#STEMP

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[stemcellineresearch]

Don’t limit yourself to the tidepool of misleading assumptions and incorrect diagnoses. Consult the best doctors to identify the intricacies of your medical condition and face the mighty ocean with courage and strength.

[angelofmusicals87614]

Zizi Strallen and Charlie Stemp congratulating Beatrice Penny-Toure on her Mary Poppins Debut

From their Instagram Stories 

[phantomonabudget]

Anyone in the musical theatre bootleg world know if any recordings of "Crazy For You" (London, 2023, preferably with Charlie Stemp and Carly Anderson) exist and how I may acquire one??

I saw it six times at the Gillian Lynne and I'm just not ready to accept that it is closed. 😂😭

[ulrichgebert]

Begaben uns gleich in eine weitere Brutalismus-Perle-Wohnsiedlung, ins Barbican nämlich, wo sie aber nun endlich mal etwas heiteres und bewährtes spielen, Kiss Me Kate nämlich, Cole Porters für seine außergewöhnliche Geschlossenheit von Raum und Zeit berühmte Musicalfassung von Shakespeares beliebter Häusliche-Gewalt-Komödie The Taming of the Screw. Diesmal sogar mit einer kleinen Entschuldigung für die häusliche Gewalt, schließlich schreibt man das Jahr 1948. Hat, der Schauplatz ist ja ein ganzes Theater, auch ein sehr großes Bühnenbild, bietet den liebreizenden Charlie Stemp, der diesmal auch kam und wirklich sehr schön tanzt, Stephanie J. Block, legendäre Mutter bei den Falsettos und den die Howard-Keel/Brent-Barrett-Barihunk-Erwartungen irgendwie überhaupt nicht erfüllenden Adrian Dunbar (er drückt sich auch vor "Were Thine That Special Face"), der aber als ausgebuffter Schauspieler, der er ist, prima einen ausgebufften Schauspieler, der sich durchschummelt daraus macht. Ist ok. Es ist wie immer aller sehr anzüglich, vergnüglich und viel zu heiß.

[lemonous-snake]

My nigh-uncontrollable urge to get a tramp stamp because I grew up in the early 2000s and I always thought they were super cute (but we weren't allowed to find them cute until two years ago or we were "trashy")

[westendandbroadway]

Crazy For You, Gillian Lynne Theatre, London. 2023

[bobbychiid]

mary poppins with charlie stemp and zizi strallen

if anyone has a bootleg of this i’d be so appreciative i really need to watch it again. i know there was one on youtube but it’s gone so wondering if anyone saved it. thanks :)

[evnyie]

DOES ANYONE HAVE A CRAZY FOR YOU SLIME TUTORIAL FROM EITHER CHICHESTER OR THE WEST END WITH CHARLIE STEMP IN IT! IVE SEEN IT THREE TIMES AND NEED TO HAVE SOME SORT OF AUDIO OR ANYTHING! p.s I have an audio of Jack Wilcox in the show as Bobby but i NEED one with Charlie! Thank Youuuu

[someday-becomes-somehow]

I went to see Crazy For You this afternoon (for the low low price of £18 might I add, and in the Gillian Lynne which doesn’t really have bad seats) and I had zero expectations but it was soooo good! I have a soft spot for Astaire-style musicals and their brilliant physical comedy and for once I think I was satisfied with the amount of tap dancing (never too much!) 🌙

[centrestagereviews]

Review: Kiss Me Kate - The Barbican

Review: Kiss Me Kate - West End ⭐️⭐️⭐️

[givemegifs]

[juiseed]

t minus four days to the ap calc exam and nothing makes any sense to me. suddenly i’m failing. all the frqs i just wanna scream and throw up. it’s not fair that i take calculus for two years and still suck at it i hate being surrounded by people who are naturally good at math i hate being surrounded by a bunch of people who are going to major in cs.

[kitsunetsuki]

Oliviero Toscani - Vogue UK, June 1974, from The Glamour of Bellville Sassoon by David M. Sassoon and Sinty Stemp (2009)

[measurelessdreamer]

Part II of my musings about my scogan kid fic idea (read part I here)

It’s very delicate. And Logan doesn’t deal with delicate. He can deal with force and dangerous and what-doesn’t-kill-you-makes-you-stronger. A four-year-old girl calling him “dad” is nowhere near any of these things.

And Summers must know how much of a deal this is because he’s quiet the whole time they walk to his office to talk, for which Logan didn’t ask but Scott offered anyway, without the typical stoic composure Logan was used to seeing on him.

Then they get there and neither of them can really sit down or start because where do you start after seeing something like this? After apparently living in a universe where time-travel is possible and it happens to be your damn luck that you have to live with its consequences?

And Logan realises that Scott could ask first. He wasn’t there when Logan talked about his timeline with Charles and as far as the little girl goes, calling Scott “papa” is on the same spot of “urgent” as calling Logan “dad” is.

But Summers speaks in the end and, surprising no one, he decides to be unselfish and asks Logan what he wants to know. Logan gives him a look that must speak for itself because Summers clenches his jaw but still waits and Logan hates him but not really and so he asks, “The girl. Who is she?”

And Scott says that her name is Kayla (because I happen to be a big fan of Wolverine: Origins and I always have been ever since I saw it when I was, like, thirteen, and despite all the sad stuff about Kayla, I loved the message of her words to Logan that he’s not an animal and I think it would be nice to have that message survive in a little girl who at some point learned to love him enough to call him dad because if that doesn’t say he’s not an animal, then I don’t know). It might warrant a reaction from Logan right away. He might know what the name means, the Logan of this timeline probably didn’t (but it’s possible he doesn’t know either).

So he asks who gave her that name, to which Scott replies that he chose it and Logan asks why they would let him and Scott says because he was the one who found her. There is something Summers isn’t saying, though, and although Logan can tell, he lets it go this time.

Found her? he asks next and Scott says I assume you’re familiar with the name “Stryker”, to which Logan lets out one of his claws, the middle one, akin to all those years ago on the Liberty Island and he doesn’t know what he expects, but the soft smile that graces Scott’s face before it is squashed down by the cold calculated look was definitely not it.

Then Scott reaches under his desk and unlocks one of his drawers and pulls out a thick file with the huge red stemp of “classified” written over it and he pushes it closer to Logan. It says “Weapon XII” on the front and Logan bristles and almost lets out all of his claws.

He doesn’t reach for the file and Scott probably didn’t even expect him to because he goes on, unprompted, and says that the project was meant to be a continuation of the previous one, of designing a mutant who would be able to hold and control multiple abilities at the same time. The previous project made them aware they could change one mutant. Now, they wanted to know whether they could fully create one and raise them to be their perfect soldier.

For that, they needed a suitable collection of DNA from mutants they knew existed because it turned out that not every ability was compatible with the rest of them.

When Logan asks how they found out, Summers says it’s in the file and then clenches his jaw when Logan just says he’s not reading it. Then Scott says there were multiple test subjects that were biologically engineered in different ways so they knew where to push their limits. At the time, Kayla was being referred to as “12.9” and she was the only one they found at the facility. The rest were defined in the file as “failed” and “closed” and Logan really feels slashing through something right now.

Scott says she was merely six-months old when she was found by them. They didn’t know who she was but the following days were a bit self-explanatory when she teleported a meter away right in front of their eyes and shot red beams from her eyes at a toy she didn’t particularly like.

Her powers were meant to manifest early so Stryker’s people knew if she could harness all the powers they engineered her with without dying. It was a long process of deciding which ones she had to have and which ones she didn’t. All of the children had Logan’s, though, and as much as there indeed is no adamantium in her body, it was the plan to put it into her once she grew up. Putting it into her now would prevent her from her natural development and result in her death. Logan says, “Don’t tell me they found that out the hard way,” to which Scott replies, “What do you think?”

So, what, is she a clone? Logan asks after Scott explains the rest and Scott says, Yes, in a sense.

What do you mean? She either is or she ain’t!

Clones are usually of “something” and are meant to resemble that something to perfection. She has so much of other people in herself that no one would be able to pin point what she is a clone of.

As much as it clears up a few things about her to Logan, there is a lot Scott doesn’t mention that day or the ones that follow. He doesn’t say that it was actually the two of them together who found her and not just Logan. He doesn’t reveal that her first days here were a pretty accurate depictions of hell and that Logan’s healing factor came especially in handy and she also sort of seemed to cry a lot less when she was in Scott’s arms compared to everyone else’s. And he doesn’t say anything about the fact that, yes, as much as her DNA is comprised of DNA of other mutants, the percentages vary and there are two sets of DNA she has more of than from others and there is a reason why her eyes are so blue and why she purposefully has weaker versions of all her mutant abilities aside from her healing factor and heightened senses.

Part III

[ulrichgebert]

Weil es so schön war mit Charlie Stemp und uns die Aufzeichnung des neuen, verbesserten Half a Sixpence in die Finger gefallen ist (unter dem sinnigen Titel Kipps: The New Half a Sixpence Musical), veranstalteten wir ein kultiviertes, literarisches Sonntagsfrühstück mit Banjo. Die Mary-Poppins-Musical-Schreiber wollten die Geschichte weniger Kipps-zentriert gestalten, das ist ihnen nicht so richtig gelungen. Er ist aber auch wirklich sehr niedlich.