Non-Warlow Show Reviews

[Marie-Cris]

Because Anthony cannot be everywhere we want him to be.

So, tonight Alexa and Michael took me up to Renmark ((boo, hiss)) to see The Idea of North. I wasn't quite sure what was to be expected as the advertisements on the telly weren't exactly sticking to my mind, so I just thought it was some sort of band singing usual songs ((as Isn't She Lovely was the one they showed for the ad)). I had no idea what they were about. Well, if you haven't heard of them, now's the time to look them up. Seriously, they're good!!

The Idea of North is an Australian a'cappella / jazz quartet. I think there's been a few changes in the line-up because the girls look nothing like the ones in the album pictures, and even Nick doesn't look like the tenor we had tonight ((although it might just be because of the hair; tonight he - provided it really was Nick - looked like a slightly taller version of my nephew with browner hair)). Not sure on names I'll take a stab; Andrew ((who studied at the Canberra School of Music)), Nick ((who originated from Renmark [boo hiss])), Trish the soprano ((who has relatives in Renmark; yay S.A. *grumbleevenifitisRenmarkgrumble*)) and Naomi the alto ((whose origins are unknown to me at this stage as I haven't read the album covers completely)). Or it could be Megan. I'm going to have to check their latest album to work it out, I seriously think there's been a change.

Or that they've just aged dramatically and I'm pulling one of those names out of thin air.

Anyway, the show went rather well. All of the musical sounds were done by their voices, particularly Andrew Piper's, the bass / percussionist. He has such a darling voice!!! He should have had more songs to sing, he's wonderful; he did a wonderful job as the back-up instruments too, of course. They had lovely harmonies, they stuck to each other's timing ((well ... mostly)) and they covered the sad, the hilarious and the in between. They did a fantastically hilarious "cover" *giggle* of Bach's Fugue ... uh ... number 2 ... for clavicle ... umm ... Book 1 ... I ... can't quite remember the details ((or even if I got that right)) but it was brilliant. It was the only time they didn't exactly use their voices; they used bazookis ((I think that's what they're called)). They went from the fugue and somehow launched off into the Muppet Theme Song, ending with a vocal drumming provided by Andrew. They were clever, they were brilliant and funny, and they were able to move me with their harmonies despite the fact they were singing a Psalm ((I'm not religious, remember?)).

There was a bit of pitchiness on occasion, but apart from that they performed well. There was a bit of an interruption in the audience when some mechanical voice started talking towards the back; I think someone must have tuned in to the radio frequency of the helicopter that eventually landed on an oval some time after the show. This didn't stop them though. I noticed Andrew glancing towards the voice in a slightly nervous manner as they began the next song ...

Yes, I confess, I had my eye on Andrew. As proven, low notes are ... well ... let's slap on the kiddie censorship and say moving. And it's no surprise that I generally tend to look at the older men ((Warlow, Terrence Mann, Tim Curry, Richard O'Brien ... I have a whole list, people)). I so would have loved his autograph. Sadly they did not come out for CD signings and I couldn't exactly drag Alexa and Michael to the backstage door like I can my mother.

Oh, and during The Unfortunate Tale of the Country Chicken ((umm ... it's something you have to hear to understand)) two girls in the front row were struck by the hilarity so much that they were practically paralysed and they fell to the floor.

Now that was a good reaction.

A bit of plugging now ((because I'm sure this review of mine covered absolutely nothing)). You can hear The Idea of North at their MySpace and find out more about them at www.idea.com.au. If you like what you hear you can get their CDs ((supposedly)) at ABC Online, JB HIFI, Sanity ... umm ... I'm not sure where else, actually, but I'm sure they say it on their site somewhere.

I'm happy that I've finally got an a'cappella copy of People Get Ready; I heard a purely vocal rendition of it as a kid but never knew where to find it, and thankfully they've done it! They didn't sing it tonight, unfortunately. They did do Fragile, which is on their MySpace, and ended the show with Jackie; the story of a saxophone playing mouse. Oh, and I simply must mention this: They did a rather beautiful rendition of When She Loved Me from Toy Story 2; this was perhaps the only "solo" Trish had tonight; they did this song far better than the film version.

Hmm ... they don't seem to have their latest album listed on the site, they've only got up to last year', but I'm sure that will get updated.

ANYWAY, I'll stop rambling now. Listen to their songs, take the chance to see them if they come your way. They've recently come back from Korea so I don't know how long it will be before they go overseas again, but everyone, if they come your way DON'T MISS THEM!!

...

Now, let's hear some other show reviews.

[neh]

Sadly, i haven't seen any shows of late - although all that will change once September hits, coz in addition to Phantom i'm seeing Miss Saigon and Josh Groban. With regards to the former, i shall post some reviews from it's Melbourne run - i'm really looking forward to seeing it and no doubt making an idiot of myself by sobbing like crazy in the second act! I figure if for now i can't give my own reviews of soemthing, i can at least provide the opinions of 'professionals'

Boublil and Schonberg's Miss Saigon ran for more than 10 years at Drury Lane and on Broadway. But no Melbourne theatre was large enough to stage the original production, which was staged in Sydney 12 years ago at the Capitol Theatre. It's here at last - and it's hard to believe, seeing it, that this is a scaled-back version.

The musical adapts the plot of Puccini's Madame Butterfly to the Vietnam War. Kim (Laurie Cadevida) is a Vietnamese girl who flees to Saigon after her village is destroyed. On her first night at a brothel run by the ruthless Engineer (Leo Tavarro Valdez), she meets Chris (David Harris), a disillusioned American GI. They fall in love, move in together, are separated by the chaotic evacuation of the city.

Unbeknown to Chris, Kim bears his son. She escapes Communist Vietnam with the Engineer and her child, after killing Thuy (R. J. Rosales) - the man her father had promised her to. Back in America, Chris marries Ellen (Sophie Katinis), and learns of Kim's fate. Chris and Ellen travel to Bangkok, where Kim now works as a bargirl. Shattered by the revelation of Chris' new love, Kim's response bears major consequences for their son.

Miss Saigon combines the best features of opera and big-budget musical. It's through-composed, like Phantom of the Opera, and it partakes of opera's sublime emotive concentration. But there's also plenty of razzle-dazzle, slick choreography and Broadway chorus numbers.

There are some magnificent performances. As the lovers at the heart of the story, Cadevida and Harris really turn up the heat. You believe every moment of their love, snatched from the jaws of a tropical hell, and evoked through a series of fabulously pure yet sensuous duets. The tragic resolution is made more devastating by their compelling chemistry.

Valdez as the Engineer is a slimy, capitalist soul, a villain of Dickensian proportions who makes the stage his own in a number of showstoppers, notably The American Dream, where he leads a chorus of Marilyns and Fred Astaires. Juan Jackson as Chris' friend John has immense presence and a powerful tenor to match.

Indeed, the entire ensemble is vastly talented, and director Laurence Connor has them running like a well-oiled machine.

In terms of pure spectacle, the production is ravishing. One number takes place under a golden effigy of Ho Chi Minh, with an Asian dragon, Uncle Sam demons, ribbon dancers and acrobats. A helicopter, dashingly achieved through digital animation, descends on the security wire of the American Embassy.

Adrian Vaux' sets glide in and out like the stuff of dreams. There are lanterns and bamboo decking and the tawdry neon of Bangkok girly bars; sunsets and shanties and the seedy glamour of Saigon. With this show, the various designers (too numerous to name) have reached the pinnacle of technical accomplishment.

Sumptuous, visually spectacular, dramatically and musically assured, Miss Saigon is a knockout. Tickets to this lavish entertainment are the hottest property in town. Don't miss out.


And another one

Twelve years after its Australian premiere in Sydney, Cameron Mackintosh’s Miss Saigon has finally arrived in Melbourne. And it was worth the wait.

The original extravaganza was too big to stage in any theatre in Melbourne at the time and what we have now is a re-working, (not a scaled-down version Sir Cameron stresses) of the original. It may have been pared back but it is a stunning production of a moving story, relentless in its intensity.

Set during the dying days of occupied Saigon and the Vietnam war, it is essentially a tragic tale of love - a young and innocent Vietnamese girl falls in love with a handsome and sensitive American GI only to be cruelly separated by circumstances. The GI must later face the consequences of his actions in Saigon, and like the war itself, no one wins.

This production rarely puts a foot wrong. While the stage design may be less extravagant than the previous production, it is not spare and marries beautifully with Laurence Connor’s strong and effective direction. The sound design by System Sound guru Peter Grubb is a triumph. Visually this work is amazing, designed by Adrian Vaux and Gerald Scarfe. The arrival‚ of the helicopter in the second act is genius and literally rocks Her Maj to her foundations.

Without exception, this is an outstanding cast. From imports Laurie Cadevida and Leo Valdez to locals David Harris, Sophie Katinis, Christina Tan and RJ Rosales. These singers are passionate storytellers.

As Kim, Cadevida has a sweet, pure voice capable of knocking you back in your seat one moment and drawing you out of it the next. The actor takes us on a truly incredible journey on stage. She is a revelation. I'd Give My Life For You is intense and heart wrenching and her duet I Still Believe with Katinis sensitively highlights the complexity of these characters.

Katinis is excellent and succeeds in winning our sympathy, though our hearts are with Kim. Leo Valdez, a Phillipino star of stage and screen, relishes his role and captures beautifully the exploitative and cynical attitude needed to survive the horrors of his life.

David Harris is becoming Melbourne's newest leading male star. Earning his stripes with wonderful performances in The Full Monty and Thoroughly Modern Millie, he excels here as the angry and conflicted American GI. Harris handles the difficult and conflicted Chris with both charisma and boundless energy.

While vocally Miss Saigon is a joy, it is the quality of the acting that prevents the production from lapsing into melodrama both from principal and ensemble that wholly inhabit their characters.

Juan Jackson lends his operatic baritone to a simple and moving choral version of Bui Doi supported by a richly toned male ensemble.

Special mention must be made of the young actor playing Tam, which on Wednesday night was played by Adrian Le (on any given night the role can be played by one of eight children). He spends much of his time being grabbed, clutched and dragged around the stage and always remains present and stoic.

Guy Simpson once again excels in his leadership of a fine orchestra.

This production is of Miss Saigon is a triumph of style and substance and is not to be missed.


And just coz i saw it earlier in the year and shared the bootleg with y'all - here's one for OA's Sweeney Todd

This production of Stephen Sondheim’s bawdy, bleak and bloodthirsty operetta, Sweeney Todd is staged in the subterranean depths of a frightful London. It’s the same hungry milieu in which Oliver! takes place, but without the treacly redemption and child stars. Gale Edwards’s production, sustained by an energetic and talented cast, is funny, pacy, and unsentimental. The tale of the demon barber of Fleet St is an old one. The stuff of penny-dreadfuls in London in the 1840s, the story was picked up by Stephen Sondheim via Christopher Bond’s 1973 play. Early versions of the story treated Sweeney Todd as the incarnation of the amoral criminality of London during the Industrial Revolution, one of the ferocious faces of a latter-day law and order campaign. Sondheim’s Sweeney is no less amoral – ‘freely flows the blood of those who moralise,’ the opening number, ‘The Ballad of Sweeney Todd,’ reminds us – but the amorality of the lead character is a mirror to the deficient society in which he finds himself. Monstrous social inequality is given no reprieve here: individuals are venal and self-interested; justice is craven; poverty, insanity, incest, depravity and cannibalism are rife. ‘There’s a hole in the world like a great black pit,’ Sweeney sings, ‘And it’s filled with people who are filled with st.’

Our hero has finangled his way back to the sordid familiarity of London from the distant hell of Botany Bay, fourteen years after being transported thence by Judge Turpin, a lascivious official with eyes for Sweeney’s beautiful wife. Returning to London in the company of Anthony, a perky and naïve young seaman, Sweeney recquaints himself with one Mrs Lovett, his erstwhile neighbour, admirer and purveyor of the worst pies in London and, reunited with the tools of his trade, flashing razors which cast eerie reflections across the stage to great effect, fixes on a bloody and thorough revenge. The garrulous Mrs Lovett reveals to him the bitter truths of his absence: Judge Turpin seduced and raped Sweeney’s wife, who then committed suicide, Sweeney’s daughter Johanna lives with the Judge as his ward. Livid, razors held aloft, Sweeney’s desire for vengeance is redoubled. When Sweeney is prevented from slitting the Judge’s throat (by young Anthony, who has, of course, fallen head over heels with the blond and beautiful Johanna, captive in the Judge’s tower), his vengeance fantasy billows and he sets forth to indiscriminately kill all the poor sods who find their way into the barber’s chair: ‘We all deserve to die,’ he sings. When justice is taken in hand by the citizenry, the results are, apparently, neither glorious nor enobling.

Mrs Lovett recognises the influx of cadavers as a source of fresh meat for her pies and perhaps the most lucrative and macabre small business collaboration ever staged is set in train. Unsuspecting young gents clamber into the chair for a shave, their throats are slit and heave ho!, with a flick of a lever, they are dispatched to the kitchen below, a morbid spectacle of efficiency. On stage, as off stage, however, the revenge plans go awry. Sondheim dispenses with redemption in the bloody denouement of the tale. The denizens of Sondheim’s London, unlike those of Dickens’s, serve ‘a dark and avengeful God.’ Vengeance is equated here not with righteousness but with a bloody and perverse salvation. Fair enough, too. Eternal damnation in the fires of Dante’s hell seems like quite a good option compared to this dystopian vision of Sweeney’s London.

Peter England’s marvellous set, heavy with cogs, pulleys and lost alleyways expresses the incessant machinery of the labyrinthine city; the revolving set transforms Mrs Lovett’s pie shop and Sweeney Todd’s tonsorial parlour into a lunatic asylum, the offices of corrupt justice, and a lover’s balcony with a sinister, creaking ease. The set – equal parts Metropolis and Dickens – establishes the tone of the production; its movement drives the production inexorably towards its close. The bleakness of the proceedings is tempered by the wit of Sondheim’s book. A delirious carnival of puns, slapstick gags, and vaudeville set pieces keep the laughs flowing along with the blood, in the tradition of Swift, Sterne, Brecht, grand guignol and cabaret. The music, under Julia de Plater’s direction, is razor-sharp. Dreadlocked, leering, and grotesque, the chorus is particularly impressive, fairly spitting commentary at the audience.

Edwards’s two leads – Peter Coleman-Wright (Sweeney Todd) and Judi Connelli (Mrs Lovett) – make an excellent match, visually and vocally. Sweeney is played as a grim automaton, ‘a perfect machine,’ by Coleman-Wright; his voice quivers with an ominous, just-restrained fury, his precise intonation mirrors the focus with which he prosecutes his revenge. Connelli’s cabaret stylings render Mrs Lovett a frowzy delight, a dreadful comic counter to the oppressive presence of Sweeney. The burgeoning relationship between Anthony and Johanna softens the gloom onstage. In a tale about ‘man devouring man,’ ‘about who gets to eat and who gets eaten,’ the romance strikes me as incidental and certainly far less engrossing than the messy business of revenge. Next to the morbid charisma of Coleman-Wright and Connelli, the fresh-faced performances of Alexander Lewis and Antoinette Halloran seem incongruous and a little insipid. For the most part, however, the supporting roles are played with aplomb. Kanen Breen as mountebank barber, Pirelli, is a camp and melodious delight and Rodney Dobson’s shrinking, cowering Tobias suitably ghoulish.

If schoolyard tales about stray cats and rabbits aren’t enough to make you think twice before sinking your fangs into a meat pie, Sweeney Todd just might. This is not a cheery production, and nor should it be. What it is is a taut rendition of Sondheim’s witty, inquiring score, distinguished by an exuberant cast and excellent design. In sum, all the necessities for a very enjoyable grim night at the opera.

[cirque]

Well on Sunday I wasn't working so went with the family to see Priscilla the Musical...

This show is PHENOMENAL.. everything about it! The Costumes, the singing, the BUS! I love that it doesn't just copy the movie it totally reinvents it. The cast is superb, Tony Sheldon STEALS the show as Bernadette, and Daniel Scott is a REAL find as Felicia. There are so many great moments in this show, my favourites being Collette Mann as Shirley the bar hag singing I Love The Nightlife, and the infamous ping-pong ball scene getting a musical make over with Cynthia singing "Pop! Muzik". Please do yourself a favour and SEE this show, its not just a great piece of theatre, it is also ENTIRELY Australian, and we really need to support Australian made musicals!

[sanderella59]

Working my way through all the threads on the last day of my hols before my ph-Antasy world turns back into a pumpkin and some mice (get the Cinderella/Sanderella reference?). Am going to see Idea of North on Saturday night in Hobart. *dance*
I did a workshop with them when they were in Hobart for Festival of Voices in July 2005 and they were brilliant and great fun to work with! Have seen them perform 3 times since then and enjoyed each one. I agree with Mar about Andrew Piper's bass notes. You can feel them vibrating in many parts of your anatomy!

ION are performing with our Southern Gospel Choir on Saturday. Gospel Choir is affiliated with the UTAS Conservatorium and my eldest son (the Ant-ish baritone) sings with them. FYI, Trish Delaney Brown, the usual soprano for ION is having a year's maternity leave so is being replaced. The current Alto is Naomi Crellin who incidentally my youngest sister used to babysit when she and her parents lived in Hobart. Both her parents are musicians and played with the Tas Symph Orch for a few years. My sister was at the Con studying violin so she babysat a lot of muso kids.
incidentally, for all you singers out there, Festival of Voices is a great time in Hobart with adult choirs from all round the country meeting in mid-winter for concerts workshops, bonfires, red wine and lots of fun and laughter. My choir and a choir from Brisbane were out at dinner in Salamanca Place after a concert one night and someone started singing something and we ended up having that restaurant scene from My Best Friend's Wedding where we just all started singing and then the patrons wouldn't let us stop and another Italian Community Choir also there joined in and we had an impromptu duelling choirs. it was the best fun.

[Marie-Cris]

You're singing with ION?!



((I so need a tantrum smilie))

I've only worked with Julie Andrews, David Thelander, Deborah Carr, Pout-Purri and Timothy Sexton. It's not fair! Truel 'tisn't!



Sorry about that folks, feeling a bit worn since I've been burning a DVD since 8 this morning and it's only now up to 44%. Forgive me.

[neh]

Ok, first of all Mar, you just said JULIE ANDREWS!!!!!!!!!!!!!!!!!!!!! YOU'VE WORKED WITH MARY POPPINS/MARIA VON TRAPP/ELIZA DOOLITTLE?!

Secondly, i hope whatever dvd you were burning is certainly worth it, you poor thing!

I should just jump in and say that over the past month/two months, i have seen Miss Saigon and Josh Groban and both were excellent - there, that's my review, for now at least!

[Marie-Cris]

Whoops. Typo. Julie ANTHONY.

[sanderella59]

By the way, going to see Idea of North tonite. Will give review tomorrow. Gotta rush. dinner before show.

[sanderella59]

Just got home. Couldn't wait for tomorrow to do review as I am always on such a high after I see them. Trish Delaney Brown, as I said is on maternity leave (she had a baby boy a few days ago) and was replaced by Sally Cameron. While I'm sure she is a very talented singer, she didn't have Trish's ethereal presence, beauty and voice so the whole thing was different, not bad but different. Her upper register was powerful but she had slightly flat intonation so didn't soar as effortlessly as Trish does. Still, it must have been an awesome job for her to come into such a well established group and learn such a huge repertoire so hats off to her for that. My favourite pieces were 'Fragile' 'When she Loved Me' and 'The Unfortunate Tale of the Country Chicken'(written by Andrew Piper) very very funny and cleverly done.

Andrew and Naomi are still my two favourites, even though Nick begbie is cute in a dorky way. I, like Mar, just love the sensuousness of deeper notes. Both voices are like caramel they are sooooo smooth. Can anyone else think of someone with a voice like gooey caramel (For I have got a crush, my baby, on you ooooooo (an octave down).

It's funny because I am actually a soprano but give me an alto or a baritone any day. Maybe it's because I secretly wish to just use my chest voice. It's such an effort changing to head voice!!! There you go Neh, altos rule!!!! *dance*

The bestest bit of the whole night was that I was one of the three people in the audience of 500 to win one of their new DVDs that this tour is promoting (recorded at Brisbane's PowerHouse). YAAAAAAY. Never won anything in my life. For those of you not familiar with The Idea of North, do yourself a favour and pick up the DVD. ($30 at ABC shops) Just listening to CDs doesn't do them justice because their concerts are so funny and they are just amazing to watch. Must away to bed. Might have to take a gin and my ipod with me to settle me. AH gin..... a mothers ruin. Don't care for the taste much so drink it very quickly hehehehehe Here endeth the review (with associated ramblings)

[Marie-Cris]

Oh congrats on the win! Michael and Alexa picked that DVD up when we went to see them; it is awesome people ((for lack of a better word)).

Congrats to Trish's baby boy!

Oh yes, those of the lower registers hit off as more sensual in my books - yes, I adore that final note on I've Got a Crush On You!! *has a Warlovian fan-girl moment, fans self off* And the ION songs you mentioned are my top 3 favs as well! After hearing them sing those songs I've been conspiring to sing them ((well, Fragile and When She Loved Me, at least )) and I've managed to track down the guitar chords for Fragile and learn it! Of course I don't do it as well as they do, but I gotta start somewhere, eh?

Oh dammit. Now I really wish I HAD gotten Andrew's autograph.

[sanderella59]

At least you have the ability to accompany yourself. I really envy that. My parents, in their infinite wisdom, decided I wouldn't have the patience (pink tights moment) or the perseverence to ever learn an instrument, curse them, so I never learned. As a consequence, my lack of music theory and inability to sight read well is a real handicap. Luckily I have a very good ear so can learn stuff we sing fairly quickly and I can sight read well enough to muddle my way through (except when we do Palestrina. I suck at the complex rhythms). The other thing I've recently discovered is that I don't actually ever count beats because of my lack of music theory. I actually feel it on the inside. Cool, eh. Anyhow, the actual point to this ramble was that I would give anything to be able to accompany myself singing and I really envy those who can. Sometimes wandering around the house singing to yourself and hearing the accompaniment in your head doesn't fully satisfy!

[Marie-Cris]

It's never too late to learn; I'm teaching my mother how to play and she's getting the hang of it. I have a bit of a complex with sight reading; I can, but body refuses to do so. That doesn't make sense, I know. I generally go by what I hear as well; with guitar it's pretty much easy because they show you the name of the chord and then they ((or at least some of them will)) show you where to place your fingers in order to create that chord; you don't really have to look at much sheet music with popular-range songs ((Fragile, Sound of Silence, et cetera)), you just have to strum ((and / or pick)) and at least know the melody enough to sing along to it.

I do admit learning more complicated guitar pieces is a bitch; even the piece I composed for composition class is hell to play for me, and it's not even that flash.

[sanderella59]

Just got back from a performance of Faure's Requiem for All Soul's Day (sort of a commemoration of the dead). For those who don't know this piece, it is the most incredibly moving piece and always reduces me to tears (especially tonite as ex motherinlaw died on Tuesday and Alex was really upset though he did fly to Perth last weekend to see her).
My son Alex has on occasion done the baritone solo for the Requiem (and I, like every soprano had the Pie Jesu in my repertoire) and he has also sung it as part of the TSO chorus (sorry, Tas Symphony) and Teddy Tahu Rhodes and Sara McLiver. Met them both at the pub after the performance as I know a few of the orchestra members and was invited. Sara is gorgeous and Teddy is to die for to look at. I talked to him for a bit but got a crick in my neck as I am 5 foot and he must be 6 and a half at least. I'm sure he fancied me (lol) but the logistics were insurmountable. I could have put a bucket on his head and hung from the handle but I think some of the romance would have been lost!

[phantomangel]

not particularly a review but they have cast the leads for wicked

Glinda- Lucy Durack and Elphaba-Amanda Harrison.

[lauren]

im actually rather excited to see it, me and bec are gonna go, if she comes back from the beach alive!

[killerbananas]

I've got the soundtrack- it's far better than I thought it would be...

And Loz, unfortunantly for you I've returned alive.....I almost fell in the harbour this morning, but I'm alive! *imagines Ant's purring* XD

[Marie-Cris]

Oh, that reminds me, I've still got his purring ringtone to make.

I shall work on it tonight ...

...

... once I've killed Wendigo. ((Yes, I'm still playing X-Men 2: Wolverine's Revenge))

[killerbananas]

I love the scream, except for when it goes off on public transport....that was a little embarrassing! I'd pay for a purring one though! And the heartbeat.... that would be one antasmic phone XD

[Marie-Cris]

The Alive heartbeat? My nephew wants that bit too ... for his keyboard. ?! I think I'll do that too.

I'm still trying to figure out how to make my ring volume extra loud ((I've already got it on the highest but it's not enough)) so that when I'm out in public it IS heard by everyone.

[killerbananas]

You should have seen the looks I got as I dug a screaming phone out of my bag- the first thing I said when I answered was "This Jekyll & Hyde ringtone is way too loud" so that they knew I wasn't some sadistic serial killer who recorded the screams of my victims or anything XD

[Marie-Cris]

But being thought of as a sadistic killer is fun!

Especially if you're in the toddler's section of Toy Kingdom looking for a nephew's birthday present. XD

[lauren]

now thats an idea, so now i can kill by bloodtype then reccord the screams of my victims... *wanders off to write crime novel* lol

i think i need a new phone as well as computer screen lol

[Marie-Cris]

Try to get one that lets up upload music from your CDs; you can splice the audio using the basic Sound Recorder program on Windows or download Audacity ((very useful; it also converts audio files)) and then et voila! Ringtone!

[killerbananas]

I love Audacity- my uncle's a muso and he recommended it to me when I was doing music performance (worse subject decision I ever made)- I've only kept it on the computer because its excellent for splicing music.

[unwinding_fantasy]

Oh my God, you've just given me so many thoughts for ringtones. How I wish I could've recorded Ant's, "Damn you! Curse you!"

Can you imagine digging that phone out of your bag? XD

[Marie-Cris]

Oh yes ...

Another reason why the petition must work!

[Marie-Cris]

Probably not ...

Although I can do what I did when we went Christmas shopping in the Berri Mall *pfft* and keep playing it ((I did that with his O Holy Night))