Author: Skylar Mason

Review: ‘Pretty Woman’ musical has glossy surface, but no substance

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Review of “Pretty Woman: The Musical.” Attended touring production at Keller Auditorium in Portland, OR on June 4, 2022.
Creator: Hulton Archive | Credit: Getty Images
Copyright: 2012 Getty Images

Adapting the 1990 classic film “Pretty Woman” to the stage is a high-risk, high-reward scenario.

There are so many devoted fans — people who’ve seen the movie 50 times and can quote every word — that you have a built-in audience who will shell out for tickets. But the flip side of that is that any adaption will be compared frame-for-frame with the movie and if it comes down to Julia Roberts v. You….. that’s not a case you’re likely to win.

I’m not among the film’s devoted fans. It came out before I was born and I’ve only watched it once during my mom’s annual Christmastime film festival, “I Can’t Believe You’ve Never Seen This Movie from the 80s or 90s, We’re Putting It On Right Now.” So I went into the touring production of the musical with few expectations.

I’ll start with what I liked about it, and then explain why I think that was actually the show’s biggest mistake.

The positive: It’s fun. It has bright sets and costumes, cotton-candy-flavored-slushie sweetness, big ensemble musical numbers about following your dreams and uncomplicated kisses cementing the love of two characters destined for each other. There’s a lot to be said for a fun musical, a reminder that theater can whisk us to another world for three hours and leave us smiling and humming.

The problem is that “Pretty Woman” shouldn’t have been that musical. Because yes, it’s technically a Disney movie with a happy ending, but the premise is darker and the stakes are higher. The emotional impact of the story comes from a Vivian starting off penniless in Hollywood opulence, trying to scavenge enough money to pay rent through sex work that is both physically and emotionally taxing. Her journey, which could have been explored through solo ballads as she grapples with this newfound wealth and status at the expense of her values, is instead glossed over with a Cinderella treatment that immediately discards all the problems she faced, with no effort or contemplation on her part. We don’t see Vivian’s inner dialogue during this lifestyle whiplash.

It’s also a pet peeve of mine when the protagonist (and this often ends up being a female protagonist) is essentially carried along through the plot by the actions of others. This musical doesn’t give Vivian enough agency to make her feel like the hero. (As if they realized this at the eleventh hour of the writer’s room, they tacked in the line from the movie, “She rescues him right back,” even though Vivian didn’t do anything except wait for Edward to discover the concept of empathy.)

If the musical followed Vivian’s story from her point of view, looking inward and giving her room to grapple with real problems and real emotions, it wouldn’t be PG-rated. It would probably have to cut out some of the ensemble numbers that had the energy of a high school pep rally. Some patrons might be upset that it steered away from the movie. But it would have been more engaging and overall fulfilling when it reached the happy ending.

Here’s where I caveat that my complaints are with the book and music, not with this particular production. The touring cast was talented, fun to watch, and executed the source material as well as I think anyone could have. I look forward to seeing these actors again in other shows where they can dig beyond the surface and demonstrate their full abilities. This just wasn’t it.

Public Relations Campaign: Best Friends Animal Society

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In my Public Relations Campaigns class during the fall 2018 semester, my partner (Nisa) and I were assigned to develop a proposal for a comprehensive integrated communications plan. We were assigned a real client, although we were not affiliated with the organization. Our client was Best Friends Animal Society.

I took this photo at Best Friends’ annual “Strut Your Mutt” event, which we attended as a part of our research.
And also to pet a bunch of adorable dogs.

Here is a selected portion of our plan, where we detailed the goal, objectives, strategies, and tactics we suggested Best Friends implement based on thorough research and analysis.

The “Meet Your New Best Friend” campaign utilizes multimedia content to increase awareness and attendance at events. The campaign’s goal is to bring more people into the awareness and evaluation/intent stages of the marketing funnel, hoping to bring them to events and reach the conversion stage.

The theme in this campaign is that an adopted pet can be your long-term companion and friend, and the relationship can benefit both you and the animal.

Goal: To increase overall awareness of and participation in Best Friends’ various animal rescue events/fundraisers.

Objective 1: To increase regional event attendance to 100 participants per event by the end of 2019.

  • Strategy: Develop online video series for animal lovers featuring footage of adoptable animals and event information to be shared via all main social media channels monthly.

Tactics:

  • Pick six adoptable animals and feature their stories through photos, videos, and interviews with their caretakers.
  • For each animal, produce a two-minute video sharing their story. At the end, include a call to action to register for a local event. (In the video and post, include a URL that directs users to the Best Friends website where they can search by zip code to find an event near them.)
  • Post videos to Twitter, Instagram, Facebook and YouTube.

Objective 2: By the end of the year, conduct events with five local animal shelters in states with worst animal homelessness problems to expand event possibilities.

  • Strategy: Develop a working relationship with select local animal shelters. Plan collaborative events that directly address animal homelessness.

Tactics:

  • Identify geographical areas with above-average rates of animal homelessness
  • Contact local shelters in those areas and arrange meetings with key stakeholders
  • Interview them about their community’s situation and needs
  • Develop events that address those needs, and co-host them with the local shelters

What ‘All the President’s Men’ can teach us about journalism and politics in 2018

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This piece was written for my Arts Journalism class. The assignment was to write a 700-800 word analysis of the movie “All the President’s Men” in the context of 2018 politics. I submitted the story on Nov. 5, 2018 and received a grade of 100 percent.

“Nothing’s riding on this except the, uh, First Amendment to the Constitution, freedom of the press and maybe the future of the country.”

Ben Bradlee (played by Jason Robards) offers this quip to reporters Carl Bernstein (Dustin Hoffman) and Bob Woodward (Robert Redford) in the 1976 film about the Watergate investigation, “All the President’s Men.”

He urges the two reporters to check and re-check their facts before publishing their story, because it will rock the government and shake the future of America. (Which it did: the scandal led to 69 indictments, 48 sentencings, and Richard Nixon’s resignation.)

Aside from the very 1970’s hairstyles and rotary phones, the story rings true today. Here are three takeaways from the movie that apply to modern journalism:

  1. Reporting is a painstaking, unglamorous process

For some reason, many people think reporters just hit speed dial, talk to the president or their insider CIA agent, and write a 12,000-word piece with the facts from one or two sources. That couldn’t be further from the truth.

“All the President’s Men” offers a glimpse of the amount of cold calls, research, problem-solving, independent verification, writing, rewriting, and editing necessary for even a 200-word story. Yet even the movie cuts corners, by necessity: it had to boil thousands of hours of work into a two-hour film.

The audience also gets to “cheat,” in a sense, because they know that something big is going to come of the investigation. The reporters at the time had no guarantees that any of their work would mean anything. Often reporters spend months tracing a lead that doesn’t even merit a story. Yet they press forward, because that’s their job.

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A behind-the-scenes look at Phoenix Theatre’s riveting new production of ‘Fun Home’

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This long-form feature was written for my Arts Journalism class. The assignment was to write a piece of 1200 words or more about an arts-related event or subject. I chose to write about a local theater production of “Fun Home.” I submitted the story on Oct. 12, 2018 and I received a grade of 100 percent.

Photo courtesy of Reg Madison Photography

The title “Fun Home” conveys a sense of lighthearted wholesomeness. An ode to the 60’s or 70’s when families would gather around the dinner table for a chicken roast before congregating in front of a small TV to watch “Happy Days.”

When it’s revealed that “Fun Home” is short for “Funeral Home,” however, it takes on a grave new meaning.

That shift is at the heart of “Fun Home,” a musical that bounces between light and dark themes to explore the life of one woman through three time periods. The show opens at Phoenix Theatre this week.

Phoenix Theatre Associate Artistic Director Robert Kolby Harper is directing the production. He said the show is “a redefinition of what musical theater can be.”

“Many musicals don’t deal with universal themes,” he said. “They’re thought of as pure entertainment: ‘Take me away, make me feel happy.’ This does the same thing, but it’s satisfying.”


“She views her character, even though she happens to be a lesbian, as a human being first. If we all viewed each other like that, we’d realize our differences are way less than you imagine, less than our similarities.”


Robert Kolby Harper,
Associate Artistic Director at Phoenix Theatre
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Hearing Down Under: Making Music with a Cochlear™ Baha®5 Sound Processor a Part of the Journey

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This article was written for Cochlear Hear and Now and published on Aug. 20, 2018.

Greetings from Sydney!

I’ve been on the road for about six weeks, and so much has happened. Two weeks ago my sister flew back to the United States—which means I’m officially traveling solo. Right now I’m staying in a backpackers’ hostel attached to Central Station. I’m right in the heart of the city and it’s been so exciting to meet locals and other travelers! Experiencing music with a Cochlear™ Baha® 5 Sound Processor has been one of the major highlights on this trip. Here’s a breakdown of how my Baha 5 Sound Processor helps me hear every note:

Rock Concerts

When we were in Adelaide a few weeks ago, our hosts invited us to attend a concert with them. Their nephew is the guitarist of a popular band, which was performing a sold-out show. (Luckily he was able to get us in!)

Because I knew it was going to be in a standing-room-only venue with lots of dancing and jostling, I made sure to wear my Baha® Safety Line in case my processor was dislodged.

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Cochlear™ Baha® 5 recipient Patrick S. shares his experience playing soccer on the USA Deaf Men’s National Team

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This article was written for Cochlear Hear and Now and published on Oct. 21, 2018.

Soccer players must work together to defend their territory, move the ball forward, and predict the opposing team’s moves—all while working against the clock. In order to succeed, they need to communicate.

When all the team members are deaf or hard of hearing, communication takes on a whole new meaning.

Meet Patrick S., a Cochlear™ Baha® 5 recipient and defender on the USA Deaf Men’s National Soccer Team. His passion for the game has helped him find a community of likeminded players who inspire him to learn and grow—both on and off the field.

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Estrella Jail inmates find a voice to tell their stories through Gammage’s Journey Home program

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Article and photos by Skylar Mason

This article was written for The State Press and published on April 5, 2016.

A young woman, probably in her late twenties or early thirties, takes a few nervous steps toward the audience. Tattoos cover her arms and neck, and “SHERIFF’S INMATE- UNSENTENCED” is printed in bold red letters across her black-and-white striped uniform. She clears her throat, glances around the room and begins to sing.

“I’m not the average girl from the video / And I ain’t tan like a supermodel / But I’ve learned to love myself unconditionally / Because I am a queen,” she sings.

Her voice starts quietly, then builds as the women around her smile in support. When she finishes the song, 12 other inmates join her in a circle and take turns reciting lines in a group poem about self-worth and community.

This isn’t a normal event at Estrella Jail, a Maricopa County facility that houses approximately 1,000 inmates, predominantly female. On Saturday afternoon, the 13 inmates gathered to present their capstone performance as a part of Journey Home, an arts residency program facilitated through ASU Gammage.

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​The Acting Company to bring two touring productions to the Valley with company’s first all-black cast

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The tour includes performances of Shakespeare’s ‘Julius Caesar’ as well as a new play about the life and assassination of Malcolm X, titled ‘X’

By Skylar Mason

The cast of "X Or, Betty Shabazz v. The Nation," by Marcus Gardley, directed by Ian Belknap. Produced by The Acting Company

Photo courtesy of T Charles Erickson

This article was written for The State Press and published on Jan. 31, 2017.

In the midst of a tumultuous transition of political power, the arts have a unique ability to put today’s events into the context of history.

That is the belief of The Acting Company, a New York City-based theater company bringing its two latest productions to the Valley this week: Shakespeare’s “Julius Caesar” and Marcus Gardley’s new play about the assassination of Malcolm X, titled “X.”

Lisa Gutting, The Acting Company’s director of education and development, said at their core, the two productions—while set in completely different time periods—have similar themes.

“There are interesting connections on … why a man rising to power is being taken down in an assassination (and) the conspiracy theories that then come forth,” she said. “We hope the audience will make connections to what they’ve seen onstage and want to know more, to do their own historical digging into both Julius Caesar and Malcolm X.”

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Making strides: How ASU’s Museum of Walking creates art through movement

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Associate art professor Angela Ellsworth brings her interest in contemplative walks to campus

Article and photo by Skylar Mason

This article was written for The State Press and published on Nov. 11, 2016.

Every day thousands of students rush from one end of campus to the other — whether on foot, skateboard or bicycle. They bump into and swerve around one another, many plugged in and listening to music or scrolling through Instagram while they move. It’s easy to fall into the motions and spend the lengthy commute preoccupied with a hundred distractions.

What if everyone took a moment to pause, set down their phones and pay attention to the simple act of walking?

Associate art professor Angela Ellsworth established the Museum of Walking at ASU to explore that question and more.

“We’re living in a time where everything is so fast,” she said. “We’re pulled in different directions from our phones, computers and all these devices that are constantly pulling and throwing things at us. Our environment is doing that too. So I feel that more than ever, (it’s important) to return and pay attention to our bodies and slow down.”

Ellsworth co-founded the Museum of Walking in the spring of 2014 with intermedia student Steven J. Yazzie as a way of combining their backgrounds in the arts with their interest in movement and contemplative walking. Yazzie graduated from ASU in 2014 and went on to focus on digital video projects, so Ellsworth has since taken over responsibilities as the museum’s director. 

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Why Louis C.K. is Wrong to Take the Stage

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This piece was written for my Arts Journalism class. The assignment was to analyze Louis C.K.’s controversial return to comedy in less than 500 words. I submitted the story on Sept. 5, 2018 and received a grade of 100 percent.

Photo courtesy of Kevin Mazur/Getty Images

“I have spent my long and lucky career talking and saying anything I want. I will now step back and take a long time to listen.”

That is how Louis C.K. ended a statement released last November, after he confirmed reports that he had masturbated in front of at least five women in the comedy community. While (as many critics pointed out) he never included the words, “I’m sorry,” the tone was vaguely apologetic.

Less than a year later, he is back onstage. He did a 15-minute set– unannounced– at the Comedy Cellar in New York on Aug. 26. He chose not to comment on recent events, instead focusing his act on “racism, waitresses’ tips, (and) parades,” according to the club owner.

This begs the question: how long is “a long time”? The #MeToo movement is so recent that there’s no standard for how much time perpetrators should take before stepping back into the public eye.

Sure, we could choose an arbitrary length of time. Six months, a year, five years, never…. But every #MeToo situation is different, and there’s no “one size fits all” answer.

Instead, we need to look at the perpetrator’s actions during that time. Have they actually demonstrated repentance and learned why and how their past actions were wrong? Have they used their power in the industry to support the people they have hurt? What steps are they taking to put an end to these misogynistic practices?

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