Mood Whiplash/Theatre: Difference between revisions

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** Going in the other direction: "Proceed, Solinus, to procure my fall / And by the doom of death end woes and all" are the first two lines of Shakespeare's most hilarious comedy.

** [[Much Ado About Nothing|Benedick]]: [[Crowning Moment of Heartwarming|"Come, bid me do anything for thee."]] Beatrice: "Kill Claudio." It makes a little more sense if you read between the lines--according to Beatrice, she and Benedick had a thing before he dumped/cheated on/mistreated her, so she's mistrustful this time around--but the wrong delivery can cause this (and some nervous laughter) in an audience.

* The radio play ''All Is Calm'', being about the Christmas Truce of 1914 during [[World War One]], feels like nothing ''but'' this trope. It goes from some painful parts to some ''hilarious'' parts at breakneck speed and right back 'round again. High points include a [[Tear Jerker]] Christmas radio broadcast that's propaganda, supposedly a singalong from the soldiers in the trenches telling their family that they're all just glad to be there doing their noble duty, being drowned out by a hilarious [[Last Second Word Swap]] [[Bawdy Song]], and a scandalised-sounding German officer's account of playing a game of football against Scottish soldiers and discovering exactly what was being worn under their kilts being read in much too close proximity to another reader talking about everyone heading off into No-Man's-Land to bury their dead friends from back in November. The worst part of it is, all the material is real.

* The radio play ''All Is Calm'', being about the Christmas Truce of 1914 during [[World War One]], feels like nothing ''but'' this trope. It goes from some painful parts to some ''hilarious'' parts at breakneck speed and right back 'round again. High points include a [[Tear Jerker]] Christmas radio broadcast that's propaganda, supposedly a singalong from the soldiers in the trenches telling their family that they're all just glad to be there doing their noble duty, being drowned out by a hilarious [[Last-Second Word Swap]] [[Bawdy Song]], and a scandalised-sounding German officer's account of playing a game of football against Scottish soldiers and discovering exactly what was being worn under their kilts being read in much too close proximity to another reader talking about everyone heading off into No-Man's-Land to bury their dead friends from back in November. The worst part of it is, all the material is real.

* In ''[[The King and I]]'', the King becomes closer than ever to Anna when he learns to dance with her. He is eagerly leading an encore of "Shall We Dance?" when Kralahome bursts in and announces the arrest of Tuptim. Anna's sympathies obviously lie with the fugitive, and so the King is "now miles away from her" (according to the stage direction). The confrontation that follows is the most serious part of the play.

* ''[[The Vagina Monologues]]'' consists of, well, [[Exactly What It Says On the Tin|a series of monologues about vaginas.]] They range in mood from "My Angry Vagina," a humorous rant about tampons and OB/GYN tools, to "My Vagina Was My Village" and "Say It," which are about the experiences of women in serial rape camps, and boldly straddle the line between [[Tear Jerker]] and [[Nightmare Fuel]]. Now imagine if your local production decided to arrange the monologues so that "My Angry Vagina" was between the other two...