Dragonlance The Last Trial Touring vers Fantasy musical Dungeons Dragons dnd fairy mage wizard magic
The Last Trial is a musical stage adaptation of story, based on fantasy book series Dragonlance: The Saga of the Spear by Margaret Weiss and Tracey Hickman. Music by bard-composer Anton Kruglov, libretto by Elena Khanpira, vocalist and leader of Tol Miriam band.
This video version of fantasy musical is a film-play, a recorded touring version, staged from 2014 to 2017, which opened the beginning of a new stationary form of perfomance. With the reaching a new level since 2018, the Last Trial: Reboot was delivered, which is a completely updated stage adaptation.
You can purchase video releases of musicals DragonLance: The Last Trial & Viy:
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Both authors were directly involved in the productions of musical in different years as artists. The musical was first partially presented at the Zilantcon festival in 1998. The first 2 parts were released in January 2009 as a web release. The third and fourth final part was released on 2009 in the same way.
At the moment, the story exists not only in the format of audio album. The Last Trial has passed a long and thorny path of its development, since the first performances of Lege Artis company. Starting from 2014, an updated version of Last Trial directed by Ruslan Gerasimenko was released, which was devoid of scenery and at the same time was intended for touring distant cities. Projections, aerial acrobatics are used. Since 2017, the musical takes a temporary break and the screenings are closed, in the same year the touring version was recorded as a film-play. With new opportunities in 2018 until now, a full-scale stationary production directed by Ruslan is getting a new life. This production is distinguished by the equipment of the stage with large-scale scenery, consisting of 5 fangs, freely moving around the stage and two stairs, as well as a large amount of props. The remastered version of musical included new character costumes, visual effects, orchestra , new names to actors cast and extended scenes with more complex choreography.
Since December 2022, the Last Trial: Reboot version has been closed, but all archived videos of performances from 2019 and earlier can be purchased on Stairway’s web resources and accounts, including the most recent screenings of musical with different casts, as well as concerts and various creative events with actors and directors of project.
The main differences between the musical and the original:
The fictional world of Kryn is made more monotheistic: the authors left the opposition of Darkness and Light, removing the Red component, which expresses balance. This move is intended to sharpen the problem of choosing heroes and bring the fictional world closer to the realities of our culture and psychology.
In the musical, the number of characters that do not affect development of storyline is reduced to a minimum.
All the temporal movements of heroes have been removed from musical.
Responsibility for the Cataclysm rests entirely with policy of Priest-King, without disclosing the premise that has been brewing for a long time.
The novelty of the authors of musical was the dispute between Crysania and Priest-King, as well as the presence of Crysania in the gladiatorial arena. The changes were made to expose the character of the heroine, to reveal the ideological conflict and to spice up the plot.
The Trial by Fire and the opening of Gate are combined into one scene.
The role of the Chronicler was combined with priest-king. Taking the cycle of fantasy books as a basis, the authors filled it with references to classical literature and philosophical theories.
Elena Khanpira endowed Takhisis with the features of Great Mother, embodying femininity in all its manifestations, giving and taking life, which is especially clearly seen in the songs Tango with Death and Isis under the Veil. The last form and content refers to the ancient Egyptian hymns to the goddess Isis.
She is a kind of character from the diamond chariot trend of Buddhism - with her evil actions, she spurs other characters, and primarily Raistlin, to self-improvement. It wasn’t her fault that Raistlin wasn’t up to par.
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