#That and also the Les Misérables segment

[major-knighton]

I take back every negative thing I've ever said about the Olympics. Having Marie-Antoinette's decapitated body sing Ça Ira, les aristocrates on les pendra in a deep lower class accent, from the windows of the Conciergerie followed by a shooting of streamers that look like a deluge of blood pouring down the facade was the best thing to ever happen in the history of Olympics.

[fruity-pontmercy]

Les Mis adaptations and apolitical appropriation

I think it's no secret on this blog that I love the original Les Mis 1980 concept album in French, and that I also love comparing different versions of the stage musical. I've noticed that Les Mis seems to get progressively more vaguely apolitical as time goes on, not only in the way it's viewed in our culture, but in the actual text as well.

It's natural for specifics to be lost in adaptation. It's easier to get people to care about 'the people vs. the king' in a relatively short musical rather than actually facing the audience with the absolute mess that were 19th century french politics (monarchist orleanists vs monarchist legitimists vs imperialist vs bonapartist democrats vs every flavour of republican imaginable). Still, I feel that as time goes on, as more revivals and adaptations of the stage musical come out, the more watered down its politics become. Like, Les Mis at it's core is just meant to be a fancily written, drawn out political essay, right?

In a way I feel that the 1980 concept album almost tried to modernise it with its symbols of progress. Yes, through Enjolras' infamous disco segment (and other similar allusions to the ideals of social change), but perhaps most interestingly to me, through one short line that threw me off when I first heard it, because it seems so insignificant, but might actually be the most explicitly leftist line of all of Les Mis.

"Son coeur vibrait à gauche et il le proclama" (roughly "His heart beat to the left and he proclaimed it" i.e: he was a leftist) Feuilly says, while speaking of the now dead général Lamarque in Les Amis de L'ABC.

What's that? An actual mention of leftism??? in MY vaguely progressive yet apolitical musical??? More seriously, this mention of leftism, clashing with the rest of the musical due to it's seeming anachronism, is interesting not because it's actually more political than anything else in Les Mis, rather, because it's not scared to explicitly name what it's trying to do.

But we've come a long way from the Concept Album days, it's been 43 years, and Les Misérables is now one of the most famous and beloved musicals in the entire world. It's been revived and reimagined and adapted in a million ways, in different mediums, in different languages and countries, and it's clear that it's changed along with it's audience.

On top of pointing out a cool line in my favourite version of the musical, I wanted to write this post to reflect on the perception of the political message of this work. We as a Les Mis fandom on Tumblr are very political, I don't need to tell you that, however, I feel that because this very left leaning space has sprung out of a work we all love so much, we oftentimes forget to revisit it from a more objective point of view.

Les Misérables has a history of being misrepresented, this has been true since it's publication, since american confederate soldiers became entranced with their censored translation Lee's Miserables. However, with it's musical adaptation, this misinterpretation has been made not only more accessible but also easier. As much as I love musical theatre and I think it is at it's best an incredible art form able to communicate complex themes visulally by the masses for the masses, I think it'd be idealistic to ignore the fact that the people who can afford to go see musicals regularly are, usually, not the common folk. Broadway and the West End are industries which, like most, need money to keep them afloat, and are loved people of all political backgrounds (and unfortunately, often older conservatives) not just communists on tumblr. We've seen the way Les Miz UK's social media team constantly misses the mark regarding different social issues, and the way Cameron Makintosh has used the musical to propagate his transphobia, and most of us can agree that these actions are in complete antithesis with the message of Les Misérables as a novel.

But I must ask, how does Les Mis ,as a West End musical in it's current form, actually drive a leftist message, and how are we as a community helping if every time someone relating to the musical messes up if we just claim they "don't get it"?

I'm thinking in particular of incidents like last october, where Just Stop Oil crashed Les Mis at the West End. Whether you think it's good activism or not is not the question I think, this instance is interesting particularly because it shows that, outside of Les Misérables analysis circles and fandom spaces, it is not recognised as an inherently leftist, political or activist work, and instead of just saying they completely missed the point of the musical, I think it'd be interesting to take a step back and look at what the musical as it stands actually represents in our culture today.

I don't pretend to have all the answers, so I won't try to give one, but I do hope we can reflect on this a bit.

[vvatchword]

I probably could have hit 30,000 words today, but I decided that since I'd gotten pretty close, I'd go ahead and take a little time to make sure I had properly established Dr. Lamb's segments among the Johnny Topside ones--err, chronologically speaking. So I re-read those. I probably didn't need to do this; I've practically memorized them. What I really should have done was update my timeline properly, but that takes time and I don't want to because I am a babey.

I may yet do that tonight. I feel like I'm running along by the skin of my teeth. My timeline is always two steps away from getting itself fucked. First, there's the fact that Aeon Timeline has a satanic flaw where if you fuck up a child object, it fucks everything up in an unstoppable chain reaction and makes you want to kill yourself. Second, timeline additions are not terribly interesting, and I start getting bored about 30 seconds after opening it up, unless I am suddenly not bored and suddenly find Aeon Timeline the most fascinating thing ever. (I am relatively confident I will never fall into latter phase ever again, not after the Aeon Timeline Hyperfuckening of April 2023.)

As to the narrative itself, it's worth mentioning that both Johnny Topside and Dr. Lamb were probably intended to be sent to Persephone incredibly early. I'm talking about 1948-1952 early. The reason I think this is because 2K Marin had to make time for two different elements: the Frank Fontaine/Andrew Ryan blood feud, which would take precedence for the sake of BioShock 1, and the childhood of Eleanor Lamb. In some early BioShock 2 drafts, Eleanor was literally Johnny Topside's daughter. This is not canon, obviously, but it would put Topside in Rapture incredibly early. If she were 7 in 1958, that would put her conception and birth in the 1949-1951 range.

All of this said, these are just my suppositions and preferences, and BioShock 2 was developed in the equivalent of a meat grinder, so god only knows what the fuck 2K Marin intended or knew.

Anyway, one reason I was kinda pissy about BioShock 2 was because Andrew Ryan was illustrated as a one-dimensional villain who started out as a tyrant and just kinda stayed that way throughout. He was rarely classy (he described Diane McClintock as having "an animal bleat," which is--hmm, I hate that, that is an objectively incorrect choice) and he is never right. And if there is something that makes BioShock 1 spectacular, it is having an antagonist who you have to grudgingly respect. "Okay, so he has a point. I mean, fuck him, but also? He is kind of right. Goddammit."

This "insta-villain" feel would only be exacerbated by an Andrew Ryan who had gone full villain by, you know, 1950--literally only four years after Rapture's founding. Call me crazy, but I like me a slow, incremental build. I'm talking about things getting goddamn unbearable around 1956-7 at the earliest.

In terms of narrative, Dr. Lamb and Topside are vaguely aware of each other, because the way I set it up is that their stars both rise around the same time. It ends up exacerbating both of their problems in the long run--Andrew Ryan really hates them both, and sees them as a symptom of Frank Fontaine's rot. By raising them up at the same time, I can link them in his mind, so if he's thinking of one, the other isn't far behind.

Technically speaking, it is unnecessary for them to rise at the same time. However, part of this is so that their stories can be told at the same time, in a chronological hand-off fashion. Another part is because I have this adoration of... what should it be called? Ironic equivalency?

You know how in Les Misérables, Victor Hugo shows how everyone is inextricably linked to everyone else, and how one kindness or evil act ends up affecting important people in one's life, even if one has no clue? That's something I adore. It's also neat to show people in similar situations and how they tackle the same problems in different ways.

Raising Topside and Lamb later in the Rapture timeline also succeeds in keeping them secondary to Fontaine. Another unlikable element of BioShock 2's was the attempt to raise Dr. Lamb as an antagonist at Fontaine's expense. Why the fuck would you do that??? I mean I know why but it was a terrible idea. You don't succeed by fucking over the plot of the game that came before. Big yikes.

All right, enough waffling. Here, you shall see a newer plot development in my lil' old prose snapshots... a little illustration of Stanley Poole, who is so nasty he's fun to write, and a brand-new plot point involving Dr. Lamb.

In my early drafts, Dr. Lamb was independently wealthy. In Draft 5, she's just some working stiff, and her goals of starting a work program down in Pauper's Drop can't take off without more capital. Frank Fontaine steps in just because he hates Andrew Ryan and wants him to fuck off, and he sees Dr. Lamb as a way to diffuse Ryan's attention. He likes Johnny Topside for much the same reason. (He helps neither of their cases terribly much :)))) )

[fixaidea]

Got tagged by @grapefruitsketches Thank you! :D

My AO3 is FixaIdea

Fandoms

I’m currently mostly writing for Tian Guan Ci Fu and Mo Dao Zu Shi, but I also have a lot of fic for Maurice and Les Misérables, and a scattered handful of Star Wars and Discworld ones.

Where You Post

Anything resembling a structured story, short or not, goes on AO3, random ramblings, ideas and headcanons on Tumblr.

Most Popular Oneshot

Listed by kudos, it’s an old, old Les Mis fic, In retrospect. ...I mean it’s one of my only Modern AU E/R fics, so there’s that. I’m not gonna disown the idea, but the prose could use a do-over.

Most Popular Multichap

My Discworld/MDZS crossover, Of Hats and Flutes by far. Honestly I thought this was gonna be such a nieche premise, I never expected it to take off, but I’m glad it did.

Favourite Story You’ve Written So Far

It’s gonna sound conceited, but I have a lot of faves - not because they are such masterpieces, but because I’m the only one who knows MY OWN specific tastes and can 100% cater to them.

That said, I’m pretty proud of Zona. It’s a multi-chapter Star Wars/MDZS crossover. Longfic is something I struggle with, but I think this one turned out nicely.

Fic You Were Nervous to Post

Refuge. Boy, was I nervous about this one... It’s a ridiculously self-indulgent miniseries about Hua Cheng and Xie Lian... And sure, there’s no actual smut in it, but it’s still the most intimate (and kinda personal) thing I’ve ever written.

How Your Choose Your Titles

Just before hitting Submit, while crying. Usually it ends up being a very simple phrase that kinda sums up the vibe (or a very simple phrase in Latin or French to give a false impression of sophistication).

Do You Outline

Outlining sounds too sophisticated and too much like I knew what I was doing compared to what’s actually happening.

I kinda... jot down plot points in a spaced-out list, sometimes including phrases I want a character to say, and I come back to expand on whichever segment feels the most inspiring at the moment and then Frankeinstein the whole thing together. The only times I don’t do this is if a fic is shorter than 1000 words and I push the whole thing out in one sitting.

Complete

Almost everything I currently have on AO3.

In Progress

Of Hats and Flutes and Refuge are both collections of self-contained short stories so they can be considered complete, but I think of them as open-ended. Other than that, there’s still a multi-chapter Les Mis fic that lacs an epilogue, and two that died before I managed to get to the point, and am now too lazy to re-visit.

Coming Soon / Not Yet Started

I want to write more in the TGCF canon divergence universe where The Dancer takes place, and I want to finally do something coherent about that MDZS AU where Xiao Xingchen lives and gets to start that sect he dreamed about.

Prompts?

Yes please! I can’t promise for sure that I will answer everything I get - please don’t take that personally, I still love getting them and do my best to fill them! I just... don’t always get around to doing it.

Upcoming Work You’re Most Excited About

The prequel to The Dancer, in which Hua Cheng finds Xie Lian before his third ascension. Or rather, Xie Lian finds him.

Tagging

If you feel like doing it - @eirenical @docmanda

[cryingalexanders]

Reading: ‘The Musical World of Boublil & Schönberg’ by Margaret Vermette

Things I’ve learned from this book:

Both Alain Boublil and Claude-Michel Schönberg are Jewish. Boublil grew up in Tunisia and Schönberg’s parents were from Hungary

They met when Boublil was working in radio. He heard a song that Schönberg had written and wanted to play it, leading to their acquaintance

In the early ‘70s they wrote a concept album of a musical about the French Revolution, and it charted in France, was featured on TV and they developed it into a stage show

They started working on the Les Misérables concept album in 1978 after Boublil saw the revival of Oliver! in London

They had Robert Hossein in mind as director because they’d seen his plays before

Schönberg can’t read music! He learns and composes by listening with a piano

Herbert Kretzmer doesn’t speak French. He was given a literal English translation of Boublil’s original lyrics, a plot synopsis and the work already done by James Fenton when he came on. He also had five months to write most of the lyrics before rehearsals started

It was Trevor Nunn’s idea to give Eponine a big song and Schönberg’s idea to use “La Misère” for ‘Come to Me’

The idea for the revolving stage came from the idea of the continuous chase between Valjean and Javert, according to Nunn

I’d never heard of John Caird before (he was Trevor Nunn’s co-director), but reading his interview/segment is fascinating. He’s very knowledgeable about the story and he has interesting takes

[ambitionsource]

AMBITION Season 1 ♫ “The Miserables” [ 1.09 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows)

ENTENDEZ-VOUS LES GENS CHANTENT? – Shawn tests his limits as he steps up to lead the production of the spring musical in Angela’s absence. Lingering tension over casting choices bubbles over. Deceptively rosy circumstances prompt students to seek refuge in unlikely places.

62 Minutes (16K words) || No warnings apply.

[ ← These Boots Aren’t Made For Dancing ] [ S1 Synopsis ] [ Birds of a Feather → ]

( Follow along with the music on Spotify here! )

INT. AAA - HALLWAY - DAY

The episode opens on FARKLE MINKUS, standing in front of the black box classroom. He’s looking at a poster for the sophomore spring musical – Les Misérables. He glances up in front of him, tossing a look to the camera, before spinning on his heel and beginning a definitive march down the hallway.

Song Cue ♫ ♪ “Do You Hear the People Sing?” as performed by Les Misérables Original London Cast  || Performed by AAA Sophomores

Farkle kicks off the number, beginning the ode to rebellion as he makes his way through the halls. The opening shot is done in one long, continuous movement, and as other characters join the march and the song, it builds until it’s the full sophomore class parading through the halls and towards the auditorium.

Also as they progress, it seems as though time is shifting around them. Slowly, costume pieces are adorned and changes in the background indicate the passage of time.

INT. AAA - AUDITORIUM - DAY

Upon the final chorus, the cast of the spring musical marches into the auditorium. They walk through the aisles in full make-up, hair, and costume, coming to a halt in front of the stage. In front of them, the entire set and staging for Les Mis has been erected, and we’re suddenly within days of opening night.

Bathed in the glow of the stage lights, the sophomore class looks up at their backdrop. Some look ready for the adventure, others not so much. ISADORA DE LA CRUZ is in full costume, signaling a shift from behind the scenes to center stage. LUCAS FRIAR has the signature headset around his neck, indicating a promotion for him as well.

This is the final breath before the curtain rises. But how did we get from auditions to here? We’re certainly about to find out, and in six distinct parts…

Cue title sequence.

Before each part of the episode, a black title screen gives us the name of the story, hanging for about five seconds before fading into the opening scene of the segment.

PART I: “Lovely Lady, Come Along and Join Us”

INT. AAA - GIRLS DRESSING ROOM - DAY

Isadora is the spotlight of the premier story, taking us back to the period of auditions. She’s giving herself a pep talk in the mirror, about to audition for her first ever show. She tries to remind herself that it’s low stakes, that she’s gone this long without a role she could certainly carry on, but that doesn’t seem to do much to assuage her nerves.

Still, she’s Isadora De La Cruz, and she’s not one to back down from a challenge. Squaring her shoulders, she gears up to go and audition.

INT. AAA - AUDITORIUM - DAY

She emerges from the stage doors, coming into the wings yet still hidden behind the curtain. Lucas is there waiting for her. He gives her a bracing pat on the shoulder and a smirk, nodding her towards the stage. Behind her, as he always is.

Returning the nod, Isadora takes a deep breath. Then, she steps out into the lights.

She can barely see ANGELA MOORE and ERIC MATTHEWS through the brightness. She squints to make them out, jumping a bit when Angela’s voice invites her to introduce herself over the speaker. She clears her throat.

Isadora: I’m Isadora De La Cruz, and I’ll be performing “I Dreamed A Dream.”

Nothing. She’s not sure what she’s expecting, but Angela is merely jotting down notes for reference. Then she lifts her head, signaling for Isadora to begin whenever she’s ready.

Another inhale. She glances over her shoulder one more time, Lucas giving her a thumbs up. Isadora lets her eyes flutter closed, centering herself.

Song Cue ♫ ♪ “I Dreamed A Dream” as performed by Les Misérables Original London Cast  || Performed by Isadora De La Cruz

Starting from the first verse, Isadora tentatively begins the Broadway classic. It’s a little more exposure to her potential vocal ability, which seems untapped and ready to be unleashed. Not as polished as the divas, naturally, but raw with talent and a whole lot of repressed emotion.

As the song progresses, the camera begins a slow spin around Isadora as a time lapse begins. Around her space on the stage, we see other students moving in fast motion through their auditions.

INT. AAA - HALLWAY - DAY

By the time the music swells (“And still I dream he’ll come to me…”), focus shifts to outside the black box. Angela emerges to a crowd of impatient sophomores, eyeing the cast list she is clutching in her hands. She holds up a finger of patience, pinning it to the board and diving out of the way before the masses converge.

Each student approaches and gets a look at their given role, reactions pointed to how they might be spending the episode. ZAY BABINEAUX finds his name across from the role of Jean Valjean, bristling with confidence and acting wholly unsurprised. Farkle shares a similar pride at being cast as Javert, swooping the hair off his forehead and pushing back through the crowd with his chin held high.

CHARLIE GARDNER seems pretty pleased with being cast as heartthrob Marius, receiving excited pats on the back from HALEY FISHER and DARBY WINTERS. For RILEY MATTHEWS, she’s a distinct mix of happy and stunned to have been given the role of Eponine. YINDRA AMINO shrugs and offers a prideful smirk at her casting of Cosette.

NIGEL CHEY accepts enthusiastic jostling from NICK YOGI and DAVE WILLIAMS at snagging the comedic role of Thénardier. MAYA HART looks less enthused by Madame Thénardier, obviously having anticipated something different.

As Isadora approaches the list, most of the crowd has dispersed. She can’t believe her eyes when she sees her name matched with Fantine, one of the most iconic roles in the show. Slowly, a smile creeps onto her face.

INT. AAA - BLACK BOX THEATER - DAY

Isadora knocks lightly on the door, catching Angela in the midst of packing some of her things. But she greets Isadora cheerfully, welcoming her in so long as she pardons the mess.

She doesn’t bother to ask about the packing, jumping right to her question. She asks if she was given the role of Fantine because of her mother. Not because she’s right for the role or her own talent, but because of her last name. She just wants to know the full reasoning before she initials next to her name and accepts the part.

Angela disputes such a claim, telling her that she was given the role because she gave a great audition. She has talent and earned it fair and square, and she has little doubt that she’ll do an excellent job. Angela encourages her to have half of the confidence in her performing ability as she does in her technical prowess, and she’ll be perfectly fine.

INT. AAA - HALLWAY - DAY

With this assurance locked down, it’s settled. Isadora nervously initials next to her name, accepting the role and diving headfirst into the world of the performers.

INT. AAA - AUDITORIUM - DAY

Next class, the class is assembled as SHAWN HUNTER hands out their copies of the script. He gives a miniature speech about how he will be taking over as director in Angela’s temporary absence. The performers express skepticism and worry over this change, asking tons of questions such as where the hell Angela went and also what makes him think he can just step into the role of director.

Farkle pipes up louder than all of them, demanding to know whether or not Angela is going to be there for opening night. Shawn assures them that she fully intends to be present for the performances, and she made sure to wait until the last possible minute to leave so she could help prepare a majority of the materials for the show. If they just band together, the whole process will run smoothly.

So he’s choosing to approach the situation with confidence, and he thinks that they all should too. He states the encouragement with a flourish, handing out the last stack of scripts.

Dave: [ reading off the cover ] “The Miserables?”

Zay: It’s Les Misérables, you uncultured swine. Take a French class.

Too late. From then on out, the techies refer to the show as “The Miserables” the rest of the run.

As the group disperses to begin memorizing lines, Riley eagerly congratulates Isadora on her first official role. She exclaims how exciting it’s going to be to have her on the other side of the curtain. Isadora seems grateful for the enthusiasm, just as Shawn floats over and states that sentiment is precisely what he needs to discuss with her. He asks if he can borrow her for a minute, Riley backing off without complaint.

INT. AAA - DRESSING ROOM HALL - DAY

Shawn pulls Isadora aside, starting by congratulating her on her role. Then he poses his query, wanting her opinion on who he should promote to stage manager now that she’s jumping to the other side of the production.

To Isadora, the answer is obvious – Lucas. There’s no one else she can think of for the job. Shawn questions whether she believes he’s responsible enough to handle it, but Isadora has no doubts. If they put the faith in him, he’ll pay it back. He’s never let her down before.

INT. AAA - AUDITORIUM - DAY

Even still, Isadora can’t let go of the reins so easily. She shows up early to rehearsal the next afternoon to check on the crew, finding them in their usual spot in the back of the auditorium. They all greet her eagerly as she approaches, happy to see her back in their quarters.

She simply states that she wanted to check in that everything is going smoothly, to which ASHER GARCIA tells her not to worry. DYLAN ORLANDO chimes in, telling her that they’re all super proud of her for shaking things up on the other side. They want her to go forth and slay! They’ll be fine, now go show the performers what she’s made of.

Reassuring, but in some ways even more pressuring than before. Now she’s carrying the expectations of the techies on her back too, and she’s not sure how to feel about it.

INT. AAA - DANCE STUDIO - DAY

It’s even more overwhelming to be thrown into the midst of rehearsals without them. She’s attempting to keep up with the demands, but clearly unfamiliar with how to proceed and surrounded by people that up until a month ago had always been adversaries. So, the moment they have a moment to break from vocal rehearsal, she searches for allies.

She goes to Riley first, but it’s evident that although she’s still incredibly supportive she’s a little spaced out. Clearly, she’s got her own stuff going on and won’t be much help. Isadora turns to Maya next, having had friendly interactions with her in the past and given that she was the one who told her to audition in the first place.

However, Maya is not receptive to such advice-giving. She’s in the midst of her diva meltdown of the season, and frankly isn’t all that fond of Isadora at the moment. She says a few offhand words before floating away, rejoining Chai and Darby at the other end of the studio. Isadora tries not to let the dismissal sting, determined not to show weakness in this new territory.

She glances over her shoulder towards Shawn, who happens to be conferring with Lucas about something stage managing related. But he feels a million miles away, and he’s gone before she can even blink back to the auditorium.

Isadora stands alone in the center of the room, somehow isolated despite being in the midst of all the action.

INT. FOSTER HOME - ISADORA’S BEDROOM - NIGHT

That night, Isadora finds herself contemplating the only other source she can think of to reach out to – Valerie. She sits at her desk and opens and closes her phone a couple of times, obviously indecisive. She begins typing a message in response to all the previous ones she let go unanswered, explaining that she got a role in the school musical but isn’t sure she is cut out for it. She puts it all out there in text form… before hastily deleting it.

Not ready to let down those walls, but still desperately needing guidance. She gets up from her desk and flops onto her bed, exhausted.

EXT. AAA - LUNCH COURTYARD - DAY

Isadora attempts to ask Riley about it at lunch, but it’s evident that Riley is distracted. Whatever is going on in her neck of the woods, it’s obviously occupied her mind so she’s little help. She optimistically encourages her to contact her mother if that’s something she’s been considering, but it’s clear she isn’t giving the situation much serious thought.

When Isadora claims she wants to get a second opinion, Riley eagerly agrees to that as well. So it’s not clear whether she’s actually listening, or if she’s just playing support staff like the good friend she is.

Isadora: And you’re clearly not really listening.

Riley: Totally. Yeah – wait, what?

Isadora: Nothing. Simply thinking about how nice it is to have you around.

Riley: :)

In any case, she wants that second opinion. Time to revert to the safest source of thought she’s ever known – if he can spare a moment to give her the time of day.

INT. AAA - AUDITORIUM - DAY

Lucas is in the auditorium, standing at the base of the stage and looking up towards the set as Dylan and DAVE WILLIAMS work to set up the backdrop.

Lucas: Okay, let’s see the barricade backdrop.

[ Dylan and Dave frantically lower one of the curtains, pulling down a beautiful sunset of a backdrop with a twinkling castle in the distance and a cotton candy sky. A leftover from their last show, Cinderella. ]

Lucas: [ Waiting until it’s fully down, closing his eyes and forcing a smile. ] Okay, now, I meant the barricade that’s not Cinderella’s castle.

[ Dave and Dylan look up at the backdrop, wincing. Dave immediately begins pulling the ropes to bring it back up. ]

Dylan: Sorry!

Lucas: It’s fine just… [ gesturing indicatively ] Fix it.

Dylan: Aye, aye, captain.

Isadora enters just as Lucas is giving this directive, traipsing down the aisle to join him at the front. He greets her, Isadora asking if he has a second to chat. He nods, glancing back over his shoulder at them fumbling with the backdrop.

Lucas: Depending on how long this takes them, could be forever.

He nods towards the booth, leading the way back up the aisle.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas reenters the booth with Isadora close behind, settling into his usual rolling chair. He props his feet up on the lighting table and pulls a granola bar from a stash in the filing cabinet, lamenting just how many things can go wrong in one day around here. Isadora is like believe me, I know, but states that she kind of misses it.

Lucas teases her about her new role, asking her how it is to be a traitor and infiltrate the other side. She rolls her eyes and can tell he’s just poking fun, but it still stings a bit more than she anticipated. She cuts to the chase, eager to change the subject. She expresses her hesitation about talking to her mother, asking if he thinks she should reach out.

Lucas, who has never liked Valerie for how severely she fucked with Isadora’s emotions, isn’t a fan of the idea. To say the least.

Lucas: Are you kidding? No.

Isadora: No – no. You think no.

Lucas: Absolutely the fuck not. She’s never done a thing for you, what makes you think she’s going to change that tune now?

Isadora: Well… well, I mean it is her area of expertise –

Lucas: See, that’s where you’re wrong. Her area of expertise is being a shit mother, and because of her you need no explanation on how that works. You owe her nothing, and you don’t need to give her an invitation back into your life to fuck you over again. You wanted my opinion, and that’s it.

Isadora isn’t surprised by this stance from her best friend. What she’s surprised by is the fact that she’s disappointed in this response, and that’s more telling than anything else. She’s pulled from the conversation before she can think on it further, or ask about the crew and how everything is going. Shawn calls her down for call time.

Lucas, sarcastically: The spotlight awaits.

INT. FOSTER HOME - BLUE’S ROOM - NIGHT

Isadora passes through the hall when she doubles back, catching a glimpse of her foster sibling BLUE NGUYEN (17). The eldest foster sibling and most level-headed, Isadora figures it may not hurt to ask him for advice. She knocks on the door before stepping in and explaining her hesitation about Valerie, asking him what he would do.

Blue can’t speak much on his own experience with his parents, since the entire reason he’s in this foster home at all is because his parents kicked him out when they learned he is trans and want nothing to do with him pretty decisively. But he says that since Valerie clearly is making an effort, she should take advantage of that and see where it takes them. It may not end up exactly how Isadora envisions it, but at least it’ll be better than not pursuing it and always leaving a lingering what-if.

BEATRIX TORRES (16) interrupts the conversation, exclaiming that she finally found Isadora. Her brother Jericho has been asking for homework help, and she’s always better with that than she is. When she gets caught up on the topic of conversation, she offers her two cents of the fact that her mother literally can’t afford to take care of her and Jericho. Sure, sometimes she resents her for that, but at the end of the day she’s still their mom and she will take any amount of time with her she can get. And when they do spend time together, it’s hard and takes some adjustment to break out of that independence and lingering resentment, but it’s usually worth it afterwards.

She doesn’t know why Valerie gave up Isadora, but it seems to her like it may be a similar kind of vibe. Valerie’s celebrity aside. Isadora takes all of this in, contemplative.

INT. FOSTER HOME - ISADORA’S ROOM - NIGHT

Back in her room for the evening, Isadora makes a choice. Grabbing her phone, she crafts a message Valerie again. Before she can change her mind she hits send, not allowing herself to look at it anymore. She leaves her phone on the desk and out of her reach, climbing into bed.

INT. AAA - AUDITORIUM - DAY

Rehearsals are ongoing, a rendition of “Master of the House” going onstage. Isadora is in the wings, waiting for her next attempt to rehearse “Lovely Ladies” when her phone vibrates. It’s a response from Valerie, and an enthusiastic one at that. At the end of the message, it asks if they can video chat.

Isadora glances around her, making sure the number is still well in progress. Then, she steps out into the dressing room hall.

INT. AAA - GIRLS DRESSING ROOM - DAY

Isadora checks that no one is around before stepping into the dressing room, settling into her corner of the room. She braces herself before dialing Valerie’s number, impatiently waiting for the video call to go through.

When it finally goes through, VALERIE DE LA CRUZ is looking back at us from the other side. It’s a bit of a fuzzy connection, but she’s just as stunning as ever and clearly enjoying the Los Angeles sunshine wherever she is. She immediately congratulates Isadora on her role, eagerly asking her what she thinks of the show and her rehearsal process so far.

When Isadora mentions some of the nerves she’s been having during rehearsal, Valerie empathizes. She explains that performing is hell, it’s an endurance sport, and she still gets anxiety sometimes before getting out on that stage. But the thrill of performing and the applause and that connection with the audience, that outstrips every frayed nerve by the time she opens her mouth to sing. The joy of singing is so worth it, and she knows Isadora feels it too, otherwise she wouldn’t have bothered to audition in the first place.

Valerie: Everyone says this to me all the time and it never helps, but it’s true so I’ll pass it onto you – you’re extremely talented. You’ve got an incredible voice. There’s nothing to worry about, you’re going to kill it.

Isadora, sheepishly: You’ve never even heard me.

Valerie: I don’t have to. I already know it. You’re Isadora De La Cruz, and you’re going to take the world by storm. I’ve known that since the day you were born.

Valerie claims she has to go back to rehearsal, and she’s sure Isadora does too. But she’s proud of her, and she can’t wait to hear all about it. When Isadora hangs up she’s still nervous, but there’s a bit more confidence instilled in her now. She’s determined.

Unfortunately, this is all put to the test when Maya enters the dressing room. She eyes Isadora putting her phone away, commenting that she must’ve had an important call if she needed to step out of rehearsal. She shrugs off her attempts to defend herself, basically insinuating that Isadora isn’t a serious performer if she won’t even take rehearsals seriously – a stretch, and part of the fool routine Maya has been putting on since the cast list went up.

Isadora doesn’t understand why she’s so pissy, considering she was the one who told her to audition in the first place. What, just because it doesn’t benefit her, she’s not worth the support anymore? Maya tries to brush it off, but Isadora is sharp with pointing out her hypocrisy and isn’t going to just let her diva behavior off the hook. She thought they were past that.

Still, Maya gets the last word. As Isadora heads out to get back to rehearsal, she has one last choice statement to make.

Maya: Don’t blow it, De La Cruz.

A sharp comment, coming from a girl who knows what power it wields. No one has ever called Isadora by her actual surname before, and the implications as to why it’s being used now are clear. Isadora doesn’t respond, gritting her teeth and storming out.

Maya watches her go, chewing her lip. Still, her eyes are blazing. Obviously struggling to deal with the way things are…

PART II: “Everything Has Got A Little Price”

INT. AAA - HALLWAY - DAY

Maya is wearing that same expression, back in front of the cast list for the first time. Others are still celebrating around her, Zay patting Charlie on the shoulders in the background. She’s bristling, focused on how both the other divas have leading roles… and then she’s a few lines down. Past Isadora, past Riley, relegated to second fiddle.

She doesn’t initial to accept her part, storming off.

INT. AAA - SHAWN’S OFFICE - DAY

Maya launches into a tirade the moment she steps into Shawn’s office, lamenting how she’s being punished. It’s clear that Shawn isn’t surprised she’s there, but he expresses exasperated confusion over her statement as he gets to his feet.

Maya: I mean, tell me, what did I do? Why am I being punished when all I’ve done is encourage others to spread their little wings and soar and try to bridge the divides? You know, sort of. More so than Farkle, at least.

Shawn claims that the decision had very little to do with her, as he and Angela simply attempted to match the best role to each performer who auditioned. Maya scoffs, searching for another route to harpoon instead.

Maya: Then explain this, Hunter. Why did you and Miss Moore think it was a good idea to pick a show with such a limited female cast? As if their class isn’t dominated by talented women? As if men don’t already own enough of the world?

Shawn: You literally wrote Les Mis when we passed around the suggestion box. It was one of your thirteen submissions – all of which you signed.

Maya: It’s unjust is what it is. Just say you hate women, Mister Hunter. Just say you hate me, let’s get it out in the open.

Shawn doesn’t humor her bullshit the way Angela does, calling her out for the diva antics. He reminds her that it is only one show, and there will be plenty of more opportunities for her to hog the spotlight in the future. And even if it were his decision – which it’s not – he wouldn’t change the casting now.

Maya huffs, spinning on her heel and marching out. She nearly runs into Lucas in the doorway, turning some of her venom on him.

Maya: Are your two left boots incapable of walking too? Get out of my way, gothic Butch Cassidy.

INT. AAA - BLACK BOX THEATER - DAY

Zay and Charlie are humoring Maya’s tantrum as she’s getting costumed by JADE BEAMON, continually pausing her ranting to curse as Jade sticks her with a pin. Considering Jade is their best costumer, it’s likely the pin sticking isn’t all that unintentional despite how emphatically she apologizes each time. Although, all of the gesticulating Maya is doing could be a factor.

Zay shakes his head, pointing out that this is exactly why no one likes her or Farkle. Because they so easily caught up in shit like this, so their friendship is thin. It means nothing. Maya is miffed by the insinuation, defending her attitude on the basis that she’s simply not getting her fair share – i.e., the tried and true argument of every theater kid once upon a time.

Charlie offers a more positive spin by stating that she’s just paying her dues as every showman must. Maya refutes this, impassioned.

Maya: I’m going to make it. I’m going to be the one who emerges from this school after fighting tooth and nail to stay on top, and then I’ll never look back. But I need to build credit while I’m here, and being stuck in smaller roles isn’t going to accomplish that.

Charlie argues that Mme Thénardier is actually a pretty fun role that most people would love to have, but Maya is beyond reason. She continues her rant, claiming that one day she’s going to make it and none of this is going to matter, but right now, she has to go perform this stupid musical. Zay, Charlie, and Jade watch her as she storms out, exchanging looks of amusement.

Song Cue ♫ ♪ “Master of the House” as performed by Les Misérables Original London Cast  || Performed by Nigel Chey & Maya Hart (feat. AAA Sophomores)

INT. AAA - AUDITORIUM - DAY

The stage getting closer to a finished set, the sophomores take their places for a truncated rendition of this rowdy and fun ensemble number. NIGEL CHEY does an excellent job with his role, really giving the performance a spark of energy.

As the performers run through it, they poke fun at the techies working on the set and attempt to pull them into the dancing. They’re particularly goofy with Lucas, who stumbles around in his struggle to avoid them and actually get work done. By the time the song comes to an end, he’s retreated to the wings in a huff, Riley waiting there and giggling at him as he fixes his clothes and adjusts his headset.

When Maya’s solo comes along, she delivers the lyrics with convincing levels of exasperation. She’s going through the motions, channeling her frustration with the casting into the role. All in all, despite her behavior, it’s an enjoyable production.

INT. CHUBBIE’S DINER - NIGHT

On the table of the booth in the back corner, Maya has spread out a flurry of flyers and pamphlets. It’s a series of programs and auditions she can put herself up for, searching for new avenues to bolster her credentials before she goes out there into the real world. In particular, a pamphlet for the coveted Kossal Summer Program seems to be in the forefront of her mind – the same summer program that Farkle mentioned in the pilot.

KATY HART interrupts her laser focus, wandering over and bringing a slice of pie with her. She places the plate down in front of her daughter before sliding into the booth across from her, asking her what she’s working on so diligently. After Maya plaintively explains her dire straits and desire to find more ways to hone her craft, Katy takes the chance to share a surprise. She was able to get opening night off of work, so she’ll be able to come see her perform!

Maya is happy, but not nearly as enthused as she could be. When Katy comments on this, Maya beats around the bush before admitting that she doesn’t know if it’s worth it considering she hardly has a part worth blowing off work for. Katy claims that she could be playing a tree and it would still be worth it to her, to which Maya states all the trees are barricade wood at this point.

Katy questions why she’s so stuck on the size of the part, pulling out the age old adage that there are no small parts, only small actors. Maya rolls her eyes at this, before going into her thought process about how she doesn’t want to take one misstep and somehow mess up her shot. She’s terrified of this becoming a pattern, of somehow becoming constantly overlooked.

Maya: I mean, look at you. You’re the most talented person I know, and no one ever even gave you a chance. You had it all, and you still had to give it up because no one would give you the time of day. How am I supposed to keep that from happening to me if techies and forgettable sopranos are getting leads over me?

Katy refutes this fear, stating that she and Maya are on very different paths. She set out to make sure Maya got to make her own path, after all. She shouldn’t stomp all over the good things that this experience might be bringing because she’s terrified of how the future might treat her. Another golden lesson from mother of the year Katy Hart…

INT. AAA - AUDITORIUM - DAY

Farkle is hanging out on the barricade set, now nearly fully constructed. He’s half in costume, balancing his police hat on his knee and focused on a text conversation with his mother. Jennifer’s texts express the opposite sentiment to Katy – they’re doing their best to clear their schedules for opening night, but this that and the other might cause a conflict.

She follows up by stating they’ll work it out, and they will see him perform one way or another. He doesn’t look particularly convinced.

He’s pulled out of the moment when the stage door slams open, Riley barreling out of the dressing room hall. She’s obviously miffed, cheeks flushed and on the warpath. Riles Scrappy Matthews came to play!

Farkle: What’s got your feathers all ruffled?

Riley: Don’t push me. You got something to say?

Farkle: … No, ma’am.

Riley: Smart. Guess you are a genius.

Riley stomps off, leaving Farkle totally confused. He glances towards the dressing rooms where she came from. Wondering who she might have murdered, he hops off the set piece.

INT. AAA - GIRLS DRESSING ROOM - DAY

Farkle inches his way into the dressing room, dreading seeing something he shouldn’t in return for his bold choice to enter the girls territory. Lucky for him, there’s no one there but Maya.

She’s standing at her station in front of the mirror, holding a tissue to her mouth and clearly just wrapping up a brief crying spree. She spots Farkle behind her through the mirror, jumping slightly and frantically wiping at her eyes. She tells him he can’t be in there, to which he simply responds tit for tat, given that she walks into the boys dressing room to bother him all the time.

When he tentatively attempts to figure out why she’s being so… emotional, she lashes out at him much like she’s been all through the rehearsal process. He raises his hands in surrender, telling her that she’s gotta chill.

Maya: Oh, that’s rich, coming from you.

Farkle: Believe me, bitch, I know. Why do you think I’m telling you it with such certainty? Been there. Often.

He reaches into the pocket of his pants, retrieving a handkerchief. He hands it to her, which she reluctantly takes. Farkle goes on to explain that he just got friends – including her – and the only reason is because he started trying to control the diva instincts and consider how that impacts other people. It’s that kind of behavior that makes allies difficult to keep.

Maya has always had the upper hand between the two of them, and it’s because she’s slightly more palatable in that regard. He advises her not to give up that advantage now by blowing it all on a stupid musical which they’ll have many more of before their time here is done.

After a moment, Maya relents and admits that they are probably more similar than she ever wanted to believe. Farkle gives her one more statement of camaraderie.

Farkle: I understand the notion of knowing what you’re destined to do and being willing to do whatever it takes. Trust me, I feel that in my bones. It’s not an attractive quality, but it’s what is going to put us one tier above the rest.

[ Maya dabs her eyes with the handkerchief. Farkle waits for her to meet his eyes. ]

Farkle: But first, we have to pay our dues. Whether it be as the town crier in Cinderella or the scheming, sultry wife to one of the most notorious tricks in the fabled history of the French revolution.

With that, he leaves her to pull herself back together. Maya hangs onto his handkerchief, glancing up at herself in the mirror. Not necessarily liking what she sees. Boy, if she doesn’t have damage control to do now…

PART III: “A Little Fall of Rain”

INT. AAA - HALLWAY - DAY

We’re back in front of the cast list, Riley now the one standing in front of it. She stares at her name across from Eponine in awe, unable to believe it’s accurate. But Yindra’s enthusiastic grip on her arm confirms it – it must be true. She’s playing perhaps one of the best roles, with one of the most iconic female solos of all time.

That’s a lot to take in all at once. And she needs one more bout of reassurance, just to be sure there wasn’t a mistake.

INT. AAA - BLACK BOX THEATER - DAY

This is how she ends up in Angela’s classroom, following the same route as Isadora in questioning whether the role was given correctly. Considering performers like Maya do exist in their class, she just wants to be absolutely certain. She was expecting something a little more soft-spoken, like Cosette. Or a chorus member. She doesn’t want to let anyone down.

Angela claims there was no mistake, and the casting was quite intentional. She thinks she’ll make an excellent Eponine. When Riley expresses apprehension, Angela sits her down and goes into more depth on the choice. As she explains it, Eponine is a tragic character, but she’s not a victim – she suffers and struggles but continues to crawl onward regardless. She makes bold choices, but also bottles up her emotions to benefit others. She puts aside her own wants to service the happiness of others, even at her own expense.

It takes a great actress to capture that complexity, and she’s sure Riley can pull it off. Considering it sort of feels like she just described her life story, Riley seems a little less uncertain than before.

As Riley heads out to go initial and accept the role, she hangs back and asks the question as to why Angela is taking an extended absence anyway. Seeing as she’s the performing student the least likely to blow an emotional gasket, Angela decides she can share the truth with her. She tells her about the auditions she is going out for which will keep her out during afternoon rehearsals, and how the conflicts just grow more pressing during dress rehearsal week. But she trusts Shawn. She’s sure it’ll be fine.

When Riley double checks that she’ll be there for opening night, Angela assures her there’s no doubt about it. Taking her at her word, Riley accepts this, wishing Angela luck. If anyone at AAA deserves to pursue their dreams, it may as well be the teacher helping them all foster theirs.

INT. MATTHEWS APARTMENT - NIGHT

Things at the Matthews apartment are… disarmingly comfortable. With the divorce paperwork in development, it seems that TOPANGA LAWRENCE and CORY MATTHEWS have managed to reach some semblance of normalcy again. No longer feeling trapped, perhaps it’s easier to maintain a cordial attitude.

In fact, in some ways it’s more than that. Weirdly enough, they seem back to the way that Riley always knew them. At ease, cracking jokes, poking fun at each other in a way that isn’t laced with harsh truth. Dinner feels normal, for once.

When Riley mentions that she got the role of Eponine in the musical, the whole family offers their congratulations. AUGGIE MATTHEWS offers her a high-five, which she takes. Topanga states that she’s proud of her, and commends her for putting herself out there. She then launches into all the steps Riley should take to prepare for the role, never one to pass up on giving guidance…

Still, Riley doesn’t mind. It’s nice to eat dinner without feeling as though the house is going to crumble on top of you at any moment. She smiles as Topanga rattles on, taking a bite of her meal and sharing a smile with her brother.

INT. AAA - AUDITORIUM - DAY

Riley is running around backstage after “Master of the House” wraps a run through, getting ready for the next number. She dodges a shoulder bump from Maya, glancing over her shoulder at her before getting distracted by Charlie. He pulls her into places with him backstage, the two of them gearing up for their next scene.

Charlie makes a couple of cracks about how it’s only fitting that they would end up playing complicated love interests. Riley fires back that if that’s the case, the roles should be reversed considering she was never the one carrying around unrequited love… but the banter is more natural and relaxed than it’s ever been between them. Both of them finally on the same page, it seems, and knowing it’s all in jest.

Riley comments that he and Zay seem to have become pretty good friends, which seems to shock Charlie at first. He asks why she would say that, and when she gives a list of very reasonable and normal observations, he relaxes. He agrees to the sentiment, stating that Zay is amazing and it’s nice to have another friend who appreciates dance and all that jazz. Riley states that it’s nice to see Zay having another friend who appreciates him for how great he is.

Charlie seconds the notion, before holding out his hand. Prepared to run on stage with her as the best-friends-yet-not-quite-lovers their roles demand. Riley returns his smile and then takes it, jumping into character as the two of them emerge from behind the set and into the lights.

INT. MATTHEWS APARTMENT - NIGHT

Riley is helping Topanga cook dinner, the two of them actually enjoying a pleasant conversation for the first time in months. Truly, the lack of tension between her parents is more of a blessing than she ever realized.

As the topic of discussion drifts to the musical, Topanga starts giving her unsolicited tips on how she improve her performance again. Despite having never been a performer herself, giving counsel is how she shows love, so that’s what she’s going to give.

When Riley claims she’s mostly going to rely on channeling emotion from the heart and empathize with the character, Topanga sort of laughs the notion down. She claims that you can’t rely on false or fictionalized foundations to give a good performance, there has to be some truth to it, doesn’t there? Don’t be silly, Riley.

Riley starts to defend herself, but Topanga has already moved onto the next ream of advice. It’s clear that when it comes to her mother, Riley definitely has trouble standing her ground.

INT. AAA - AUDITORIUM - DAY

At rehearsal, Riley is finishing up a rehearsal of “On My Own.” Given the contradictory counsel from her mother, she’s lost in her head and the performance is weaker than it could be.

Shawn attempts to give her feedback, but he’s not as skilled a director as Angela and struggles to find the right way to phrase it. Maya jumps in with a backhanded comment of her own.

Shawn: There’s just something about it that’s not right. It needs more… you just need a little bit… I think that if you –

Riley: … so I should… ?

Shawn: … Try harder?

Maya: Sometimes it’s just about matching the right performer to the role.

Riley tries to ignore the insinuation, insisting to Shawn that she’ll try harder next time. He gives her a thumbs up, hoping that whatever that means it’ll be what the production needs. Then he shoots Maya a look, discouraging the negative commentary.

As she spins away from them, Riley lets the frustration and hurt hit her for a moment. Then she bottles it back up, marching offstage.

As she makes her way through the backstage where the techies are hard at work, she runs into Lucas as he’s in the process of helping Nate and Dave get a set piece finalized. It’s clear he’s in full manager mode, balancing a million and one things on his plate and only half-listening to what she’s saying.

They get through half a conversation about how the stage managing is going before he even looks at her, zeroing in on the fact that part of her costume is messed up. He comments on it, and before Riley can even question it he reaches forward and begins fixing it. She totally loses her train of thought as he undoes the belt around her waist and and adjusts it correctly, wholly focused on the show aspects and not even thinking about other possible implications of such a gesture. He offhandedly asks her how her rehearsal process is going, to which she sort of stammers out half a response.

Then he’s done, already jogging off to fix the next thing. Riley stands there, dumbstruck and a little out of breath. She spins around, trying to remember what she was even supposed to be doing in the first place.

INT. MATTHEWS APARTMENT - NIGHT

Riley is helping Auggie with homework, half paying attention and half reading through her script again. It’s dog-eared and got a dozen colorful tabs stuck in it, so it’s evident she’s gone over it multiple times.

Auggie manages to regain her full attention when he pops the question of whether she thinks Cory and Topanga are calling off the divorce. This catches Riley completely off-guard, prompting her to ask him what he’s talking about. He goes on to point out that they’ve been getting along great lately, and they haven’t argued in weeks. Doesn’t that mean things are going back to normal? Couldn’t that mean it’s all going to be okay?

This stuff is hard enough to grasp as a teenager – it’s clear it makes no sense to a nine-year-old and he’s desperately trying to make sense of it. Riley looks at her brother, suddenly overwhelmed and clueless with how to handle the situation. She can’t look at him and break his heart, but she doesn’t want to build false hope and lie either. So she escapes instead.

Riley: I… I need some air. I’m going for a walk.

Auggie: But dinner is in twenty minutes.

Riley: [ already out the door ] I’ll… yeah. I just need some air.

INT. APARTMENT BUILDING - NIGHT

The moment Riley shuts the door behind her, she begins frantically making her way down the hall. Then she realizes she has no idea where she’s going, pacing and trying to figure out where she wants to go. Anywhere but here, that’s for sure.

She pulls out her phone, scrolling through her contacts before hesitating. She only waits a second before dialing, raising the phone to her ear and waiting impatiently.

Riley: [ into the phone ] Hey, are you busy? I… I just need a second –

INT. AAA - TECHNICIAN’S BOOTH - NIGHT

Lucas saunters back into the space, holding the door open for Riley to follow him inside. She steps back in with mild trepidation, obviously not sure she would ever be back here after 1.08.

As he settles into his usual chair, Lucas gestures for Riley to take the other seat he’s not planning to occupy. She does so, hesitantly, although her comfort will grow over the duration of the scene. Glancing out the window towards the stage, it’s odd but not unwelcome to see it darkened and empty. A moment of peace in a setting usually flooded with chaos.

Lucas occupies the space with deep familiarity, reaching in his file cabinet drawer. He tosses Riley a snack with a quick “think fast,” which she just barely manages to catch in time. He pulls one for himself as well, getting comfortable and pulling his manager binder back onto his lap to continue taking notes.

Riley: So… this is really it, huh? You really just hang out in here like this all the time.

Lucas: Well, you’re here too, aren’t you? You’re the one who asked to come here.

Riley: … touché.

Another stretch of silence. Riley watches him work for a second, before broaching the topic of how stage managing is going. Lucas laughs rather than answering the question, to which Riley expresses indignation. Is it so horrible of her to ask how things are going?

Lucas: Am I really supposed to believe you just dropped by here because you were dying to hang out in this musty booth with yours truly?

Riley: Well it… it’s not without its charms.

Lucas raises his eyebrows at her. Not buying it. Sensing that he’s going to see right through any excuse she makes up, Riley relents and slowly opens up about how being at home got so overwhelming. It starts with the moment with Auggie, before snowballing into a full ramble about her parents, and the whole mess of a situation, and how she just feels so trapped.

He just lets her vent, listening attentively but not commenting. When she runs out of steam, she takes a moment to collect herself before apologizing for rambling. She tends to do that. He tells her that it’s fine, before asking her what exactly she wants to hear from him. What does she want him to say? She isn’t sure, so Lucas warns her he’s just going to say exactly what he’s thinking.

First, he gives her something resembling advice and states plainly that she should seriously learn to stand up for herself. Like, yeah, keeping the peace is admirable, but it’s not her job and it’s not worth getting crushed over. Literally or metaphorically.

Riley: Well, of course you wouldn’t think so. Mister Techie Revolution.

Lucas raises his hands in surrender, taking this criticism and acknowledging it’s truth. Then he switches gears, saying what she actually needed to hear – that the situation sucks. It sucks, and he’s sorry that she has to deal with it. He has a sense of how it feels when your house doesn’t feel like a home, so he’s genuinely sympathetic.

The simple act of validation is more than enough. Already a little better than before, Riley nods along before offering him a grateful smile.

Out of things to say, Lucas claims he really does have to get back to work. Being a stage manager is a hell of a lot of work, believe it or not. Riley asks if she can hang around still – she promises to be quiet – and he allows it if she really wants to waste her evening doing nothing.

Song Cue ♫ ♪ “On My Own” as performed by Les Misérables Original London Cast  || Performed by Riley Matthews

Lucas goes back to his binder, Riley settling into the quiet. She tries to shift her gaze elsewhere, but it inevitably ends up drifting back to him.

INT. AAA - AUDITORIUM - DAY

Riley performs a full rehearsal of the powerhouse anthem to unrequited love, delivering it with much more emotion and passion than her first few attempts. It’s clear she’s tapped into the headspace she needed, and she’s singing from the heart rather than getting lost in her mind. Wonder where that new emotion could possibly be stemming from…

Once she finishes the number, Shawn applauds her for an obviously improved performance. She breaks into a breathless grin.

INT. AAA - GIRLS DRESSING ROOM - DAY

As Riley floats in to grab her things for her costume change, she runs into Maya again. She has another snide comment to make, only this time Riley isn’t taking it. She’s got the adrenaline of a great performance in her veins and the advice of Lucas rattling around in her brain, and it pushes her to be bold and stand up for herself.

Riley, fiercely: Stop talking to me like that.

Maya is surprised that she’s firing back. Riley essentially pops off on Maya for the way she and the rest of the performers have treated her since she arrived at AAA, particularly the way they hand out and withhold friendship like it’s a bartering tool rather than a basic human decency with any actual meaning.

Riley: I’m sorry if you feel like you’re losing control. I’m sorry if you feel threatened, believe me, I’m quite familiar with both. But I’m not a dartboard, and I’m done taking your jabs whenever you need something to take your aggression out on. Either change your behavior – which is what I would recommend – or find someone else to play punching bag. I’m done with it!

Maya is stunned, out of words to respond. Riley grabs her costume change, bundling it in her arms and storming out of the room. On her way to pass Farkle…

PART IV: “Sweet Jesus, Hear My Prayer”

INT. AAA - HALLWAY - DAY

We’re back with Charlie in the moment he discovers he’s been granted the role of Marius, and the look of excitement on his face is genuine. He didn’t get a large role last year aside from dance captain, so he’s ready for the chance to really take center stage.

His enthusiasm only grows when Zay gives him a congratulatory hug. He returns it, patting him on the back and letting the hug linger. When they pull apart, the two of them eagerly discuss what they’re going to do for their first out-of-school hangout together. As they head back into the auditorium, they have a somewhat odd but endearing exchange about the whole thing when Charlie asks what exactly they should do.

Zay: I don’t know, stuff friends do? It’s not that deep, from what I understand.

Charlie: No, yeah, for sure. I just – I’ve only ever really hung out with Haley and Clarissa, and Yogi one time. That was weird. Oh, and friends from church. Somehow, I don’t think any of those prior experiences would be interesting to you.

Zay: God, literally, who are you. Look, I’ll just pick something and it’ll be a big surprise for you because clearly you’re not yet ready for that much Fun Responsibility.

Zay gives him a bracing pat on the shoulder, leaving him in the wings to head to the audience. Charlie watches him go, unable to hold back his grin.

INT. GARDNER HOME - DINING ROOM - NIGHT

That evening, Charlie has dinner with his family in their rather regal and well-organized dining room. While they’re rather proper and polished, it’s evident that there is genuine love between all members of the Gardner clan while they converse and share a meal. ELEANOR GARDNER (50s) guides the conversation, certainly the matriarch of the family.

Across the way from Charlie, AMBROSE GARDNER (50s) quietly enjoys his dinner and smiles along as his daughters ramble on about their days. Soft-spoken and genial, Ambrose is a gentle and loving father and it’s clear that Charlie deeply values their relationship. As his only son, it goes without saying that the feeling is mutual.

After his younger sisters, ROSAMUND GARDNER (13) and DAISY GARDNER (11) finish arguing about something inane – which Ambrose exchanges a goofy look with him over – Charlie pipes up and explains that he got the role of Marius in the school production of Les Mis.

The family congratulates him, Eleanor more than elated. She claims she’s going to brag all about it at mass on Sunday, and Ambrose notes they’ll have to let their eldest sister Agatha know so that she and her fiance John can come down from upstate to see opening night.

Charlie hesitantly questions whether or not they think Bridgette will come, and the room immediately takes on a new tension. Rosamund and Daisy exchange a look, obviously curious what their parents are going to say. Eleanor and Ambrose sort of seize up, having a tacit exchange of their own before opting to avoid the question. It’s clear this subject is a sore and tricky one in the Gardner household.

Rosamund: Why would Bridgette come home for yet another one of your musicals when she hasn’t been back since she left for college last year?

Eleanor: You know what, I think it’s time for dessert. I’m going to go grab the leftover pies from the book club – Ambrose, ice cream on yours? Girls?

Charlie allows the conversation to shift, but it’s clear he’s not satisfied with how his question went unanswered. Something about it is haunting him, not able to let it go.

INT. DINER - DAY

Charlie meets up with Zay for their first bros being bros outing, hitting up a diner in Queens where Zay lives. It’s not like Chubbie’s, which is always populated with kids from school, so it allows for the hangout to be a bit more secluded and relaxed.

Mostly, Charlie is excited to be in a different part of town and doing something totally out of his ordinary routine. He’s all smiles and enthusiasm as he digs into his diner grub, continually looking out the window at the world of Queens passing them by. Zay is amused by how dazzled he is by seemingly inane things.

Zay: Glad we got a window seat, then.

Charlie: This is so lit. Also these fries are bomb. It’s a good thing I don’t live here, or I’d never be able to be a dancer.

Zay: Yeah, I can tell. You’re like a vacuum cleaner over there.

Charlie: I’d give up my career for these fries. I’m gonna marry these fries and move to a villa out in the countryside to live out the rest of our days in blissful matrimony.

The waitress comes in to check on them, sharing a friendly and familiar rapport with Zay. He also suggests that she may want to bring an extra plate of fries out, as his meal companion is going to need some to go. As she saunters off, Charlie smiles at him. Obviously charmed.

A song comes on over the sound system that both of them, the two of them getting into a lively discussion about the artist. Zay is evidently thrilled to have the conversation, serving how much he can brighten when he has a friend who shares his interests but isn’t, well, insane.

Charlie notes how they’re making a jukebox movie musical featuring their music, and it’s coming out around the same time as opening night. In fact, he’s pretty certain it’s the same night. He pulls out his phone to search and confirm. Zay suggests that, provided Les Mis doesn’t kill them prematurely, they should go together after opening night. They know it’s going to be awful, so they can go and totally critique the shit out of it. Charlie, feeling comfortable in this new space and good about this new dynamic, says it’s a deal. They even shake on it.

INT. GARDNER HOME - CHARLIE’S ROOM - NIGHT

Back from his hangout, Charlie goes and makes an addendum to his well-used and obsessively organized wall calendar. He makes a note underneath the date for opening night, adding his outing with Zay. He’s clearly excited about it.

INT. AAA - AUDITORIUM - DAY

Rehearsals for the musical progress in a time lapse, progressing in a similar fashion to the way they did throughout the course of the previous stories. The costumes and lighting begin to take shape, the set rising behind the actors as the techies work their way through building it.

EXT. NEW YORK CITY - DAY

While time lapses in the auditorium, Charlie and Zay also continue to build their friendship outside the walls of AAA. They try different food stops, check out some art exhibitions, do all the things that “friends do,” as Zay so eloquently put it. They also start texting a lot more.

Through all of these interactions, Charlie truly comes alive. He’s more uninhibited and genuinely happy than he’s been all season, showing off smiles that would truly earn the “nicest smile” moniker he earned from last year’s yearbook.

INT. CHARLIE’S CHURCH - DAY

The Gardners are attending Sunday mass, chatting with other churchgoers after the main congregation. It’s evident that this is a solid and tight-knit community for Charlie and his family, and he feels relatively comfortable in their midst. Still, he’s a teenager, and the chatting of older community members can only hold his attention for so long.

He zones out, checking his phone when a text from Zay comes through. He smiles upon reading it, starting to type out a reply when his father sidles up next to him and asks what he’s got that goofy grin going for. Charlie panics, stuffing his phone in his pocket and searching for an excuse.

Charlie: No I was just – I was reading an article. Funny. A funny article.

Ambrose thinks nothing of the moment, commenting that Eleanor is bragging about him and his role in the musical again. The two of them exchange a knowing look, Charlie smiling and claiming he should probably making an appearance then. Ambrose winks, nodding him along.

Charlie weaves his way through the crowd, accepting greetings from acquaintances as he goes. When he finally joins his mother, she’s holding court with three or four other women in their 50s or older. They all evidently adore him, gushing over how talented he is and how darn cute he seems to get every time they see him. How could he possibly get cuter? Doesn’t seem possible! Naturally, this somehow seems to drift into the subject of his current single status.

Danielle: I cannot believe you don’t have a girlfriend. Sweet and good-looking boy like you, it’s a miracle you haven’t been snatched up.

Trina: Mm hm. If you were our age, when we were growing up? You would’ve been off the market in minutes.

Danielle: Seconds!

Maitland: You know, if you’re at all interested, you should definitely let me introduce you to my daughter. She never comes to mass because her violin lessons are at the same time –

Danielle: Please, he doesn’t want a sinner for a girlfriend if she can’t even attend mass properly. You should meet my granddaughter. Now there’s a match made in heaven, I’m telling you.

Eleanor, playfully: Ladies, he’s my son, not a piece of meat!

Charlie: Truly, I’m honored. But I’m sure your daughter and granddaughter have plans of their own for their romantic endeavors.

Still, the issue continues to be pushed. A couple of them ask Charlie why he hasn’t found a girlfriend yet, to which he doesn’t have an answer. He’s never even really asked himself that question, only now that it’s in his face he’s certain he should have an answer.

Danielle: Oh, don’t you just remember it? The way you feel when you’re with your first steady. All the butterflies, and the way your palms sweat. Oh, when you meet the one, you sure just know.

Charlie laughs awkwardly, claiming that when he gets that feeling with a girl he’ll be sure to follow through on it with them in mind. They all titter along with him. Oh, charming, cheeky Charlie Gardner! Ha ha ha.

EXT. MOVIE THEATER - NIGHT

Zay and Charlie are in line for the movies, comfortably discussing the other posters on display. Zay points out the promotional poster for the dance movie, reminding him of their plans to see it in just a few weeks. Charlie assures him he didn’t forget, and jokingly places a bet on whether this film will be better or worse than that one is guaranteed to be.

Charlie zones out as Zay continues the conversation, getting fixated on him as he speaks. Like, he’s paying attention to him, yet he doesn’t actually know anything Zay just said. It’s a weird moment, and Charlie has to shake it off before they head into the theater.

INT. MOVIE THEATER - SCREENING ROOM - NIGHT

Based on Zay’s bemused expression as the film unfolds in front of them, it’s clearly just as bad if not worse than the dance film is supposedly going to be. But for whatever reason, Charlie is still distracted. He keeps glancing at Zay’s reactions to the film rather than the film itself, and he’s suddenly oddly restless.

He starts to hit on every little thing that Danielle mentioned. He’s got butterflies, and he keeps wiping his palms on the knee of his jeans. He can’t seem to move on from the fact that their elbows are touching on the arm rest.

Zay leans over to whisper something to him about the movie, and this totally catches Charlie off-guard. His stomach flips, and whoa, Zay’s face is so close to his. He glances at him, then down at his lips. And the moment he realizes he did, he jumps up from his seat.

Zay: Dude, are you okay?

Charlie: I – I think I’m gonna be sick.

Charlie darts out of the row, taking the steps two at a time and disappearing. Zay gets up and starts to go after him, before a movie-goer snaps at him and tells him to get out of the way.

Zay: It’s a bad movie. What are you missing? I’m doing you a favor.

INT. MOVIE THEATER - BATHROOM - NIGHT

Charlie bursts into the restroom, sliding to the furthest stall and locking himself inside. He paces the small confines of the stall and tries to calm his breathing, and there’s a moment where he really does think he might throw up. He drops to his knees, but the nausea passes, leaving a cold sweat in its place.

Charlie collapses back against the wall, pulling his knees up to his chest. He looks at his hands, which are clammy and trembling slightly. He’s never felt like this before, and it’s clear he’s not a fan of it. Although, it was all spurred by other feelings he’d never felt before…

INT. MOVIE THEATER - NIGHT

When Charlie emerges, Zay is leaning against the wall outside and patiently waiting for him. He straightens up the moment he sees him, concern alight in his features as he asks if he’s okay. Charlie examines him, trying to get his brain to work properly again.

Charlie: I think… I think I just need to go home.

Zay: Okay. Okay, yeah, of course. Well, let me walk you –

Charlie: No I’ll just – I’m just gonna call an Uber. Thanks though.

Zay seems like he wants to argue, still worried. But he relents, claiming he’ll see him at school tomorrow anyway. Charlie returns the sentiment in a daze, already making a beeline for the exit.

INT. GARDNER HOME - KITCHEN - NIGHT

Charlie is seated at the counter, already in his pajamas and listlessly munching on toast. He’s sipping cola in an effort to settle his stomach. Ambrose enters searching for a late night snack, taking in the scene with a hint of amusement.

Ambrose: Wow, cola. For the dancer? You must really not be feeling well.

Charlie: You have no idea.

Ambrose expresses sympathy that Charlie had to leave his hangout with his friend early. When he settles into making a snack across the counter, Charlie ventures the question of whether his father knew he had feelings for his mother right away. Did he know in an instant, or did it take some time for him to come around in recognizing his feelings?

Ambrose claims he always had a tenacity towards the girls as he got older in high school.

Ambrose: I mean, it was Catholic school – you’ve seen those uniforms, right?

Charlie: Ha ha. Yeah. Totally.

That remark aside, Ambrose states that he didn’t really know how major those feelings could be until he actively started pursuing them. Like, it took having his first kiss and beginning to explore that side of things that he really started to recognize them more adeptly.

Charlie internalizes this, figuring maybe that’s the solution. He simply hasn’t been trying hard enough. If he wants to like girls the way everyone else seems to expect him to, maybe he just needs to be actively pursuing them. Then he’ll feel it, and it’ll work itself out.

Song Cue ♫ ♪ “A Heart Full Of Love” as performed by Les Misérables Original London Cast  || Performed by Charlie Gardner (feat. Yindra Amino & Riley Matthews)

INT. AAA - AUDITORIUM - DAY

Lucky for Charlie, he has a kiss essentially scripted into his future for him. He and Yindra have yet to practice their kiss after “A Heart Full of Love,” so it’s the perfect excuse to put this whole thing to rest. So as the number unfolds at their dress rehearsal, never having been discussed beforehand, Charlie ends the number by taking Yindra’s face in his hands and kissing her.

From the outsider perspective, it appears very impassioned. Yindra is obviously surprised, and Riley’s jaw sort of drops from her spot on the stage, totally disrupting the flow of the number. In the wings, the rest of the class reacts accordingly. The girls are shocked, and a few disappointed.

Lucas makes a face, as does Zay next to him. He was definitely getting some vibes… but then, maybe he read the whole situation wrong. It’s unclear how exactly he feels about that.

When they break apart, it’s evident that the surprise lip lock has thrown the whole dress rehearsal into disarray. No one is really sure what to do next, so much to the point that Shawn prompts them to move onto the next scene. It’s a dress rehearsal, they can’t stop people! Lucas motivates everyone to get going, starting the next set change.

Lucas: Have you all never seen a kiss before? What are you, third graders?

Nigel, in passing: Like you’ve ever kissed anybody.

Lucas: Hey. Hey! Shut the hell up.

INT. AAA - BOYS DRESSING ROOM - DAY

Farkle and Zay are already in the dressing room when Charlie enters, somewhat dazed from his kissing expedition. They commend him on making such a bold choice, opting to just get it out of the way rather than make a big deal about it. And it sure uh, looked believable. Zay is called out for the next scene, brushing by Charlie as he goes.

But as continued conversation with Farkle reveals, Charlie is a good actor. Because it was not nearly as passionate as it seemed. Charlie states that he didn’t feel anything, clearly dejected by this admission. Farkle isn’t sure what the major drama is, but he tries to put a positive spin on it for him.

Farkle: Hey, man. I mean, it’s okay. You’re not supposed to actually feel things for your co-stars. That’s what bad actors do.

Charlie: Ha, yeah. No, yeah, totally. You’re right.

Still, Charlie isn’t satisfied. Farkle is called onto stage as well, leaving him alone to ruminate.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie crosses off another day on his calendar, leaving only one left before opening night. As he goes and climbs into bed, Eleanor appears in the doorway to wish him goodnight. She tells him how excited the whole family is for tomorrow, and that Agatha will be able to make it along with her husband. Isn’t that just lovely?

It’s nice news, but Charlie can’t concentrate. He abruptly changes the subject, blankly asking her why they don’t speak to Bridgette anymore. She’s been gone less than year, and it’s like she’s been gone forever. Just totally scrubbed out of the family tree.

Eleanor can tell this subject isn’t going to be dropped easily. She sighs, cracking the door behind her and coming to join Charlie on the edge of the bed. She treads the topic cautiously, starting off with the statement that Bridgette was always the more stubborn of the five of them. As it stands right now, she’s made… choices while away that she knows they don’t agree with. She’s made these choices of her own free will, and it’s difficult to try and level with her when she’s in a place of such sin in her life right now. It’s trying, but that’s the way it is.

Eleanor emphasizes that they still love her, and she’s still family. But choices have consequences, and right now, she’s choosing to live with those. Unsurprisingly, this does not make Charlie feel better at all. As he settles into bed and his mother bids him goodnight, it seems as though he’s going to be getting very little sleep the night before opening…

PART V: “Sweet Jesus Doesn’t Care”

INT. AAA - SHAWN’S OFFICE - DAY

As Maya is storming out, Lucas is making his way into Shawn’s office. They bump into one another, once again prompting Maya’s harsh rhetoric.

Maya: Are your two left boots incapable of walking too? Get out of my way, gothic Butch Cassidy.

Lucas raises his eyebrows as she flounces away, turning his amused expression to Shawn.

Lucas: What did you do to her? You run over her brand new puppy, or what?

Shawn: Why, you actually concerned for one of them?

Lucas: No, I was kind of hoping I could take credit for it. It’s so funny when they pop off like that.

Shawn rolls his eyes, gesturing for Lucas to come in anyway when he states he asked to see him. He explains that with Isadora now in the show as an actress, they’re going to need someone to step into the role of manager. He’d like to offer him the position. Lucas is reluctant, obviously not certain himself if he’s cut out for such a major responsibility.

Lucas: Are you sure that’s a good idea? I mean, I don’t even know what show we’re doing.

Shawn: … seriously?

Lucas: Look, you think I pay attention to any of this? If I could get away with wearing ear plugs all day, I would.

Valid point. Still, they need someone who can take charge and Lucas has more than proven his ability to lead. Considering he orchestrated a full-on revolution, Shawn posits he could handle one small production. After a few more words of flattery and a brief pause, Lucas agrees.

INT. AAA - JACK’S OFFICE - DAY

Understandably, not everyone is entirely sold on Lucas’s step into such an important leadership position. Thus, Lucas ends up opposite JACK HUNTER in his office once again, although this time he at least is not in trouble. Jack simply wants to confirm that he intends to take the role seriously, as there are a lot of stakes – and money – being poured into this production.

Jack: I’m only clarifying that you realize the importance of the position you’re being offered. I need to know that you’re going to take this seriously, because I don’t want to have to clean up the mess if you get irritated or bored with it and let it derail.

Lucas: Oh, how I do enjoy our little chats. Your confidence in me is earth-shattering.

Jack: I’m just being realistic. I know you don’t care about the show.

Lucas: Oh, no, not at all. You’re not wrong about that. [ after a beat ] But I do care about my crew. This reflects back on all of us, and I know it’s important to them. So I’m not going to let them down.

Honestly, that’s probably the one thing Jack can believe. Choosing to trust that Lucas is going to take the role seriously, he gives the green light. Lucas is officially the stage manager for Les Mis.

INT. AAA - AUDITORIUM - DAY

Lucas saunters into rehearsal, meeting with the techie brigade in their usual spot. Isadora’s absence is duly noted.

Jade: It’s weird without Isadora… [ glancing around ] and heavy on the testosterone.

But the show must go on, and so they will learn to operate without her. Dave hands Lucas a copy of the script.

Dave: It’s “The Miserables.”

Lucas: Oh, so it’s autobiographical.

Once Lucas is done snickering at his own joke, the group of them get down to business and make sure they’re all on the same page. Then, when there’s no more ducks to put in a row, Lucas exhales a pointed sigh.

Lucas: Okay. Let’s put on a fucking musical.

Song Cue ♫ ♪ “Little People” as performed by Les Misérables Original London Cast  || Performed by Nick Yogi (feat. AAA Sophomores)

Focus jumps to the stage, where Yogi in his role as Gavroche is leading this jaunty and upbeat number. While he leads the company, the techies work on putting together the show in the background. It’s the most pointed time lapse of the episode, showing the full-on construction of the technical aspects from week one through to dress rehearsal.

As the number ends, we’re deep within dress rehearsal week. Yogi and the company are in full costume, Yogi throwing a fist in the air as he’s lifted onto the shoulders of his castmates.

INT. LUCAS’S APARTMENT - NIGHT

Lucas is coming back late from school, dress rehearsals keeping them well into the night. As he unlocks the door and steps into the tiny entryway, it’s clear that he’s actually having a good time with how the show is unfolding. He’s even humming “Master of the House” as he makes his way in, shutting the door behind him. Yes, Lucas Friar, humming!

The moment he turns to face the rest of the apartment, however, his humming trails off. Something about it doesn’t feel quite right, and he immediately tenses up. Pieces of the scenery begin to jump out at him as his eyes adjust to the dark – some of the furniture in the living room is askew. There’s a broken object on the floor that he nearly steps on, porcelain lightly crunching underneath his boot. He kneels down to investigate, recognizing the vase that used to sit on the side table by the door now shattered on the hardwood.

Lucas takes on a more cautious stance, zeroing in on the one light glaring from the kitchen. He calls out for his mom, but there’s no answer. Getting to his feet, he apprehensively approaches the other room. The closer he gets, the slower he moves… his hand drifts to his pocket, grip closing around the switchblade…

INT. LUCAS’S APARTMENT - KITCHEN - NIGHT

Thankfully, he doesn’t need the weapon, but that’s where the good news ends. Although we don’t see his mother, it’s clear from the way his expression shifts into panic that she isn’t in good shape. Kenneth Friar has certainly breezed through, that much is certain.

Lucas immediately calls out to her, scrambling to his knees and launching into action.

INT. AAA - JACK’S OFFICE - DAY

Lucas is back in his usual spot across the desk, alone in the office. He’s staring at the desktop, tapping his finger against the arm of the chair. Sort of present, but his mind is elsewhere.

When Jack steps in it startles him, causing him to jump. He clears his throat to cover to display of discomfort, locking eyes with Jack as he settles into the desk across from him. The whole thing is far more somber than usual, making it all feel even more disorienting.

Jack explains that Eric updated him on what happened. He’s grateful to hear that Grace is going to be okay. He also wants to know if Lucas is feeling okay, or is willing to share anymore about what he saw or experienced.

Lucas doesn’t respond. He keeps zoning out, currently focused on the small floral arrangement Jack has on the edge of his desk. It looks kind of like vase that used to be in his apartment…

Jack carries on, also stating that as far as he understands it, this isn’t the first time things like this have happened in the Friar household. Still nothing from Lucas. Jack sighs, changing tact instead and asking Lucas if there’s anything he thinks they can do for him.

Lucas: [ tearing his gaze from the flowers ] … Huh?

Jack, patiently: Is there anything we can do for you? Anything that you need, or that I can –

Lucas: No. [ defensive ] No, no. I’m fine. I don’t need anything.

Jack: Just, considering the circumstances –

Lucas: I’m fine. I don’t see why you would bother to ask now, since no one has ever bothered to care much before.

Jack: That’s not –

Jack begins the argument, before realizing it’s a futile effort. It’s not the time, and Lucas is in no state to be launching into debates about something so sensitive. Especially when he can hardly get him to hold a conversation. He instead opts to reiterate the point that Lucas is seen, they see him, and there are options. There are systems in place to help him, all he has to do is ask.

Lucas blinks, opening his mouth to say something. Jack hesitates, hoping it’ll pave the way for a solution. Any sort of progress.

Lucas: … I have to get to rehearsal.

He gets to his feet still in a daze, leaving the office without dismissal. Jack doesn’t fight him, but it’s evident he wishes there was more he could do.

Song Cue ♫ ♪ “Bring Him Home” as performed by Les Misérables Original London Cast  || Performed by Zay Babineaux & Jack Hunter

INT. AAA - AUDITORIUM - DAY

Zay starts off the sentimental, protective ballad, in full costume and dress for the show. His performance is stellar, channeling all the emotion and depth of Jean Valjean seemingly effortlessly. It’s a tough portrayal to beat.

INT. AAA - JACK’S OFFICE - DAY

Still, nothing is more raw than experiencing the actual emotions of such a character. It’s not the French revolution, but Jack feels a distinct sense of dread and ache as he watches Lucas saunter off, feeling helpless to actually aid him in a way he needs it.

The phrases “He’s like the son I might’ve known, if God had granted me a son,” and “Bring him peace, bring him joy, he is young, he is only a boy” ring particularly true.

INT. AAA - AUDITORIUM - DAY

Zay brings the number to a close, demonstrating his lovely falsetto.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas is asleep in his chair, having dozed off while working on last minute details for the production. Isadora pokes her head in, having come by early opening night to rehearse one last time. Her entrance spooks him and accidentally wakes him up, Isadora immediately apologizing as he reorients himself with reality. He waves her off, disregarding the apology.

The two of them hang in the quiet for a moment, before Lucas informs her cheekily that this job she does ain’t easy. She’s like oh, no kidding, but she’s smiling as she does. When he expresses some doubt in his ability to pull this off, Isadora quells those concerns and assures him that she can’t think of anyone else better suited to take over for her.

As she darts off, Lucas gives her a sentiment of good luck. Unfamiliar, but he’s trying.

Lucas: Good luck. Or break a leg. You know. Whatever they say on the other side of the tracks.

Lucas glances down at his script binder, taking a deep breath. Then he gets to his feet, descending from the booth as the rest of the cast begins to assemble for call time.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “One Day More” as performed by Les Misérables Original London Cast  || Performed by AAA Sophomores

The cast launches into the famous first act finale, all preparing for the emotional whirlwind that is sure to be opening night. It ties all of the stories together in preparation for the final act, everyone singing their roles and coming together as a cast and crew.

In fact, even Lucas gets his due. On the lyric “My place is here, I fight with you,” Lucas takes the solo as he steps up with his techie crew to brave the production as a team. Dylan, Asher, and Dave all clap him on the shoulders.

With resounding gusto, we launch into the remainder of the episode.

PART VI: “The Future That They Bring When Tomorrow Comes”

INT. AAA - ATRIUM - NIGHT

Opening night is upon us! There’s nerves and excitement in the air. Outside the auditorium, family and friends alike mill about and wait for the doors to open.

INT. AAA - DRESSING ROOM HALL - NIGHT

Performers and techies are both in a frenzy, adjusting last minute details and shouting for one another to fix mic packs or tweak costumes.

INT. AAA - AUDITORIUM - NIGHT

Although the chaos continues onto the stage with the stagehands, the further out into the audience one goes the quieter it gets. Riley is making her way towards the back, jogging up the steps to the technician’s booth.

INT. AAA - TECHNICIAN’S BOOTH - NIGHT

Riley knocks lightly before poking her head inside, surprised to not find Lucas in his usual chair. She almost turns around, but just a little bit of further investigation solves the mystery for her.

Lucas is seated on the floor in front of the electrical cabinet, leaning back against it with his arms propped on his knees and eyes closed. It’s a setting of unequivocal quiet, a sharp contrast to the hectic nature of everything else.

It also gives Riley the distinct sense that she’s disrupting said quiet. She starts to tiptoe her way out, but Lucas already heard her come in.

Lucas: You just going to leave without saying goodbye? Seems a bit harsh for you.

Riley laughs sheepishly, stepping fully into the space as Lucas opens his eyes to look at her. She asks if she’s interrupting, which Lucas waves off. He’s just taking his pre-show bout of silence, and traditionally, no one is supposed to bother him during this ritual.

Riley: I didn’t mean to – I can come back –

Lucas: It’s fine. What do you want?

Riley takes the moment to thank him for being willing to listen the other day and allowing her into his space. She also appreciated his advice, and she doesn’t know how she’s going to be able to repay him for that.

Lucas: It wasn’t a big deal.

Riley: … well, it was to me. So, thank you.

After a moment, Lucas nods, accepting the gratitude. The quiet between them lingers, and there’s held eye contact. Soft eye contact, at that.

JEFF MONROE enters, obviously surprised to find another person already in the booth. He glances between them, giving Lucas a quizzical look before asking if he should come back. Not that he really has much time given they’re opening the doors in ten minutes, and someone needs to set up the lights…

Riley clears her throat, offering him a smile and claiming she was just leaving. She wishes both of them luck, certain that they’re going to kill it. Lucas returns the sentiment as he climbs to his feet, telling her to break a leg now that he’s practiced the sentiment more than once.

After she leaves, Jeff settles into the lighting board chair while Lucas gathers his things to head backstage. It’s impossible for Jeff not to make a comment.

Jeff, teasingly: I thought no one was allowed up here during pre-show quiet.

Lucas: Shut up.

INT. AAA - AUDITORIUM - NIGHT

Isadora is in the wings, peeking through the curtain to watch the audience file in. The expression on her face makes it clear just how conflicted she is about the impending rise of the curtain.

Maya finds her, coming up behind her to take a look as well. It’s looking like a full house for opening night. She starts to comment on it, but Isadora pointedly steps away from her claiming she has nothing to say to her. Maya acknowledges this, stating that she’s right, but she hopes she’ll listen because she wants to apologize.

Maya goes on to state that they are too talented to be enemies, and she doesn’t want to create a reputation for herself as a diva who can’t uplift her fellow female powerhouses. If anything, they need to stick together. She says she is certain that Isadora is going to bring the house down – not because her mother is famous, but because she’s Isadora. Surname irrelevant.

Isadora doesn’t outright forgive her, but it’s clear that the sentiment is genuine. The orchestra begins to tune their instruments, casting quiet over the audience. Maya wishes her luck, disappearing deeper into the wings to take her places.

INT. AAA - DRESSING ROOM HALL - NIGHT

Charlie is with Yindra backstage, the latter giving him a note about cooling it on the kiss from here on out. She appreciates his initiative to just get it over with, but they want to look professional, not insane.

Farkle passes them, on the phone with his parents in full costume. He’s evidently stressed about whether or not they’re going to be present, and given how he’s responding to the other end of the line it doesn’t sound good. Dylan pokes his head, searching for Farkle and insisting that he take his place for his entrance because they’re almost to his opening scene.

Farkle swallows his disappointment, handing his phone to Yogi who runs it back to the dressing room. Then he squares his shoulders, stepping back into character. Cold, removed, a man of the law. He pushes through the stage doors.

INT. AAA - DRESSING ROOM HALL - NIGHT

The full cast and crew are assembled, Shawn giving them great praise for intermission and questioning if there’s anything they all need. As the group disperses and a few performers hang back to ask him questions, Charlie is surprised when his older sister AGATHA GARDNER (22) sneaks through the doors to greet him. His face immediately brightens, and he gratefully accepts her enthusiastic hug. She knows she’s not supposed to be backstage, but she wanted to tell him how amazing he’s doing so far.

Pulling her aside and with a semblance of privacy, Charlie asks if Bridgette was able to make it or not. Aggie’s face twitches with sympathy, and she essentially has to be the one to break the news to Charlie that Bridgette… isn’t coming anywhere for awhile. She fucked it up with mom and dad, and now she has to face the consequences. Nor does she seem particularly bent on winning back their good graces. That’s just the way it is.

Predictably, this news does not make Charlie feel better. Before Aggie can reassure him, the bell rings calling the audience back for Act 2. She gives him a kiss on the cheek and tells him to break a leg, disappearing back through the doors. The mild fear in his expression after their conversation does not bode well for him.

INT. AAA - AUDITORIUM - NIGHT

Farkle takes the stage for his final number, marching out into the bright lights. He scans the audience, hope still intact for the briefest of moments… before it crumbles to dust. No sign of his parents anywhere amongst the full crowd of spectators, they weren’t able to make it. Because of course they weren’t.

In the next instant, he jumps into the frantic, broken energy of his final solo downright effortlessly. Maybe, perhaps, because it doesn’t feel much like acting.

Song Cue ♫ ♪ “Javert’s Suicide: Soliloquy” as performed by Les Misérables Original London Cast  || Performed by Farkle Minkus

Farkle completely chews up the scenery in his final scene, bringing down the house with a convincing portrayal of a man pushed to the brink. For having been in the background for most of the episode, the performance certainly serves to remind us why he’s at Adams at all.

When it comes to his “suicide jump,” Farkle simply backs his way off the set piece and allows himself to fall right into the shadows. As is typical of the production, the audience literally gasps based on how shocking the technical aspects make it appear to be.

Farkle lands safely on the cushion set up for him to catch his fall, but he looks pretty listless as he lays there in the darkness of the scenery. He stares up at the stage lights and catwalk dangling above him, not planning on moving anytime soon from the looks of it.

INT. AAA - BOYS DRESSING ROOM - NIGHT

Charlie is hiding in the dressing room, crouched up on the corner of the countertop and resting his head against the mirror. Dave startles him out of his fugue, informing him that there’s five minutes until “Empty Chairs,��� so he should head to places soon. Charlie thanks him, jumping back to his feet and making sure his mic pack is still in place.

Zay enters, coming in to adjust his old age makeup for the finale. He compliments Charlie’s performance so far, stating that he’s killing it. Charlie returns the sentiment, somewhat robotically. Then, Zay says something that totally throws him off.

Zay: They hated it.

Charlie whips around to face him, uncertain. He asks what Zay means, and he quickly clarifies that he’s talking about the dance movie.

Zay: The movie. Critics hated it, it got horrible reviews. Totally panned. It’s gonna be hilarious to watch.

Charlie: Oh. Oh, yeah.

Zay: Can’t wait til after the show. Hope you’re ready for mediocrity in full-screen glory.

Charlie: Yeah. Yeah, ha ha.

Zay heads out, leaving him back in the dressing room alone. Charlie attempts to shake off this daze that has taken hold of him, but when he catches his reflection in the mirror, he gets stuck on it. He can’t seem to look away from it – it doesn’t feel like he’s looking at himself.

Song Cue ♫ ♪ “Empty Chairs At Empty Tables” as performed by Les Misérables Original London Cast  || Performed by Charlie Gardner

Through his daze, Charlie starts a shaky and emotional rendition of the tragic final Marius solo. The sequence emphasizes his feeling of disconnect, how empty the space around him is…

INT. AAA - AUDITORIUM - NIGHT

Translating to a truly heart-wrenching performance on stage. Charlie channels Marius’s sense of grief powerfully, almost as if he can imagine what it would be like for all of your loved ones to suddenly disappear out of your life. Like he’s spent a lot of time pondering that potential end.

Tear-stained and emotionally raw, Charlie brings the performance to a close. The applause is resounding, but it sounds far away. After a moment, he gets himself to move and exits the stage.

INT. AAA - ATRIUM - NIGHT

Song Cue ♫ ♪ “Finale” as performed by Les Misérables Original London Cast  || Performed by AAA Sophomores

As the instrumental to the first half underscores, the sophomore class emerges from the stage doors to greet their waiting audience in the atrium. It’s a joyful, energetic time, pride and love consuming every inch of the space as parents hug their talented students and flowers are handed in every direction.

Riley is greeted by Cory and Topanga, Auggie beating them to it and giving her a tight hug. She swings him around before focusing on her parents, accepting their hugs and kisses as well as flowers. Still, she feels torn between them.

Maya runs to greet Katy, who pulls her into a swaying hug. When they pull apart, she assures her that she was the star regardless of what role she had. Maya pulls her back into the embrace.

Farkle is wandering the space, accepting compliments from other families but feeling somewhat isolated. That is, until Angela appears through the crowd to offer him sincere congratulations. It’s such a relief to see her, and when she offers him a hug he returns the embrace tightly. From the emotional expression on his face, it’s clear the attention means more to him than he could ever accurately express.

Isadora is proceeding with caution through the throng of families, eyes widening when her most excited audience parts the crowd to meet her. It’s Valerie De La Cruz, in the flesh and in all her glamour. She managed to work out her schedule so she could come see the show, and she is so incredibly proud of Isadora.

Isadora doesn’t even know how to respond. She doesn’t know if she’s dreaming, or if this is a fever hallucination, or what. Luckily, she has an excuse to run away, stating that she has to take care of something real quick…

INT. AAA - DRESSING ROOM HALL - NIGHT

Maya catches up to Riley backstage, the latter expecting a snarky comment. Instead, Maya merely congratulates her on a great performance. She tells her it makes complete sense why she got the role, and she knows she’s going to continue to bring it with their remaining shows. A bit of a 180, but not unwelcome. Riley tentatively accepts the compliment.

INT. AAA - BOYS DRESSING ROOM - NIGHT

Zay is in the dressing room with the other boys, gathering his things and in an upbeat mood. Charlie’s stuff is already gone. He says goodbye to Nigel and Yogi as they head out, just as a text message comes through on his phone.

It’s from Charlie, and just one line. “I can’t.”

Zay stares at the message, his smile fading. He starts to type a response but then hesitates, not sure what he would even say. It’s not clear how he’s taking this development.

INT. AAA - TECHNICIAN’S BOOTH - NIGHT

Lucas is closing up the booth for the night, considering there’s no reason for him to be out in the atrium. Still, he’s making little progress. He’s sort of in a state of shock, stunned that he managed to pull off such a responsibility without fucking it up.

He crashes into his chair, looking out towards the stage. All poised and ready for the next night. There’s something oddly charming about it.

Isadora pokes her head in, wondering if he’s just about ready to go. He explains that he’s just finishing cleaning up, but yeah, should be soon. Isadora takes this as her cue, a grin creeping onto her face as she starts lightly singing the words to the closing number. “Do you hear the people sing? Lost in the valley of the night…”

Lucas spins around to give her a look, his disdain shifting to surprise when the rest of the techies join in on the vocalizing. They all cram into the booth, poorly but happily singing the closing lines in some sort of prideful tribute to congratulate Lucas on a job well done. He shakes his head, hiding his face behind his palm and grimacing, but it’s clear he’s endeared.

Lucas, embarrassed: You all can’t sing. Stop.

They continue on anyway, smiles wide as Dave steps forward carrying a cookie cake. He drops it down onto the table in front of Lucas, bearing a cheeky message of congratulations. They’re definitely pushing his reputation, because it’s evident that Lucas is touched.

The group of them break into applause, gearing up to share in the cookie together. Now, there’s a family. As the performers take over the vocalization…

INT. AAA - AUDITORIUM - NIGHT

The finale to the show unfolds on the stage, focus being drawn to each of our main players as they sing their hearts out in the emotional conclusion. Just off in the wings, Dylan and Asher lean forward to give Lucas bracing pats on the shoulder.

In the audience, Valerie makes eye contact with Isadora. Isadora blinks, not certain that she’s seeing her correctly. But she doesn’t go away. No, she is in fact there, as she’ll come to see in just a few minutes.

Who knows what all this will bring when tomorrow comes…

END OF EPISODE.

[emritcheson]

Why The New Cats Movie is a Terrible Idea

I was first introduced to Cats in my sixth grade music class.  Which, trust me, is the last thing you want to watch while in the same room as a herd of twelve-year-old-boys.  People in strange wigs and skintight suits gyrating their hips and rubbing their heads against other people’s crotches.  I was horrified and I wanted to go home.

In trying to convince myself how much I hated it, I found the film uploaded in segments to YouTube, and as it turns out, without the outside influence, I fell in love with it.

I fell in love hard.  The music, the costumes, simply how different it was from any other musical I had seen in my life, the characters and the actors’ different interpretations of them, and the energy of the fellow devoted fans - all of it was and continues to be pure magic.

I’m sure most of you have at least heard of the phenomenon that is Cats, but you may not be as familiar with it as you think.  Despite popular belief, it does have a story.

Based on a book of poems by T.S. Eliot, it takes place on the night of the Jellicle Ball, at which the Jellicle leader Old Deuteronomy chooses one cat to “be reborn and come back to a different Jellicle life,” which is considered a great honor.  Meanwhile, Grizabella - an old, fallen-from-grace cat - seeks affection from the others and tries to join in on the fun, but they reject her.  This leads her to singing “Memory,” arguably the most famous song from the entire show.  After she sings her guts out, the other cats finally accept her and Old Deuteronomy selects her to be reborn.

The version I watched in my music class that served as my introduction to this show was a film released by The Really Useful Group in 1998 and directed by David Mallet.

Talk has been thrown around for a few years now that Tom Hooper (director of the 2012 Les Misérables film) wanted to make a big screen film version of Cats, but in early 2016 the rumors were officially confirmed.  Now it’s 2019, filming has begun, and big names have come down like locusts in a Laura Ingalls Wilder book.  It will be produced by Working Title Films and distributed by Universal Pictures, Steven freaking Spielberg will serve as an executive producer, and then there’s the cast...

This cast hurts me in the way that I love all of them and don’t want to see them affiliated with this inevitable train wreck.

Ohhh, dear Lord, simply looking at this makes me ill.

The fact that Macavity has higher billing than Grizabella or Deuteronomy gives me extreme pause.  While he may be the main antagonist of the show, Macavity is physically present for about a scene and a half max.  He shows up to kidnap Old Deuteronomy, fights Munkustrap and a couple other cats, and then disappears in a puff of smoke (quite literally).

I don’t know how to explain why Judi Dench as Deuteronomy is a bad idea without sounding sexist, but it is.  What’s more, Judi Dench was cast as Grizabella (as well as Jennyanydots) when the show premiered in London in 1981, but due to an injury she had to back out and was replaced by Elaine Paige, who would go on to reprise the role in the 1998 film.  So clearly, bringing Dench on as Grizabella would have been a far more satisfying decision.

Ian McKellen as Gus the Theatre Cat is the only one I can see actually working.  He gave an impromptu sample of his lines on The Graham Norton Show and my heart swelled with tenderness, though he immediately showed he seems to be taking the whole thing with a grain of salt.

Jennifer Hudson is another one that I can almost see, except for the perpetuation of the “young Grizabellas” trend that’s been rolling ever since Nicole Scherzinger (seen above) was cast in the London revival in 2014.  I think half of the appeal and heartbreak of Grizabella’s character is that she is traditionally portrayed by an older actress and you can tell that she’s no longer in “the prime of her life.”  When she’s portrayed younger, it cheapens her.  Like, “Yeah, we know you only came to hear me sing the song, so hold onto the rafters, kiddos.”

Taylor Swift as Bombalurina (the character known for her voluptuous qualities) feels like they just picked two names out of a hat, and Jason Derulo...I’m not even touching that because Rum Tum Tugger is my favorite character out of the whole show and I hold him to very high standards on a regular basis.  I can only pray that they don’t try to bring Street Cat Tugger back from the dead, since they seem to be taking a lot of inspiration from the recent revivals.

(Aaand now that video is in my YouTube history.  It burns.)

There’s also the fact that Cats is an extremely dance-heavy show - jazz, ballet, tap, the works - and most of these celebrities are not exactly know for their dancing.

Now all of that said, let me go on record to say that I am not opposed to the idea of a new Cats film in general.  as much as I love the 1998 version, they did take a sprinkle of liberties and I would like to see something closer to the traditional stage version on film.  However, that is clearly not what Hooper is trying to do here.

The most important element of Cats - moreso than in any other musical, I will argue - is immersion.  This is a landscape that takes place between real life and fantasy, not quite one or the other.  And to make that work, you have to believe that these characters are real even though they look very little like anything you’ve ever seen before.  Star power is only going to distract from that, especially in a film version where the audience is going to be up close and personal with the actors as opposed to the minimum distance a theater provides.  We won’t be thinking, “Wow!  Macavity is so terrifying yet graceful at the same time!”  We’ll be thinking, “Wow!  That’s Idris Elba in cat makeup!”

Fortunately, not everyone on this list is a household name.  We have some proper theater people attached to this project, and while that does give me a little bit of hope, it doesn’t take away the fact that the production team is giving the most attention to the actors that have the most star power.  We’ve heard nothing about the music.  We’ve seen no photos from the set.

This film is already a Frankensteined cash cow with very little soul from the production on which it’s based.  And I have a feeling it’s only going to get worse from here on out.

[in-elysium]

Second musical of the month, Les Misérables! It was amazing, and the cast were very sweet about autographs. I definitely enjoyed it, and I need to go again!

Jean Valjean (Adam Bayjou) The regular Jean Valjean for West End at the moment is Killian Donnelly (who you may know played Combeferre in the film), however we had one of the understudies for this performance. He was absolutely incredible, and he hit both the low and high notes with so little effort that it was clear he has an amazing range. Honestly, I would love to see him in the role again if I go back.

Javert (Hayden Tee) Hayden has the perfect voice for Javert, very deep and slightly ragged. His acting was also very good, especially in the scene just after the barricade, he was practically tearing his hair out!

The Bishop of Digne (Andy Conaghan) Andy has a really deep and rich voice, it suits the Bishop really well. It’s a shame we don’t have that many scenes with him.

Fantine (Carley Stenson) She has a richer voice than other Fantines I have heard, but she hits the notes well so it really works to her advantage and makes her sound more mature than Cosette or Eponine. She really sells her emotions, especially in Come to Me and when she is saved from arrest by Valjean.

Young Cosette (Grace Salsoni/ Talia Etherington/ Holly McDonagh) While I have to admit that I’m not entirely sure which of the three I saw, she had a very lovely voice and it was incredibly strong. Some Cosettes can be quite quiet (understandably) but that was not a problem here.

The Thénardiers (Steven Meo and Jacqueline Tate) These two were absolutely brilliant! They were hilariously funny, and their antics were a bit of relief from the depressing scenes. Thénardier’s little responses to things (Such as saying ‘fair enough’ when Javert refuses to release him and his gang) really add to the humour and the two actors have great charisma together. Also I met Madame Thénardier and she was so lovely about giving autographs and even chatted with us for a bit!

Gavroche (Felix Warren/ Ben Perkins/ Charlie Strip) Once again, I’m not sure which Gavroche I saw (though my mum later pointed out that it was likely 2 of them), but this kid had me in tears. I don’t cry easily at media, but his death tore me up. Really great, probably the best Gavroche I’ve heard. Also, when the curtain call was in progress they split the actors into groups, so Enjolras was with him, and when they separated they grinned and saluted each other and??? My heart??? It was adorable.

Eponine (Karis Jack) I actually want to die. This was one of the best Eponine’s I’ve ever heard, and she looks almost exactly like I imagine her to look. Honestly if I were Marius it would be a no brainer on who to pick. Once again, A Little Fall of Rain made me cry, and she harmonised with Marius really well. She also came with Fantine to get Valjean, and they all stood looking over Marius and Cosette for a while before anyone joins them.

Cosette (Charlotte Kennedy) Now, here’s where I have to be mean. First, I just want to say that the actress was so sweet and this is nothing against her character, but she was just outmatched. Her voice was really shrill and shaky, but not in the way that sopranos normally are, it seemed like she’d strained her vocal chords or something? If that is the case then of course nothing against her and I hope she feels better soon, but if not… Well, she was still a brilliant actress, just not the best singer.

Enjolras and Grantaire (Hyoie O'Grady and Hugo Chiarella) I was originally intending to group all the boys together, but honestly Enjolras needed his own segment and I knew if I wrote about him on his own I’d end up talking about Grantaire a lot because they had really sweet moments together. My solution? Group them. OK, so starting with the actors themselves, Enjolras was really well cast, enigmatic and the actor himself was so sweet and chatted for a while. He really made me want to join a revolution. We don’t hear as much of Grantaire, but he had a very smooth voice and was really funny (in Red and Black when teasing Marius he sits on his lap and kisses his cheek(?)). He was also very good at being serious though, such as when he comforts Marius about Eponine’s death. The two together were gold. They worked really well together, and had both funny and heartwarming moments. Funny moment: Enjolras is giving all the barricade boys a brohug™ but leaves R out, so he just stands there and does the ‘what the hell’ gesture. Heartwarming/sad: Enjolras finally gives Grantaire that hug during Drink with Me. As in, the actors stand there hugging each other for pretty much the remainder of the song. Also, Grantaire dies when he jumps over the barricade after Enjolras (who is killed by an explosion). I’ve spent too much time talking about these two, but I couldn’t not.

Marius (Paul Wilkins) This Marius was brilliant. He had a really rich voice, and he paired really well with the other barricade boys. He also hits Thénardier, which is definitely a bonus. He’s very good at projecting emotion with his voice; he sounds like he’s genuinely crying in both A Little Fall Of Rain and Empty Chairs at Empty Tables.

The Barricade Boys (sans Marius, Enjolras and Grantaire) First, two pieces of explanation. One, I haven’t written out all the names, because there’s a point where even I lose patience. I instead included a photo of the cast. Two, I really wanted to do a separate listing for each of the boys, but I didn’t have enough information on each of them to be detailed. Anyway, they all harmonised very well, and there was a real range of voices, with Shaq Taylor as Jehan most noticeably bringing up the rear with a very low voice. They all bounced very well off of each other, and had a lot of fun or sober moments.

Finally, a call-out post to specifically Clare Findlater, but more broadly to creatives, ensemble members and anyone who isn’t visibly up on stage playing a main role: Please, when people ask you for autographs, don’t say, ‘oh I’m only an ensemble member’ or 'technician’ or in this cast 'orchestra member’, because you know what? You guys are just as important as the Jean Valjeans and the Enjolras’, if not more so. Without you the show wouldn’t run at all. So you aren’t 'just’ something, you’re the (vastly unappreciated) backbone of the show. Well done you guys!

[sohmariku]

Japan Expo - Toumyu Showcase

At the start of this month I promised to write down a full transcript of the talk segment at Japan Expo. Due to work & my vacation, I didn’t get it done as soon as I had hoped. But, it’s here right now!

Well, obviously it’s an English translation of the transcription... xD I tried color coding the text, but tumblr seems to hate color, so... You’ll have to do with name codes instead! (And I hope I didn’t make any mistakes along the way...)

SR =Sato Ryuji ST = Sakiyama Tsubasa KR = Kitazono Ryo SD = Saeki Daichi OS= Ohira Shunya AL = All

(Oh, and remember I mentioned I’d be sharing a “nice little Toumyu something” last week, you can now find it in my Toumyu folder. Please make sure to read the text file too!)

Saturday, 8 July 2017 Talk Segment

AL          Hello, Japan Expo! Bonjour!                We are the Touken Danshi. 

SR           I portray Kashu Kiyomitsu, I'm Sato Ryuji. KR           I portray Kogitsunemaru, I'm Kitazono Ryo. ST           I portray Ishikirimaru, I'm Sakiyama Tsubasa. SD           I portray Iwatoshi, I'm Saeki Daichi. OS           I portray Imanotsurugi, I'm Ohira Shunya!

SR           The Touken Ranbu musicals are based on a game by the same name. KR           The goal of the game is to gather, train and strengthen Touken Danshi                 in order to protect history. ST           Aside from Japan, we also had performances in China's Shanghai and                 Zhuhai                Earlier this year we also guested at the India Gaming Show. SD           We also got to give a special performance at Itsukushima Shrine, a                  world heritage site.                And at the end of last year we also held a live concert. OS          Yes, that's right. By the way, does anyone here know Touken Ranbu SR           Sounds like a lot OS          Yes, it does.                By the way, the anime Katsugeki Touken Ranbu just started airing.                Everyone, please check it out! 

ST           So, this is our first time in Paris.                Well, yesterday we also got to perform on this stage.                Yesterday we talked about the places in Paris we'd like to see.                Today I'd like us to talk about what caught our eye in Paris.                For me, it's the Seine. KR           The Seine? ST           This morning, before coming here, we took a stroll along the river. SR           You didn't seem to be enjoying it that much though. [1]   ST           Yeah, I suppose.                Who's next? OS          Who's next? KR           For me, it's the French baguettes.                French baguettes.                See, everyone loves them, right?                Tsubasa and I immediately bought one after arriving in Paris and ate it                 in the bus to our hotel. ST           Who's next? OS          May I?                 There's one thing that really amazed me.                 The afternoons are really long.                 In Japan the sun usually rises at 5AM and goes down at 5PM.                 But in France the sun rises really early and doesn't go down until                 10PM, right?                 Everyone, please visit Japan sometime! ST           How about you, Iwatoshi? SD           Let me think.                Japanese history is quite remarkable.                But I think French History is also quite interesting, especially the                French Revolution.                I really love the movie narrating those events, Les Misérables.                Right, the police officer Javert took his own life by jumping in the                Seine.  SR          Too long, take a break. [2] SD           A break? [2] ST           How about you, Kashu? SR           For me, it surprised me how incredibly beautiful the French people                are.                Not as beautiful as I though.                Also, in Japan we... FAN       RYUJI/KASHU! SR          Yes?                We have French cuisine in Japan too.                But the French cuisine in France definitely tastes better.                All right, let's keep talking. 

SR           Next up, what Japanese food would you recommend to everyone?                 Who would like to start? ST           Soba noodles! ST           You have warm soba noodles and cold soba noodles, ST           I recommend you try warm soba noodles. [3] SD           I'd like to recommend rice balls.                There are a lot of flavors to try.                 Aren't they great? ST           What flavor do you prefer? SD           Me? I prefer kelp.                You're exaggerating! (to Tsubasa) OS          I think everyone could tell. [4] ST           I'm sorry. KR           I recommend sushi. SR           There's one over there, a drawing of you. [5] KR           No, that's not what I mean.                It seems that outside Japan people don't eat freshly made sushi all that                often.                Only when it's freshly made, the flavor of the fish can be fully                 appreciated.                Be sure to try some freshly made sushi in Japan. SR           Maybe some have already? KR           Who has tried sushi before? SR           Quite a lot of people. ST           While we're at it, which flavor do you like? KR           My favorite ingredient for sushi is horse mackerel. AL           I see, horse mackerel? KR           Yes, horse mackerel.

SR           How about you, Imanotsurugi? OS          For me it's definitely that.                If we're talking about something Japanese, it would be rice.                You should try rice with natto. [6]                And you top it with an umeboshi. Do you know what umeboshi are? [6]                It looks like many of you don't know, but umeboshi are really sour.                Please try them! SR           If I had to recommend something, it would be dango. [7]                I'd like ever, oh....                OK, I'd like everyone who doesn't know Touken Ranbu to remember.                Touken Danshi love dango!                All right, let's talk some more!                Sounds like our master needs us.                Everyone, are you ready? AL           Yeah! ST           I'm not a specialist in warfare, but I'll do what I can. SR           All right, into battle! SD           Let's go hunting! KR           I'm taking the field. ST           But I haven't finished the incantations and prayers yet! OS          All right, everyone ready?                All right, let's go to war! 

SR           Thank you, everyone. Au revoir! (Goodbye) KR           Thank you very much.                Thank you, Paris! ST           Thank you very much for today.                À la prochaine.(Until next time.) SD           Thank you very much. Merci, Paris! OS          Merci! (Thank you)                Je t'aime beaucoup!(I love you all a lot) SR           Let's meet again! See you!

Friday, 7 July 2017 Talk Segment 

AL           Hello, Japan Expo! Bonjour, Paris!                We are the Touken Danshi. 

SR           I portray Kashu Kiyomitsu, I'm Kashu Kiyomitsu. KR           I portray Kogitsunemaru, I'm Kitazono Ryo. ST           I portray Ishikirimaru, I'm Sakiyama Tsubasa. SD           I portray Iwatoshi, I'm Saeki Daichi. OS          I portray Imanotsurugi, I'm Ohira Shunya! 

SR           The Touken Ranbu musicals are based on a game by the same name. KR           The goal of the game is to gather, train and strengthen Touken Danshi                  in order to protect history. ST           Aside from Japan, we also had performances in China's Shanghai and                 Zhuhai.                Earlier this year we also guested at the India Gaming Show. SD           We also got to give a special performance at Itsukushima Shrine,                a World heritage site.                And at the end of last year we also held a live concert. OS          By the way, does anyone here know Touken Ranbu?                By the way, the anime Katsugeki Touken Ranbu just started airing.                Please check it out later. 

ST           Yes, we... thank you very much.                Yesterday we arrived in Paris and this is our first time here.                We already got to taste things like onion soup and mozzarella. SD           That cheese was really delicious! ST           By the way, since we've come all the way to Paris,                I'd like to hear what places you'd like to visit. SR           Disneyland Paris. ST           That goes without saying. [8]                What else? SD           Avenue des Champ-Élysées. KR           I'd like to go to the Louvre. OS          I'd like to see this one, the Eiffel Tower! SD           That's so cute. ST           I wanted to go here. 

SR           But they use a lot of cheese in French cuisine, don't you agree? SD           And there's a really unique smell to it. SR           Anyway,                I'd like us to recommend some places in Japan for everyone to visit.                Who has been to Japan before? ST           That's quite a lot of people.                My recommendation would be to visit temples.                I really hope you'll visit some while in Japan. SD           I think you should visit the Tokyo Sky Tree.                It equals the Eiffel tower, Imanotsurugi just mentioned, in magnificence. KR           It's not really a place, but I think Japan is really famous for its martial arts.                Like sumo, karate and judo.                I think... [9]                If you have the chance, I really hope you'll give it a try. SR           How about you, Imanotsurugi? OS          Well, let me think.                As I think many here haven't visited Japan before,                please visit Japan during the Olympics! SR           Since I'm the sword of one of the Shinsengumi members,                I'd like you to visit Kyoto. 

OS          While we're at it,                let's introduce our character's distinguishing feature to everyone.                Is that all right with you?                Thank you. Who goes first? SR           Shall I begin?                For me, it would be my red-painted nails and high-heeled shoes. SD           You're a smart dresser. SR           Yes, I suppose. OS          You're very stylish.                Who's next? ST           Just now I recommended visiting shrines in Japan.                I'm wearing this attire, known as kariginu, which is worn during                ceremonies at a shrine.                I think that would be my distinguishing feature. ??           Then, who's next? KR           May I?                Mine would definitely be my fluffy hair,                and this sexy off-the-shoulder look of my yellow kimono.                Yes, I think that's it. SD           My distinguishing feature is most definitely this long Naginata.                It's way too long.                And also, this cute hood. OS          It's really cute, isn't it.                Good, may I?                I'm a tantou, and a mamorigatana. [10]                For that reason Tantou are pretty small,                and pretty nimble,                and really energetic. FAN       CUTE! OS          Thank you!                My character Imanotsurugi has a really cute line.                Will you say it with me?                Here we go! Imitez moi!(Repeat after me)                Babyuun!                One more time! ??           Amazing! OS          Merci! (Thank you) ST           Well done. SD           Isn't this fun?  SR           All right, are you ready? AL           Yes! ST           I'm not a specialist in warfare, but I'll do what I can. SR           All right, into battle! SD           Let's go hunting! KR           I'm taking the field. OS          All right, let's go to war! 

[1] I'm not sure if I understood this right! Either Tsubasa didn't look like he enjoyed it, or Ryuji didn't enjoy it as much as Tsubasa, or Tsubasa dragged them along whether they wanted to not.

[2] Not literally what they're saying, because I can't hear it well, but Ryuji seem to be pointing out to Daichi he should give the interpreter a chance to speak.

[3] I agree with Tsubasa, warm noodles are better.

[4] I think Tsubasa was pulling a weird face at this point.

[5] A word play by Kashu? (Zushi = illustration)

[6] Natto = fermented soybeans, umeboshi = pickled plum

[7] Dango = boiled or steamed ball of (rice) flour

[8] This is a guess, I didn't catch on to what he said

[9] At this point Ryo's mic sent a loud screeching noise through the room, cutting off his sentence.

[10] tantou = dagger, mamorigatana = sword to defend oneself with

[fairyprincehyunjin]

Five Things Tag

I was tagged by the lovely @ultrocky (ps I also just realized while I was doing this that I wasn’t following you back and I was shook bc you’re honestly one of my faves)

five things you’ll find in my bag:

wallet

sharpies

keys

my work uniform, which is a hat and apron

a lot of gum that I never seem to actually chew

five things you’ll find in my bedroom:

quite a few candles

empty cans of peace tea bc I like to keep them

dolls (porcelain ones and the pop vinyl ones)

books literally everywhere

a record player + my vinyls

five things I’ve always wanted to do:

learn new languages (german, polish, korean)

travel somewhere new outside of the US

actually make friends with people, on tumblr and irl

actually get a frickin boyfriend

meet a celebrity that I really admire

five things that make me feel happy:

good books

binge watching my favorite shows

really good warm tea in winter/on a rainy day

fluffy blankets/things in general

the movie/musical  Les Misérables

five things I’m currently into:

fantasy/magic books and tv shows

the DC shows on netflix

tattoos

watching the weekly idol dance segments (2x, random play, cover etc)

listening to vinyl/buying vinyl

five things on my to-do list:

start working out

learning how to actually do makeup

find out how to style my new short hair

buy clothes that aren’t black or band merch

read all of the books I have that I haven’t read yet

Here are the 15 people that I tag:

@dreamsanha @definitely-a-daisy @jikpop176 @parkjinchu @a-peony-princess @heolimoly @fakearoha @astrofanboy @candyjinwoo @biahblue @rockybin @astro-tastic @jinjins-freckles @aestheticallyastro @astro-away

[celebrityinterviews]

INTERVIEW #278: ELOISE VAYNSHTOK(Actress-Singer-Dancer)

Cate Elefante made her Broadway debut the day after her 5th birthday as “Lulu” in the hit Broadway musical, WAITRESS. She shared a stage with Jessie Mueller, Sara Bareilles, Keala Settle, Jenna Ushkowitz and Betsy Wolfe, among others. After a year on Broadway, Cate went on to spending a year touring the country in the Broadway National Tour of LES MISÉRABLES as “Little Cosette”. She made her feature film debut in JOSIE & JACK as young Josie and went on to playing the young Amanda Seyfried in the upcoming feature film, A MOUTHFUL OF AIR. She appeared in 5 episodes of the current season of SESAME STREET on HBO Max.  Cate is the voice of “Wala the Koala” in the YouTube series STORYTIME WITH MS. BOOKSY and can also be heard on Season 49 of SESAME STREET in the Elmo’s World segments.

Be sure to visit Cate online at:

Instagram.com/CateElefante

Q #1: AT WHAT AGE DID YOU START SINGING AND TAKING INTEREST IN THEATRE? Q #2: WHAT WAS YOUR FIRST AUDITION EXPERIENCE LIKE FOR YOU? Q #3: WHERE WERE YOU WHEN YOU FOUND OUT YOU WOULD BE PART OF WAITRESS THE MUSICAL ON BROADWAY AS “LULU”? Q #4:  WHAT WAS IT LIKE MAKING YOUR BROADWAY DEBUT AT SUCH A YOUNG AGE? Q #5: FAVORITE SCENE AND SONG FROM WAITRESS THE MUSICAL AND WHY? Q #6: WHAT WAS THE AUDITION PROCESS FOR LES MISÉRABLES NATIONAL TOUR LIKE FOR YOU? Q #7: WHERE WERE YOU WHEN YOU FOUND OUT YOU WOULD BE PART OF THE LES MISÉRABLES NATIONAL TOUR AND WHAT WAS YOUR REACTION? Q #8: WHAT WAS YOUR EXPERIENCE COMING BACK TO LIVE THEATRE AFTER MONTHS WITH THE SPOTLIGHT KIDS COMPANY AND TAKING ON SUCH AN IMPORTANT ROLE AS “MATILDA” IN THE MUSICAL? Q #9: IF YOU COULD TAKE A THEATRE SHOW YOU HAVE DONE AND HAVE THE CHANCE TO PERFORM IT IN ANOTHER COUNTRY AND LANGUAGE WHICH SHOW WOULD IT BE AND WHERE/WHAT LANGUAGE? Q #10: BROADWAY DREAM ROLE?    Q #11: FIRST PROFESSIONAL THEATRE SHOW YOU EVER SAW?  Q #12: FAVORITE BROADWAY MUSICAL AND WHY?  Q #13: IF YOU HAD A MUSICAL/BROADWAY SOUNDTRACK TO YOUR LIFE WHAT SONG/S WOULD HAVE TO BE ON IT?   Q #14: DO YOU HAVE ADVICE FOR ANYONE WHO HAS AN INTEREST IN MUSICAL THEATRE?    Q #15:  DO YOU HAVE ANY UPCOMING OR RECENT PROJECTS YOU HAVE BEEN WORKING ON AND WOULD LIKE TO SHARE WITH EVERYONE?

*NOTE: All interviews are copyright protected.

Copyright: Jaclyn Salamone

[myhollywoodnews-blog]

Anne Hathaway Says Her Dramatic Weight Loss For 'Les Misérables' Made Her ‘Really Sick' | PeopleTV

Anne Hathaway Says Her Dramatic Weight Loss For 'Les Misérables' Made Her ‘Really Sick' | PeopleTV

Lorene Porter - Celebrity Interviews - My Hollywood News

Anne Hathaway Says Her Dramatic Weight Loss For ‘Les Misérables’ Made Her ‘Really Sick’ | PeopleTV, Disney Celebrities 2017.

Celebrity Interviews 2018, Disney Celebrity Interviews 2017, Anne Hathaway Says Her Dramatic Weight Loss For ‘Les Misérables’ Made Her ‘Really Sick’ | PeopleTV.

Coco Celebrity Release Date New Celebrity Interviews 2017 and Walt Disney Studios Home Entertainment (incorporated as Buena Vista Home Entertainment, Inc. since 1997 and formerly known as Walt Disney Telecommunications & Non-Theatrical Company from 1980 to 1987 and eventually Buena Vista Home Video until 1997) is the home video distribution division of The Walt Disney Company. Disney began distributing videos under its own label in 1980 under the name Walt Disney Home Video.

Is Disney Celebrities Anywhere free?

Disney Celebrities Anywhere is an app and website where you can browse, buy and watch your collection of eligible Disney, Pixar, Marvel, and Star Wars titles across your favorite devices.

How do you wake up Sleeping Beauty?

Fascinated by the wheel, she touches the spindle, pricking her finger. As had been foretold by the curse, Aurora is put under a sleeping spell. The good fairies place Aurora on her bed with a red rose in her hand and cause a deep sleep to fall over the entire kingdom until they can find a way to break the curse.

What is Disneyland Resort?

Enjoy even more Disney magic on select attractions in one of the parks before it opens with Extra Magic Hour—available each morning to Guests of the 3 Hotels of the Disneyland Resort! Valid theme park admission required.

The actress looks back on her Oscar-winning role. Subscribe to People ►►

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Get all access to A-list events, award shows and parties – Who wore what, which awards were won, and was there any drama:

No matter if you’re into Taylor Swift or Justin Bieber, we’ve got some of the best live performances right here:

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Anne Hathaway Says Her Dramatic Weight Loss For ‘Les Misérables’ Made Her ‘Really Sick’ | PeopleTV

New Disney Celebrity Interviews 2017 Ratings Videos, Anne Hathaway Says Her Dramatic Weight Loss For ‘Les Misérables’ Made Her ‘Really Sick’ | PeopleTV.

Disney Media Networks is a business segment and primary unit of The Walt Disney Company that contains the company’s various television networks, cable channels, associated production and distribution companies and owned and operated television stations. Media Networks also manages Disney’s interest in its joint venture with Hearst Corporation, A+E Networks, and ESPN Inc. New Disney Celebrity Interviews 2017, Anne Hathaway Says Her Dramatic Weight Loss For ‘Les Misérables’ Made Her ‘Really Sick’ | PeopleTV.

https://www.myhollywoodnews.com/anne-hathaway-says-her-dramatic-weight-loss-for-les-miserables-made-her-really-sick-peopletv/

#CelebrityInterviews

[tortuga-aak]

8 times Matt Lauer made headlines for his controversial on-air behavior

Slaven Vlasic / Getty Images

Following claims of "inappropriate sexual behavior," Wednesday morning’s news that "Today Show" host Matt Lauer had been terminated from his position shocked the internet.

But Lauer has been accused of making some feel uncomfortable during interviews quite a few times in the past. From film stars to political novas, a search into Lauer’s past shows that he has had his fair share of awkward and controversial remarks towards show guests and co-hosts.

He brought up Anne Hathaway's "up-skirt" paparazzi photos

NBC

While promoting the 2012 release of Tom Hooper’s film adaptation of the musical blockbuster "Les Misérables," Oscar winner Anne Hathaway stopped by "Today" to speak with Lauer. The conversation quickly changed from her star-turning role as Fantine to recent paparazzi "up-skirt" photos of Hathaway exiting a vehicle when not wearing underwear. 

"Let’s just get it out of the way. You had a little wardrobe malfunction the other night. What’s the lesson learned from something like that? Other than that you keep smiling, which you’ll always do," he asked at the start of the interview.

Hathaway responded by explaining how sad the situation made her, then returning the conversation back to "Les Misérables."

"I’m sorry that we live in a culture that commodifies sexuality of unwilling participants," she said, "which brings us back to 'Les Mis' because that’s what [my] character is. She is someone who is forced to sell sex to benefit her child because she has nothing and there’s no social safety net, so yeah—let’s get back to 'Les Mis.'"

Katie Couric claimed Lauer pinched her “on the ass”

Bravo

Also in 2012, news anchor Katie Couric stopped by Andy Cohen’s "Watch What Happens Live" on Bravo to play everyone’s favorite segment: "Plead the Fifth." Couric and Lauer worked together on "Today" for 15 years until she left the network in 2006. Among the questions, Cohen asked Couric what Lauer’s most annoying habit was. Seemed like an innocent question, right? Well, Couric did not hold back.

"He pinches me on the ass a lot," she said after hesitating for a second. She alleged it happened "a lot." Cohen laughed it off by saying "Wow, I wouldn’t have a problem with that!"

He took a controversial tone with Hillary Clinton

NBC

Presidential nominee Hillary Clinton had one awkward and often talked about 2016 interview with Lauer.

During the 30-minute town hall, Lauer interrupted Clinton while she attempted to answer his questions. Supporters took issue with Lauer's demeanor and attitude towards Clinton, especially given the fact that when interviewing fellow nominee, and now President, Donald Trump, Lauer appeared to let him talk more freely.

Supporters were outraged about the way they felt Clinton was treated during the interview. Clinton even discussed the matter in her recent book, "What Happened," dedicating a handful of pages to the situation. She wrote, "I watched Lauer soft-pedal Trump’s interview … Then he failed to call Trump out on his lies about Iraq. I was almost physically sick."   

See the rest of the story at Business Insider from Feedburner http://ift.tt/2AlwvmF

[stllimelight]

Today for our “10 Questions With” segment, we are shining our Actor’s Spotlight on Shannon Lampke.

What is your name and how old are you?

Shannon Lampkin and I am 26 years old.

What social media do you have for your fans to connect with you?

I am on Facebook, click here to check it out!

I also have my own Personal Website, click here to come visit!

Other than community theatre, of course, what hobbies do you enjoy?

I love to read, sing, collect musical CDs, walk in parks (which is great for Pokemon GO!), play volleyball, make baked goods, and watch TV/movies.

What do you do professionally?

I am a full-time actress/singer who travels for work, but am currently looking for a M-F, 8am-5pm type of job so I can stay here in the St. Louis area.

How long have you been acting?

I began acting in high school.  My freshman year I was cast in the musical “How To Succeed in Business Without Really Trying” as Ms. Jones and I haven’t stopped since!

How many shows have you been in?

Far too many to count!  I don’t know how many shows I have been in, but I have been fortunate enough to perform in 15 states in the USA.

What are the top 3 favorite roles you have played?

Drowsy in “The Drowsy Chaperone”, Next Generation Theatre Company

Dorine in “Tartuffe”, Creighton University

Margery Jourdain/Lady Grey in “Blood Reigns: The War of the Roses Trilogy”, St. Louis Shakespeare

What are the top 3 roles you would love to play?

Squeaky Fromme in “Assassins”

Carrie in “Carrie: The Musical”

Jane Eyre in “Jane Eyre”

What theaters have you worked with?

St. Louis Shakespeare

Next Generation Theatre Company

West End Players Guild

St. Charles Christmas Traditions

St. Charles Legends & Lanterns

Bluff City Theater

Holland America Line/Princess Cruises Alaska

The National Theatre for Children

Nebraska Shakespeare

The Rose Theater (aka Omaha Theater Company)

What nominations and awards have you received?

Won: St. Louis Arts for Life BPA Best Non-Singing Actress in a Musical (Wicked Witch of the West/Miss Gulch–“The Wizard of Oz”, Next Generation Theatre Company)

Nomination: St. Louis Arts for Life BPA, Best Comedic Actress in a Musical (Drowsy–“The Drowsy Chaperone”, Next Generation Theatre Company)

St. Louis really does have talent!

First, I would personally like to thank Shannon Lampkin for accepting the invitation to participate in our “10 Questions With” segment  of Acting Talent Spotlight.

Image provided by Shannon Lampkin

Shannon’s enthusiasm, excitement and obvious passion became clear to me as soon as we connected.   The singer/Actress has had the opportunity to experience many different theatre companies throughout the United States.  Therefore, theatre fans in the Greater St. Louis area, luck is on your side!  As her desire is to remain in the St. Louis area.

Challenges that come with the territory.

As with many Community Clubs, Groups or Activities, there can be challenges.  I asked Shannon what she felt was the biggest challenge Community Theatre faces and her thoughts were this:

” It’s hard to say what the biggest challenge is for community theatre, but I think it comes down to two things: money and the community they serve. The beautiful thing about community theatre is that people with a passion for designing, managing, directing, acting, singing, dancing, etc. all come together to create and put on a show for their community without being paid for their time, effort, energy. They do it because they love it and believe in the stories they tell.”

As an audience member, enjoying the story being told on stage, all of the details, hard work and time required for our enjoyment may not come to mind.  This talented performer elaborated on her thoughts on both monetary challenges as well as those related to the community in which one is involved.  She explained it by saying, “ The problem is that monetary funds help enrich the stories being told (set, costumes, props, etc.) and/or allow the theatre to afford shows they wish to do that have more expensive rights. The company’s survival can become dependent upon ticket sales and donations to operate.”

The preferences of a community.

As far as the community being entertained and how the two challenges go hand in hand, here is what she had to say:

“This leads into the next part: the community. As for the community they serve, there are some communities that only wish to see certain types of shows (i.e. classic musicals), meaning that the company must base their season on shows the community wants to see. While there is nothing wrong with that, it can limit the company’s potential a little.

The perfect example of this is from my time in Omaha, NE. The Omaha Community Playhouse there wanted to expand their repertoire from “standard” plays and musicals to include some contemporary and slightly controversial shows to encourage community dialogue on tough subjects. They ended up using their black box theatre for more “edgy” shows such as “August: Osage County” and “Evil Dead: The Musical”, while using their mainstage for big standards such as “Guys and Dolls” and “Les Misérables”.

This became possible for many reasons, but the reason they are able to maintain it is because the community they serve now supports both. Not all community theatres have the ability to do this, so they often have to compromise their wants with that of the community they serve.”

Education and Inspiration; A few final thoughts from Shannon Lampkin.

Just as many of you reading Shannon’s story, I am not only an advocate of inspiring others to follow their passions, but intrigued by the knowledge that can be gained  by those who do just that.

Therefore,  I asked Ms. Lampkin what her advice would be for someone just discovering the passion for theatre or just beginning the journey, her response was, “The advice I would give to someone who has just begun to explore their passion for theatre is this: you are amazing and can do whatever you set your mind to do so long as you’re willing to work for it.  Go see shows, read plays, learn new music, take a dance class, design sets or costumes, and audition, audition, audition. Didn’t get the part you wanted? Keep working and the next time it is available, try again. You may not have been the first director’s perfect [role], but you could be the next director’s. The best way to learn about theatre is by watching it and doing it.”

Hard Work and Team Work paying off.

Image provided by Shannon Lampkin

On behalf of all of us here at St. Louis Limelight, I would like to thank Shannon for taking time out of her very busy schedule to chat with me a bit.  The actress/singer shared one of her personal experiences and valuable “lessons learned” with me and I would like to forward it on to you.  Her closing thoughts were this:

“The best lessons I ever had about acting were when I was Extra #2 and just watched rehearsals from the sidelines and then tried applying the methods others used to my character (even when I didn’t have lines). Theatre is all about teamwork, so be ready to work hard and always feel free to ask others for help!”

~Shannon Lampkin~

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Images provided by Shannon Lampkin

Image provided by Shannon Lampkin

Image provided by Shannon Lampkin

10 Questions With Shannon Lampkin Today for our "10 Questions With" segment, we are shining our Actor's Spotlight on Shannon Lampke.