#cast album when??

[adreamshouldneverdie]

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[the-uninformed-zennial]

Do you ever have those days where you wake up, thinking everything is wonderful and right and it’s gonna be such a chill and easy day, only to turn on your computer and see your album has released a whole week earlier than you thought it would?

No?

Well um… completely and totally unrelated to that… My last Fable album is out streaming… like right now. And I was so very prepared for it. Mhm.

[ghostie-jakxy-gray]

aight, aside from the fact that 3 houses by Dave Malloy is now gonna Haunt My Waking Thoughts For The Week...

nah, that's it. The only pandemic play I can get behind. Proper amount of drunken revelry, fantastic amount of fairytale allegory, Yes She Does Smoke Weed, vindictive dragon spirits and knockoff tom nooks, cairns of amazon boxes, The Ending, The Set, The Parallels...

and the wolf. Gods help me, but I wanna kiss the wolf on his broken-toothed maw. dance with him. ask him for a metal straw. I'd be a furry for that wolf in his stupid knit sweater.

(And then, the harmonieeeeees my love, they're so perfect and ugly and pretty and the genre shifts and and and)

[man-down-in-hatchet-town]

Girls don't want boys, girls want a higher quality rerecording of the Me And My Dick cast album.

[qprpbj]

do u have any idea how agonizing it is being an autistic person w broadway special interest but u live in fawking canada.

[aberooski]

I died on the altar waiting for the proof...

[i-didnt-do-1t]

I just have. A lot of thoughts on the great gatsby musical. staging, and actors and costuming is all incredible. but as an adaption of some of the most gorgeous literary prose with deep resonant themes, the lyrics (I can’t speak for the book during the scenes as I’ve not seen the show) are. lacking

I could explain further but on an intrinsic level I don’t think the novel was fully understood and by the writers own admittance she only ‘quite’ liked it which I feel is not the best prerequisite to have when writing a musical on something

[pardonmydelays]

i had a dream today that jordan fisher released an ep & one of the songs was "wait for me" from hadestown, so...

[thebreakfastgenie]

I had so many MASH metas cooking that I just don't care about right now. Sorry. Billy Joel lockdown.

[mashmouths]

girl what the fuck are they doing in the mcu

[muppetjackrackham]

sometimes i think i'm capable of behaving like a normal human being but seeing actual hd footage of josh groban as sweeney todd made me feel like a repressed victorian woman seeing ankles for the first time

[akkivee]

maybe if we had gotten more songs that had rap in them this release wouldn’t be so polarising but lol man eng fandom really didn’t vibe with hiphoppia huh

[dailyweezer]

Day 63: Gravity Falls

(Requested by @missjennyhyde)

[gilmores-glorious-blog]

me when sweeney goes “tobias!” at the end of “the judge’s return”

[waugh-bao]

So I’ve been thinking more about the asks I was sent about Keith on this tour and what the change up in concert structure (one solo song by Keith instead of two) portends for the band and the long term reception of this tour.

I’ve said it before, but I have to repeat, with even more emphasis, that I’m almost blown away by how much criticism there is of the musical quality of this tour 2 shows in. Especially after Keith has started sitting to play some of the songs.

There’s still people, generally Boomers, hitting back, but it’s never a real defense of their musical integrity or ability, just an appeal to age:

(Also the ‘they don’t need the money’ take is kind of stupid because UK death tax is a bitch and any of their British assets that aren’t tied up in the band’s Swiss based corporation are going to vanish by almost half when they’re split. Not to mention two of them have a ton of kids that it will probably need to be divided amongst. And Mick has always been money hungry).

And the rest of the comments look a lot more like this:

I was especially struck by the person who termed it ‘grading on a nostalgia curve’, because I think that’s a spot on description for the typical defense, whether it’s coming from Boomers who spent $800 on a ticket or not:

You may see it panned by individual critics or newspapers, I sincerely doubt any big music writers or magazines will be that harsh towards the tour because the Stones sell and they want access to the band more than integrity. It’s the same reason Hackney Diamonds got such glowing reviews. All the Stones’ albums since Steel Wheels get amazing mainstream reviews and then 5-10 years later everyone goes back and admits they weren’t that good/outright suck. By the same vein, I think once the band is genuinely over and a few years have passed, the consensus will shift to ‘they would have had a lot more integrity and dignity if they called it quits after No Filter, because everything that followed was the band rapidly becoming a parody of itself.’

And I do think the end is coming sooner rather than later. Tour insurance only becomes harder to secure with time (Mick would never take the risk of financially wiping himself out that personally guaranteeing a tour would run and most venues wouldn’t want to deal with liability that anyway) and they know it’s only getting worse musically whether or not they’ll ever own up to it. Embarrassment will win over eventually if physicals don’t. I tentatively doubt they’ll ever officially announce a last tour, because they have a longstanding aversion to the kind of pity involved in that, but I don’t seriously believe we’ll see more than one more European tour and maybe a final US/North America one.

I’ll close on the less depressing note of the unintentionally funniest (dark) comment/reply I’ve seen in a while:

[jon-withnoh]

While I was cleaning today, I ended up listening to the 2006 Rebecca cast album for the very first time (I'd only listened to some of the songs previously). Here are some random thoughts and reactions that came up, because why not. This will probably be a long post so buckle up:

the characters feel very vivid and I love that a lot.

it's interesting to hear some of the lines they changed for the Monte Carlo scenes.

I actually love the second verse of "Zeit in einer Flasche". I wish they'd kept it. It's very sweet and creates a more satisfying lead-up to the conclusion of the song imo.

this recording is proof that "Zauberhaft natürlich" doesn't add anything to the show. Uwe Kröger already makes Maxim seem quite human in only a few minutes. Plus, I always feel like the Monte scenes could be shorter overall (Yes I know what I just said about "Zeit in einer Flasche".)

If I hadn't already been completely won over by Susan!Danny I would be now. She's so poised and brings so much nuance to the character in "Die Neue Mrs de Winter" alone. Her first "Madam" sounds so threatening, I love it.

Also... 2005 Elisabeth Franz Joseph as Frank startled me a little.

Absolutely adore Susan's "Sie ergibt sich nicht"

Kerstin Ibald as Beatrice is a delight in every single way. Also interesting to see the different choices she made between Vienna and Stuttgart.

Speaking of Beatrice... "Die Stärke einer Frau" is... so long. I listened to it on the way home from running an errand and I ended up laughing to myself in the middle of the street because it is kind of a ridiculous song. Imo the only reason not to cut it is because we love Beatrice.

Here's something I found really interesting: Favell and Danny actually have a dynamic in this recording. I fully believe that they've known each other for decades. They might not particularly like each other, but they're definitely familiar with each other. I can imagine them as a comedic duo honestly. This Favell in general is very vivid, very emotional. I like that. I feel like he has more nuance than the later depictions. Also... "Ich liebte sie genau wie du". Excuse me??? I love that line!

I'm so glad they ended up replacing "Wir sind Britisch" with "Merkwürdig". "Wir sind Britisch" did not work for me as a song and felt out of character for the show in general. It was like they were trying to be My Fair Lady for a hot second.

I didn't think I would like Uwe!Maxim that much, but actually! I might like him the best out of the three cast recordings. Jan Amman is my fave vocally, but I love how Uwe portrays Maxim as a character. Again, there's nuance here. I also love the way he says "Oh, das ist Frank Crawley der Verwalter von Manderley..."

There's a really interesting line in "Die Neue Mrs de Winter (Reprise)" where the ensemble says something about Ich being "Fast wie unsere alte Mrs de Winter". That's a really interesting callback to the book and the way the book's narration begins to draw parallels between Ich and Rebecca, in whichever way you want to interpret that.

Okay, everyone who's been telling me about how excellent Susan!Danny is was completely correct and justified. Her Mrs Danvers comes across as very controlled, but her feelings really come through as well. Her "ich Hör Dich Singen" is beautiful. I would give a lot to hear her sing it again with the new lyrics. I know I keep saying this but NUANCE. So much nuance in this character!

On a similar note, it's so refreshing to hear a Maxim played by a very passionate actor (not to say that Mark or Jan weren't passionate, just that I really enjoyed Uwe's portrayal).

This became long and quite incoherent, so if you've made it this far, thanks for reading! I'd love to hear your thoughts if anyone wants to ramble :)