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ELISABETH DAS MUSICAL Original Vienna Production, 1992 ↳ Act 2 / Act 1

Music by Sylvester Levay, Lyrics by Michael Kunze [insp]

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His eyes upon your face His hand upon your hand His lips caress your skin It's more than I can stand!

AARON TVEIT as Christian in MOULIN ROUGE! THE MUSICAL

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my shaylas ... 😔

ROMÉO ET JULIETTE / 2025

— Aleksandr Kazmin and Aleksandra Kasparova 📹: nastya_melodious

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Mismatched Moulin Rouge!

Liisi LaFontaine with Aaron Tveit

John Cardoza with Joanna "Jojo" Levesque

Solea Pfeiffer with Derek Klena

🎥: @starcuffedjeans + @callmelasagna + @bikinibottomdayz

(Thank you all for the suggestion! If you have more, let me know.)

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AND THAT'S HOW A YOUNG MAN CAME TO PARIS ... SIX YEARS OF CHRISTIAN THE COMPOSER. + my six favorite Christians

John Cardoza (National Tour and Broadway) + Aaron Tveit (Boston and Broadway) + Martijn Noort (Netherlands) + Christian Douglas (National Tour + Broadway + Jack Cahill Lemme (u/s National Tour and Broadway) + Dom Simpson (West End)

🎥 : @mttztrading, @starcuffedjeans, hitmewithyourbethshot, @stillreprise , @medium-observation, hitmewithyourbethshot

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ELISABETH DAS MUSICAL Original Vienna Production, 1992 ↳ Rehearsal vs. Performance

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Have you guys ever seen this international DVD trailer? It's kinda hilarious.

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while i love sisitod and todolf i really like the whole “death cant love thing” and that he’s just reflecting what the person around him wants. 

E.g: at the end of “Mach auf mein Engel” Tod “confessing his love” for Elisabeth because in that moment while her Husband wanted someone to comfort HIS needs while overlooking hers,she wanted someone to comfort her.

The same way it is with Rudolf and der Tod in “Mama wo bist du?” and “die Schatten werden länger” where in the beginning Rudolf goes towards der Tod and rests his head on his lap (which is a gesture when someone asks for comfort/emotional support) and then getting the support Rudolf wants (in both songs) because der Tod reflects the persons wants and needs etc

Idk it sort of really just reminds of how death is portrayed in Final Destination as a Force of nature with no appearance or voice but is able to “feel” emotions like anger or respect (yet not love!!!) because of the actions of the characters.

This also why i find it kinda icky when other sisitod and todolf shippers try to put down one ship over the other (and im not saying you cant dislike a ship or like one more than the other lmao but like theyre very similar in the concept of der Tod being a figure of comfort to both Rudolf and Elisabeth)

i just wanted to rant real quick because i love this “theory”/“analysis” thing

So sorry if there are any spelling mistakes 🥲

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Der Tod Blowing Bubbles

I always found the original plaster work kind of silly and profound at the same time :))

( inspirational picture→)

'Death Blowing Bubbles'

18. century, located in the Holy grave chapel, Bamberg, Germany

The bubbles are meant to symbolize life's fragility.

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A kiss on the hand may be quite continental but diamonds are a girl's best friend

ASHLEY LOREN as Satine in MOULIN ROUGE! THE MUSICAL

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Our Sparkling Diamond, Satine!

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Great news for K-Musical fans !!

EMK will be releasing a selection of musicals for streaming on Disney+ in Korea and will soon be available worldwide ✨

Elisabeth, Phantom — streaming from August 6

Monte Cristo, The Man Who Laughs — streaming from August 13

Xcalibur, Marie Antoinette — streaming from August 20

(x)

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Tanz Der Vampire - Hamburg Revival

New style, who this?

Cast:

Rob Fowler (Graf von Krolock), Sandra Bitterli (u/s Sarah), Vincent van Gorp (Alfred), Till Jochheim (Professor Abronsius), Oleg Krasovitskii (Chagal), Anja Backus (Magda), Jonas Steppe (Herbert von Krolock)

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ELISABETH DAS MUSICAL + DEATH AND THE MAIDEN ART

Der Tod und das Mädchen, Charlotte Salomon (1938) / Death and the Maiden, George Clark Stanton (1832-1894) / Pulmonary Tuberculosis, Richard Tennant Cooper (1912) / Death and the Maiden, Egon Schiele (1915) / The Girl and Death, Frederick Simpson Coburn (1871–1960) / Death and the Maiden, Marianne Stokes (1908) / Dancing With Death: A German Tango, Louis Raemaekers (1916) / La jeune fille et la mort, Henri-Léopold Lévy (1900)

bonus:

Der Triumph des Todes, Jan Swart van Groningen (1525-50)

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Both Ock Joo Hyun (Mrs. Danvers) and Lee Ji Hye (Ich) have played Elisabeth in the same run in 2022 ✷

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I haven't stumbled upon a discussion where fans are defending mayerling kiss erasure, but regardless there will ALWAYS be differing preferences and opinions when it comes to any piece of media.

The core issue, however, lies in production companies deliberately pushing versions that sanitise the story’s homosexual undertones—blatantly disrespecting the original material. What’s more troubling is that the creative teams continue to greenlight such choices. If they show so little regard for the fundamental themes of the story, it’s futile to assume they genuinely care about exploring diversity in casting either.

Also over time, almost every aspect of the show continues to be diluted. Costumes are stripped away, and concert version becomes the default. Other musicals like Mozart! and Rebecca are also being stripped of their original staging. AI generated graphics are being used for promotional material and backdrops.

SO SIMPLY PUT, THEY DO NOT CARE!!

also can i just say. i'm debating making a follow up elisabeth video essay to my first one (might not materialise, depends on if i have enough interesting stuff to say and not just ranting) and one central thing i'd want to talk about is like.

death and rudolf rant

Ever since about 2015, two complementary trends have existed re: Rudolf and Death in Elisabeth.

First, you have a whole league of Elisabeth productions that are obviously uncomfortable or reluctant to include any romantic or sexual undertones between them (various Hungarian prods, Brussels 2022, Netherlands 2025...), to the point that we get the honestly laughable "five feet apart cos they're not gay" original Schönbrunn concerts (2019-2024).

Secondly, you have fans online who are eager to jump to defend their favourite production for doing this, because it "makes sense in context" "actually works better this way" "it would distract from Elisabeth and Death" "maybe the actors weren't comfortable with it" etc etc. And like, I'm all for artistic freedom and different kinds of explorations of relationships within the show. Frankly, I don't want carbon copies of the original production either. BUT! Is it truly not suspicious to anyone else that every single production in existence is using its artistic freedom to do away with the blatant homoeroticism of the original show?!?

Back in the 90s and 00s, nonreplica productions were rather proud about the homoerotic elements! The Swedish Death in Karlstad actually thought they had invented the kiss (you can read about it on a fansite), and reports say that in Finland, it was like 10 seconds long (double that of the 03-05 Vienna revival). But today, the only reasons we have any Mayerling kisses at ALL are because

1) Two brand new homosexual Death+Rudolf actors had a stroke of genius in China and decided to just go for it in the last show of each city, because that's how they interpreted the relationship, and they somehow managed to persist until it became an official part of the blocking after the German transfer

2) Some productions are simply not such miserable cowards about it kskss. Lithuania has some of the lowest support ratings for LGBT rights in Europe and it's generally not common or comfortable to be out, but the Kaunas production has them kiss anyway (albeit kinda on the cheek, so you can interpret it in multiple ways).

Bffr, a watering-down like this would NEVER happen to a straight side relationship in a musical lmao. But somehow when it happens to a gay one (which renders Rudolf's tragic mirror story sideplot and his presence in the show kind of irrelevant. His whole point is to have a complex entangled relationship with Death, despair about protofascism, and then die), many people are just down with quietly accepting it??? Hello???

I'm not trying to say that my own preferred interpretation of the show and this relationship is the Most Progressive And Only Allowed One. But I'm also really done with the "oh it's okay that they didn't kiss in this production, it makes sense". Like, it only makes sense to you because they warped the story around it to fit it!!!! In nonreplica productions they can do whatever they want forever, why is everyone in their celibacy era!! Is it really more important to get ticket money and prestige from wealthy homophobes than it is to stay true to what sets this show apart from the rest? A crumb of representation, sir??!?!

And like. After the Schönbrunn tour ends, we have no guarantees that another prod will ever have the kiss (framed as a sexual/romantic-adjacent thing) again. I mean, maybe this has actually showed VBW that it's not so terrible for sales and we'll get it more again lol, but I'm really skeptical because of their track record.

TL;DR: I get annoyed when people excuse the erasure of representation with "but I like it erased/it's more subtle and complex this way" lol. And I'm worried that things aren't going to get better in future productions...

Also, a random adjacent rant:

People are really excited about androgyny returning to Death's character now because of Lukas being cast, but

1) that's a LOT of pressure to put on just one guy, no matter how great a job he's doing

2) other productions aren't doing this 🫣

3) while many rightly praise his performance and acting choices (I adore it too!), a LOT more people are just being constantly really weird about his appearance in both offline and online fandom spaces 😭 Like, he's lauded for being pretty and bringing androgyny back when that's kind of just. how his face and body look. that's not part of the acting, that's just the guy!!!!! and people who gush about how much his looks improve the Death characterisation often seem to have implicit biases that 'androgyny' equals white, tall, thin, young, "pretty", conventionally attractive, etc. Death casting in general seems to have a racial/colour-coded component to it, which is super sus to me🥲 like, just look at the Luchenis and the Deaths from the past 10+ years, and notice how the only performers allowed to double up as both were white men with brown hair lol. None of this is Lukas' fault, but it's just something that bothers me lol

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[NEW] HUNGARIAN PROD OF ELISABETH EVERYONE AND IT'S NOT THE CONCERT VERSION!!! TEARS OF JOY 😭

PLEASE LOOK AT THE DOPE AF CAST ANNOUNCEMENT 🙌🏻