{"id":1718,"date":"2016-11-22T21:26:37","date_gmt":"2016-11-22T21:26:37","guid":{"rendered":"https:\/\/performerstuff.com\/mgs\/?p=1718"},"modified":"2018-08-30T20:22:35","modified_gmt":"2018-08-30T20:22:35","slug":"theatre-in-film-topsy-turvy-1999","status":"publish","type":"post","link":"https:\/\/performerstuff.com\/mgs\/theatre-in-film-topsy-turvy-1999\/","title":{"rendered":"Theatre in Film: Topsy Turvy (1999)"},"content":{"rendered":"<div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-header-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><h3>Theatre in Film:\u00a0<em>Topsy Turvy\u00a0<\/em>(1999)<\/h3>\n<font size=\"2\" color=\"grey\"><span style=\"border:1px solid ;-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;-moz-box-shadow: 0 0 3px rgba(0,0,0,.3);-webkit-box-shadow: 0 0 3px rgba(0,0,0,.3);box-shadow: 0 0 3px rgba(0,0,0,.3);margin-right:25px;float:left;\" class=\"fusion-imageframe imageframe-glow imageframe-1 hover-type-none author-image\"><a class=\"fusion-no-lightbox\" href=\"http:\/\/performerstuff.com\" target=\"_self\"> <img src=\"http:\/\/mgs.performerstuff.com\/wp-content\/uploads\/2016\/06\/authorimage.jpg\" alt=\"\" class=\"img-responsive\" style=\"-webkit-border-radius:50%;-moz-border-radius:50%;border-radius:50%;\"\/><\/a><\/span><p>Written by Ashleigh Gardner<\/p>\n<p>November 22, 2016<\/p>\n<\/font><div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><div class=\"fusion-one-full fusion-layout-column fusion-column-last fusion-spacing-yes section-body-post\" style=\"margin-top:;margin-bottom:;\"><div class=\"fusion-column-wrapper\"><p style=\"text-align: left;\">We return to Part V in our Theatre in Film series, a weekly segment of Performer Stuff\u2019s blog where we discuss a film that features a life in theatre. Part V of Theatre in Film celebrates movies from 1995 to 1999 that feature social, moral, and ethical issues within the theatre. This week, we feature\u00a0<em>Topsy Turvy\u00a0<\/em>from 1999<em>,\u00a0<\/em>a film that examines Gilbert and Sullivan&#8217;s adventure into the creation of their celebrated opera,\u00a0<em>The Mikado<\/em><em>.<\/em><\/p>\n<h4 style=\"text-align: left;\"><em>Topsy Turvy<\/em> (1999)<\/h4>\n<br><div align=\"center\"><div class=\"fusion-video fusion-youtube\" style=\"max-width:600px;max-height:350px;\"><div class=\"video-shortcode\"><iframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/BWFcMRYjJtA?wmode=transparent&autoplay=0\" width=\"600\" height=\"350\" frameborder=\"0\" allowfullscreen><\/iframe><\/div><\/div><\/div><br><p style=\"text-align: left;\"><b>Director:<\/b><span style=\"font-weight: 400;\"> Mike Leigh<br \/>\n<\/span><b>Starring: <\/b><span style=\"font-weight: 400;\">Jim Broadbent, Allan Corduner, Timothy Spall, Lesley Manville, and Shirley Henderson<\/span><\/p>\n<h4 style=\"text-align: left;\">What happens:<\/h4>\n<br><p style=\"text-align: left;\"><span style=\"font-weight: 400;\">In 1885, Gilbert (Jim Broadbent) and Sullivan (Allan Courduner) are writing partners for the Savoy Theatre. Their opera, <\/span><i><span style=\"font-weight: 400;\">Princess Ida<\/span><\/i><span style=\"font-weight: 400;\">, is flailing at the Savoy Theatre and is cancelled in favor of a revival of their previous opera, <\/span><i><span style=\"font-weight: 400;\">The Sorcerer. <\/span><\/i><span style=\"font-weight: 400;\">The owner of the Savoy, Richard D\u2019Oyly Carte (Ron Cook), is desperate for a new show from the artistic team, and commissions Gilbert to write a script so that Sullivan can begin work on the music. The script, however, employs old and tired plot devices that Gilbert has used repeatedly, an aspect of the script that Sullivan despises.<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-weight: 400;\">On a visit to a Japanese art and culture exhibition, GIlbert purchases a Japanese katana and then hangs it on his study wall. When he\u2019s revising his script in the middle of the night, the katana falls from the wall onto his head, and he gains inspiration to write a libretto set in exotic Japan. He presents this to Sullivan, and the two work together to write and compose <\/span><i><span style=\"font-weight: 400;\">The Mikado. <\/span><\/i><\/p>\n<h4 style=\"text-align: left;\">Why it matters:<\/h4>\n<br><p style=\"text-align: left;\"><i><span style=\"font-weight: 400;\">Topsy Turvy <\/span><\/i><span style=\"font-weight: 400;\">is on <\/span><i><span style=\"font-weight: 400;\">Empire\u2019<\/span><\/i><span style=\"font-weight: 400;\">s 2008 list of the 500 greatest movies of all time, and it received Academy Awards for Best Costume Design and Makeup in 2000. These accolades are bestowed upon this film for good reason, not solely for its visual representation of Victorian England, but for its acute attention to the smaller aspects of Victorian life, particularly that of the uncertainties of the theatre. <\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-weight: 400;\">In high school and college, we experience the suspense of not knowing if we\u2019ll be cast in a show, but professional actors, no longer in school, who depend upon roles for financial support, are in a constant state of uncertainty: they seek out season auditions and shows that require an actor of their type, they must carefully schedule their calendars to fit in rehearsals and performances and trainings, and work is never guaranteed, let alone payment for some performances that are paid via profit sharing (although profit sharing is a viable payment system for some professional productions). <\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-weight: 400;\">These uncertainties are seen throughout <\/span><i><span style=\"font-weight: 400;\">Topsy Turvy<\/span><\/i><span style=\"font-weight: 400;\">, beginning with the failure of Gilbert and Sullivan\u2019s <\/span><i><span style=\"font-weight: 400;\">Princess Ida. <\/span><\/i><span style=\"font-weight: 400;\">None of the actors are prepared for its cancellation, and when Gilbert reads the review in the paper, he is also unprepared for the lukewarm, albeit negative comments the critic has to say about the production. The actors are even called into Carte\u2019s office to discuss their future positions with the acting company, some fearing for their job security. The uncertainty Gilbert feels when he submits his script to Sullivan for perusal is something all playwrights feel, too, when they submit their work for review or submit it into a festival or contest. In addition, Mr. Temple (Timothy Spall) has his solo taken away from him unexpectedly because Gilbert doesn\u2019t like his own writing. (Thankfully, the cast petitions Gilbert to restore Temple\u2019s solo, and the number is placed back into the show the day of.)<\/span><\/p>\n<p style=\"text-align: left;\"><span style=\"font-weight: 400;\">If <\/span><i><span style=\"font-weight: 400;\">Topsy Turvy <\/span><\/i><span style=\"font-weight: 400;\">can teach us anything about theatre, it\u2019s that relationships, professional and personal, and roles are fleeting, uncertain, and we can only prepare for what to do after they\u2019re gone by realistically examining our current station: look for auditions, get new headshots, update your resume, submit your play, take a dance class &#8212; all in the name of preparation.<\/span><\/p>\n<br><p style=\"text-align: left;\">This film is the fifth\u00a0featured in Part V\u00a0of \u201cTheatre in Film\u201d. See below for the others in Part V.<\/p>\n<ul style=\"text-align: left;\">\n<li><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-an-awfully-big-adventure-1995\/\"><strong><em>An\u00a0Awfully Big\u00a0Adventure\u00a0<\/em>(1995)<\/strong><\/a><\/span><\/li>\n<li><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-stage-fright-2014\/\"><strong>Theatre in Film Halloween Special\u00a0\u2013\u00a0<em>Stage Fright<\/em>\u00a0(2014)<\/strong><\/a><\/span><\/li>\n<li><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-waiting-for-guffman-1996\/\"><strong><em>Waiting for Guffman<\/em>\u00a0(1996)<\/strong><\/a><\/span><\/li>\n<li><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-shakespeare-in-love-1998\/\"><strong><i>Shakespeare in Love<\/i>\u00a0(1998)<\/strong><\/a><\/span><\/li>\n<li><span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-cradle-will-rock-1999\/\"><strong><em>Cradle Will Rock\u00a0<\/em>(1999)<\/strong><\/a><\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p style=\"text-align: left;\">Want to start with\u00a0<strong>Part I<\/strong>? Begin with\u00a0<span style=\"text-decoration: underline;\"><strong><em><a href=\"http:\/\/mgs.performerstuff.com\/?p=133\">42nd Street\u00a0<\/a><\/em>(1933)<\/strong><\/span>.<br \/>\nMiss\u00a0<strong>Part II<\/strong>?\u00a0Check out\u00a0<span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-series-the-band-wagon-1953\/\"><strong><em>The Band Wagon<\/em><\/strong>\u00a0<strong>(1953)<\/strong><\/a><\/span>.<br \/>\nNeed a refresh for\u00a0<strong>Part III<\/strong>? Start with\u00a0our feature on\u00a0<span style=\"text-decoration: underline;\"><strong><em><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-series-all-that-jazz-1979\/\">All That Jazz\u00a0<\/a><\/em><\/strong><strong>(1979)<\/strong><\/span>.<br \/>\nHow about a recap from\u00a0<strong>Part IV<\/strong>? Jump into\u00a0<span style=\"text-decoration: underline;\"><a href=\"https:\/\/performerstuff.com\/mgs\/theatre-in-film-a-chorus-of-disapproval-1989\/\"><strong><em>A Chorus of Disapproval\u00a0<\/em><\/strong><\/a><strong>(1989)<\/strong><\/span>.<\/p>\n<div class=\"fusion-clearfix\"><\/div><\/div><\/div><div class=\"fusion-clearfix\"><\/div><hr \/>\n<h5 style=\"text-align: left;\"><em><strong>Ashleigh Gardner<\/strong>\u00a0received her AA in Theatre\/Drama\/Dramatic Arts\u00a0from Valencia College and\u00a0her Bachelors Degree in English Literature and\u00a0Masters Degree in Literary, Cultural, and Textual Studies from\u00a0the University of Central Florida. She is a playwright, an actor, and PerformerStuff.com\u2019s Editor.\u00a0<\/em><\/h5>\n<h5 style=\"text-align: left;\">Thumbnail image from\u00a0<em>Topsy Turvy.\u00a0<\/em>Copyright\u00a0\u00a9\u00a0Path\u00e9 Distribution, 1999.<\/h5>\n\n","protected":false},"excerpt":{"rendered":" [...]","protected":false},"author":2,"featured_media":1719,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[259,265],"tags":[6,106,431,80,56,105],"_links":{"self":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/1718"}],"collection":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/comments?post=1718"}],"version-history":[{"count":0,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/posts\/1718\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media\/1719"}],"wp:attachment":[{"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/media?parent=1718"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/categories?post=1718"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performerstuff.com\/mgs\/wp-json\/wp\/v2\/tags?post=1718"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}