#Jukebox Musical

[awkwardjewishtheatrenerd]

There ain't no man that enjoys waiting for the Swept Away Cast Album to drop in full.

Wasn't able to get to NYC for one of the 20 previews or 48 regular performances? No biggie, just come to my site and get your copy today!

Swept Away Broadway November 2024 $17.50

Cast: Adrian Blake Enscoe (Little Brother), Stark Sands (Big Brother), John Gallagher Jr. (Mate), Wayne Duvall (Captain), Josh Breckenridge (Ensemble), Hunter Brown (Ensemble), Matt DeAngelis (Ensemble), Cameron Johnson (Ensemble), Brandon Kalm (Ensemble), Rico Lebron (Ensemble), Michael J. Mainwaring (Ensemble), Orville Mendoza (Ensemble), Tyrone L. Robinson (Ensemble), John Sygar (Ensemble), Chase Peacock (Ensemble), David Rowen (Ensemble)

Notes: MP4 format. My first video in 4K! Preview performance filmed from the right rear orchestra. Mix of wide shots and zooms. Minimal obstruction, mostly contained to the bottom/bottom left. Includes bows. NFS forever except through master and NFT through December 24, 2029. Screenshots: https://flic.kr/s/aHBqjBRvgt

[fanclubgraphics]

&Juliet blinkie!! we LOVE this show, jukebox musicals are so good....

[thenamesmayfly]

oingo boingo songs in a jukebox musical would go so fucking insane and no one can convince me otherwise actually

[possum-does-stuff]

Here me out... Re-Animator jukebox musical with songs by Oingo Boingo 👀

(I need this in my life immediately)

[iforimaginary]

May I entice the masses with the concept of a Will Wood Jukebox Musical?

Around a month ago me and a good friend of mine were listening to Will Wood’s discography and they offhandedly threw “Wouldn’t it be cool if someone made a Mama Mia equivalent with his songs?” into the air.

This thought stuck with me for a while until I found myself incredibly bored during a 3 hour-long road trip and decided to kill some time.

Preface aside, I present…

[ Welcome To Suburbia The Musical ]

↓↓↓

Brochure Designs:

Narrative Summary:

A young couple attempt to escape the hardships of life by moving to a far-off picture-perfect town known by locals as ‘Suburbia’. Despite it’s shining appearance, the couple are troubled by unsettling peculiarities bursting at the suburb’s seams- but what’s a village without a little cooky culture?

Character Breakdown:

• James Campbell - An alcohol-dependent horror writer down on his publishing luck.

• Dai Lu Lee - A doctor specialising in the care of farm animals with an unfortunate talent for disappointing her parents.

• Cassie Logan - James & Dai Lu’s next door neighbour with an unsettling sense of humour.

• Morgan Logan - Cassie’s reserved wife working as a forensic investigator for the local PD with a predisposition to bad first impressions.

• Lin Lee - Dai Lu’s headstrong traditional father.

• Ming Lee - Dai Lu’s passive narcissistic mother.

• Mayor - Confident and charismatic front man of Suburbia with a messy past who’s always ready to offer a helping hand.

• Barkeeper - Eccentric and off-putting owner of a local bar that appears to be a front for a darker business.

• Therapist - Patient woman tending to Dai Lu’s psychiatrical and psychological needs.

• Secretary (Non-singing ensemble role) - Nerdy and shy assistant of The Mayor who is desperately enamoured, head-over-heels for her employer.

Act Synopses:

[Act 1]

James and Dai Lu, freshly engaged and already exhausted from life’s baggage, strike a ‘too-good-to-be-true’ deal on a down payment for a quaint home in the unmarked town of Suburbia. After being warmly welcomed by the ever so charming Mayor and their next door neighbours Cassie and Morgan, the couple begin to unwillingly face some of their fatal flaws as Dai Lu is forced to stare her regretful decision making right in its ugly face.

[Act 2]

James may recognise his now hard-to-hide attachment to alcohol, but he is far from apologetic about it. Frequenting a newly discovered bar on the outskirts of town results in his fiancée finding herself in a rather unusual predicament. Forced to work for a sleazy underground cabaret bar, she preforms a number detailing The Mayor’s dark and unfortunate past. All the while, The Mayor himself is trying to seduce her partner into a life overflowing with sin and dubious spiritual ties. Upon being reunited through the brilliant detective work of Morgan, the couple have yet another handful of complicated feelings to sort through.

[Act 3]

Decades of pious work from The Mayor’s hands finally come to a head as he no longer attempts to hide his servitude to a being he was never quite sure how to please. The town descends into uncertain insanity as every individual is consumed by their corrosive and abandoned insecurities. Dai Lu never quite moves past her disagreements with her parents, James never quite makes peace with being an utterly unremarkable writer and Morgan never quite solves the case that’s been scratching at the back of her mind for years. All those lives are, however, lost in vain as The Mayor misinterprets his Patron’s asks. The town of Suburbia stands desolate, bare, and belonging to a man who’s greatest desire is to be rid of it’s burden.

Songs By Act:

(Act 1)

Suburbia Overture (Mayor, Ensemble)

The Main Character (James)

Marsha… (Lee Family)

Against The Kitchen Floor (James)

Momento Mori… (Morgan)

Well, Better Than… (Dai Lu)

(Act 2)

The First Step (James)

Willard! (Mayor)

Front Street (Barkeeper, Ensemble)

Venetian Blind Man (Dai Lu)

Black Box Warrior (Therapist)

Your Body, My Temple (Mayor, Ensemble)

Sex, Drugs, Rock’n’Roll (James)

Cover This Song (Cassie)

Outliers (Mayor)

Love Me, Normally (James)

(Act 3)

Vampire Culture [S.O. Reprise] (Mayor, Cassie, Morgan, Ensemble)

Lapce’s Angel (Mayor)

Hand Me My Shovel (Cassie, Morgan, Ensemble)

Dr Sunshine (Dai Lu, Ensemble)

Cotard’s Solution (James, Ensemble)

Song With Five Names (Mayor, Ensemble)

2012 (James, Dai Lu, Mayor, Ensemble)

Naturally there is a much larger and in depth plot summary, thought-out blocking for musical numbers and some in progress character designs that I have crammed into my Master Doc for this behemoth of an original work.

Keep in mind this concept is far from finalised, more characters may be added and more songs might be written into the narrative.

I’d be more than happy to go more in detail about it and accept any form of suggestions or feedback if the users of Tumblr happen to find this interesting :)

In the mean time, if you find yourself interested in this work and would like to listen to the songs in chronological order I have compiled a playlist you can find bellow… ↓↓↓

[azrantimes]

My favorite thing about jukebox musicals is when they take a song that is presumed to be about a cishet person/relationship and make it unapologetically queer. Bonus points when the result is an angsty rock breakup anthem with themes of being closeted.

[micro-moth]

musical update!! (a few days late whoops, already messing up my posting schedule lol) anyway its AMBULANCE/Scene 7 hell yeah. ACT ONE IS ALMOST OVER GUYS, TRUST ME NEXT WEEKS UPDATE IS A BIG ONE!

[she-posts-nerdy-stuff]

Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information

(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)

Opening number: 100 Years (from High As Hope)

We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage

Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)

Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies

Emilia and Iago Duet: Back In Town

Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.

Emilia Song 1: What Kind of Man

This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards

Damn I just reached text block maximum whoops

The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her

Ensemble song with Othello and other solos (maybe even to close act 1??): Howl

Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:

Desdemona: There's no holding back

Othello: I'm making to attack

Desdemona: My blood is singing with your voice

Othello: I want to pour it out

Desdemona: The Saints can't help me now, the ropes have been unbound

Othello: I hunt for you with bloodied feet across the hallowed ground

During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.

I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be

Emilia Song 2: Which Witch

If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:

And it's my whole heart/deemed and delivered a crime/I'm on trial

Who's a heretic now/ am I making sense?

I'm miles away/He's on mind/I'm getting tired of crawling all the way

I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget

And it's my whole heart/while tried and tested, it's mine

And it's my whole heart/burned but not buried this time

We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself

I could keep going...

Maybe I will at some point but I'm tired now

[n0pe-studi0s]

Ok so I showed my friend falsettos, as one does, and now I’m showing them other musicals with the revival/og cast because they got obsessed, as one does. I’ve looked far and wide but I can’t find & Juliet with Betsy Wolfe with both act one and act two. Does it exist?

[logansdogmotif]

TUMBLR I HAVE A PROPOSAL 🏡

have you ever heard of the jukebox musical our house (music by british ska band madness and book by tim firth) ?

well it has next to no fandom!! and i think that is a crime!! i am currently playing kath in a regional production and have grown to love this show with my whole heart and i think it deserves the proper fandom treatment!! i want to call this #PROJECTCASEYSTREET !! and i want to invite all of you along with me on this ride! give ‘our house’ (and by extent madness) a proper fandom!!

i have made a sideblog @projectcaseystreet to host an ‘our house’ week of fanworks in the summer!

in the mean time, POST FANWORKS!! make fanart, write fanfiction, make edits, make shitposts!! tag it with #ourhousemadnessmusical and #projectcaseystreet !! this musical deserves so much love!

propaganda for why you should join the fandom under the cut!! mwah mwah mwah i love you all!!

PROPAGANDA FOR JOINING THE OUR HOUSE FANDOM!!

it has a good quality proshot with angles free on youtube here!! our house (2003) proshot

it has a fantastic soundtrack and the songs blend so well into the show unlike other jukebox musicals (*cough* & juliet *cough)

it has an extremely creative original story

it’s just old enough to be considered vaguely retro

it’s symbol motif is a heart! which is so cutesy!

it’s SO NICHE!! you will be the least basic person in the world if you join this fandom

it hits EVERY SINGLE family/found family emotional beat you would want any popular piece of media to!!

it has a WONDERFUL capacity for shipping (joe/sarah, joe/reecey, emmo/lewis, sarah/billie, sarah/angie, e.t.c) LMAO

it ends up happily but has enough heart wrenching moments to UTTERLY tweak out about

it is so so full of joy and love!!

please please tag me ( @logansdogmotif ) and tag my sideblog ( @projectcaseystreet ) in anything you make!! i would so love to see everything!! spread the word!!

beautiful dividers made by @uzmacchiato!!

[awkwardjewishtheatrenerd]

"I don't care who you are, where you're from, what you did, as long as you love me...."

"Those are your vows?"

& Juliet January 2025 Broadway - $18.50

Cast: Maya Boyd (Juliet), Alison Luff (Anne Hathaway), Drew Gehling (William Shakespeare), Liam Pearce (Romeo), Nathan Levy (Francois), Michael Iván Carrier (May), Jeannette Bayardelle (Nurse "Angelique"), Joey Fatone (Lance), Mackenzie Meadows (Lady Capulet/Viola), Reese Britts (Lord Capulet/Sly), Elsa Keefe (Benvolio/Eleanor), Darien Van Rensalier (Augustine), Charli D'Amelio (Charmion), Gabe Amato (Gregory), Daniel Assetta (Henry), Jhailyn Paige Farcon (Imogen), Khailah Johnson (Judith), Joomin Hwang (Kempe), Cassie Silva (Lucy), Makai Hernandez (Richard)

Notes: MP4 format. Debut performance for Joey Fatone! Filmed in 4K from the rear right orchestra. Mix of wide shots and zooms. First 20 minutes are so are more iffy in terms of quality due to usher activity, but it quickly picks up after. Includes bows. NFS forever except through master and NFT through February 24, 2030.

Screenshots: https://flic.kr/s/aHBqjBZ5EP

[jamescanningauthor]

Did Judge Holden sing “Little Girls” by Oingo Boingo at any point in your Blood Meridian Musical nightmare?

No it wasnt a jukebox musical it was all original songs

Also that would be really cool and proof of the collective unconscious if I heard an existing song in a dream despite never having heard let alone heard of that song while awake, sadly no, no proof of collective unconscious 100% yet

Thank you for the music rec might make a Holden playlist now x

[doyouknowthismusical]

[leminy-sniket]

Coloured Designs

i’m going to make character profiles for all of them…..

will wood jukebox musical post

vamp costume sketch post

INFO ON THE COSTUMES BELOW

Scientist (Dr. Marsha) (it/its they/them):

Left - this is the “fame outfit” it is unfortunately featured in one song and a bit of a scene atm, but i quite like it.

Right - this is the “professional” outfit. this is the outfit featured thoughout the show.

i wanted to make the vamp look like it tried to look professional but gave up half way through. it is a huge influencer in society. so even though all the vamps are obviously terrible people and know nothing about science, they are celebrated. they are easy to admire, and society chooses to look past the obvious blood stains and lack of care and instead praise them. it carries a cane it doesnt need, sometimes to gain sympathy, sometimes to use as a weapon.

Mother (she/her):

for all the outfits i tried to take inspiration from 50s fashion. i liked the tight constricting collars and waist and pencil shirts. her hair inspo is from marilyn monroe (i like the idea that the vamps are just feeding the town 50s magazines and such). shes a very scared women, very guilty but very cookie cutter. she starts out wearing a lot of purple, and white to show her conformity and innocence. i like to think near the end of the show she wears red to show shes in danger or shes stepping out of her bubble. the black outfit is her “funeral” outfit and would be worn during Memento Mori

questions? comments? suggestions?

[vitaminwatersupreme]

you've heard of jukebox musicals, now get ready for jukebox plays! where all your favourite hit songs are read out as monologues and soliliques

[moviesframes]

Joker: Folie à Deux (2024)

Directed by Todd Phillips

Cinematography by Lawrence Sher