even if his relationship with

Sally Bowles is never quite believable. The

evening’s events are overseen by Mica

Penniman’s kooky, eccentric Emcee. His

lurking presence throughout is often amusing,

but grows increasingly sinister as the

evening comes to its climax. Strongly sung

and wittily acted, Penniman’s performance

seemed to delight and intrigue audiences

nightly. Also impressive were Sarah Pett and

Alex Bradford as an elderly couple whose

sweet, growing relationship is inevitably torn

apart. Their singing was especially good,

and their affection believably sweet. Hal

Brindley as Nazi supporter Ernst Ludwig

also provided a suitably stern and menacing

performance whilst also being very well sung.

 

 

I had no idea he preformed in that stage show. How talanted can one man be i ask?!

[Petra]

I had no idea he preformed in that stage show. How talanted can one man be i ask?!

Hell yeah. I would die to see it now

For heaven's sake - there MUST have been some proud parents of some other actor / actress (or even Mica's) with a bloody VIDEO CAMERA!!!!!!

[Christine]

 

Here's a mega-sized one.

 

http://www.popstarsplus.com/images/MikaPicture.jpg

[Ceci_B]

 

I used to have my hair as curly as he does when he is sitting with the red skinny jeans.....but I cutted it....so...I don't have curls anymore:bleh:

[Mici]

Hell yeah. I would die to see it now

For heaven's sake - there MUST have been some proud parents of some other actor / actress (or even Mica's) with a bloody VIDEO CAMERA!!!!!!

 

Haha, i hear ya. Something certainly gotta be done about this matter next time.

[norwalk174]

Here's a mega-sized one.

 

http://www.popstarsplus.com/images/MikaPicture.jpg

 

that's the one i meant to post i'm a little slow today

[IngievV]

Hell yeah. I would die to see it now

For heaven's sake - there MUST have been some proud parents of some other actor / actress (or even Mica's) with a bloody VIDEO CAMERA!!!!!!

 

I don't want to sound like extremely stalkerish, but I've been searching for it everywhere but I just can't find it, I'm curious as hell:naughty:

 

Someone should make: Mika The Movie:mf_rosetinted:

[Christine]

Hell yeah. I would die to see it now

For heaven's sake - there MUST have been some proud parents of some other actor / actress (or even Mica's) with a bloody VIDEO CAMERA!!!!!!

 

That would be crazy awesome. You'd think the director or the school would have arranged to have a performance taped as well.

[Petra]

I don't want to sound like extremely stalkerish, but I've been searching for it everywhere but I just can't find it, I'm curious as hell:naughty:

 

Someone should make: Mika The Movie:mf_rosetinted:

 

The Man Himself playing himself. Wow. I think I might go and watch

Didnt he say in an inerview that he would like Johnny Depp to play his part in a biography? ("Why aim low?" or so)

 

That would be crazy awesome. You'd think the director or the school would have arranged to have a performance taped as well.

 

Exactly! In our school, every single performamce of everything was taped.

that actually means that I'm forever on a number of video tapes somewhere (I played a Japanese circus artist in "in 80 days around the world" (if that's the correct english title) )

[Clare]

I love this!!

 

Do you mind if i'll use this picture to creat a signature??

 

I don't mind at all. Merry Christmas to you!!

[Petra]

I don't mind at all. Merry Christmas to you!!

that's confusing.

of course Mici can use it (i don't mind as well as I'm the one who created it this morning) - the bigger versions of this banner are here: http://www.mikafanclub.com/forums/showthread.php?t=11528

[Mici]

I don't mind at all. Merry Christmas to you!!

 

Thanks, although i already made something similar.

 

Merry xmas to you as well