#Fun home

[chrisfromthefreakingspace]

Alison Bechdel is definitely such a classy queen of us lesbians

[lezarus]

fun home

[finalgirlguy]

alison bechdel truly deeply gets me like no one else in the entire world

[raisunii]

sapphism : a web weave

Sappho / Girls Like Girls, Hayley Kiyoko / Heavy, Tegan And Sara / The Chapel of Saints Perpetua and Felicity at The Basilica / Lyra Wren / But I'm A Cheerleader, Jamie Babbit / Asking About You, Eloise Klein Healy / Ring of Keys, Lisa Kron / Le Sommeil, Gustave Courbet

[oof-i-did-it-agaaiiin]

Thinking about how many musical tragedies feature the narrative almost as a character of its own. Like a force within the story, divided from the characters. Out of their control at times.

Orpheus had to turn around, that’s just how it goes. That’s the way the story is told.

Tony had to go and get himself killed. Of course he did. He’s Romeo. The story wills it so.

Jesus must die. No matter how much he wanted to live, no matter how much the people around him wanted him to live. It’s his role to die.

Alison can’t go back and change the events of that last car ride with her father. It’s set in stone, there in the past where it will always remain.

And then there are musicals like Once On This Island and Ride The Cyclone that embrace the role of inevitability in their stories and find joy anyway.

And then on the exact opposite side of the spectrum there’s the radical freedom from the narrative that’s seen in Into The Woods. The narrator is dead and now the story is no one’s but the characters. And there’s the lack of protection that comes with that, the chaos and confusion. But it’s theirs and it’s tragic but they make the best with it.

Those themes of Inevitability vs. Freedom and the meta understanding of story within a story. I can’t seem to get enough.

[queer-media-tourney]

[otabekisautistic]

i have to do everything myself around here. favorite heartbreaking musical. go.

[ironicandpunny]

in honour of pride month, here’s some musicals that feature/star LBTQIA+ characters that have not aged like milk:

Falsettos

Fun Home

A Strange Loop

Company

Natasha, Pierre, and the Great Comet of 1812

Ghost Quartet

Come From Away

Cabaret

35MM

A New Brain

Spies Are Forever

Firebringer

[whizzvin-welcome-here]

This wouldn’t post before but here we are: happy lesbian visibility week!

Joan and Alison (Fun Home) / Daniela and Carla (In The Heights) / Joanne (Rent) / Alyssa and Emma (The Prom) / Soldier/Pearl and Rose (Ghost Quartet) / Celie (The Color Purple) / Charlotte and Cordelia (Falsettos)

[waffle-bubbles]

It’s about time I acknowledge how hot Roberta Colindrez is on main.

God damn.

[one-time-i-dreamt]

Christian From “Fun Home” was a killer clown who was after me specifically.

[periru3]

Reblog for a bigger sample size - for bonus points tag your favorite musical(s) that didn't win this decade but maybe should have!

Polls for other decades

---

A second attempt at this poll since in my first one I accidentally skipped Gentleman's Guide and made the duration 1 day when the others were 1 week. So for science we're trying this one again.

Also to clarify since I've gotten some shade about my choices on these polls: these polls are specifically about winners of the Tony Award for Best Original Musical broken down by decade, not some arbitrary shows I'm picking. Anyway, I have one for each decade so go vote in all of them! :)

[blusandbirds]

"i can draw a circle/you lived your life inside"

we'll live and die in these towns (the enemy) // homesick (noah kahan) // maps (fun home) // home-free (maggie smith) // sleep on the floor (the lumineers) // fast car (tracy chapman) // leave fast (sam fender)

[andtheywereroomies]

Roberta Colindrez

The Cut - Oct 2020

photo by Camille Lepen

[sondheim-girly]

If there’s ever a line/lyric in a musical about everything being alright, NEVER TRUST IT. THIS MUSICAL IS GONNA GET SAD