#great to see helen and celia together again

[monsterintheballroom]

[thecrenellations]

Return of the Thief Notes, Part Three: The Book of Pheris, Volume 2, Chapters 6-14 and “Alyta’s Missing Earring”

Notes from my first read, October 2020. (Part One | Part Two | TaT)

Contents:  Elephants, guesses about gods and dead men, villain team up, the unexpected, AAAAAAH, elaboration on the word cloud above (which is one big Gen, medium Pheris, medium love, and scattered other names), and more quantitative analysis! I love this book.

Format:  Page number. My thoughts (Context?)

Chapter 6

285. unkingly moment, last night with her at home

MISMATCHED STOCKINGS (I have a thing about this.)

Wedges of ribbons?

285. cute

286. a pitneen? A drunk bird?

Wait. Gift of animals??? Did he steal the thunderbolts wearing it?

A canary no longer

287. Hilarion and Ion, wow

Throw a cup of wine on me

288. War pants! War pants!

What’s Attolia wearing?

Sophos! (the whistling!)

288. Ok fine it’s gonna be sad ... I say as if I didn’t just experience the trial (the last lighthearted moment)

Pepper!

Be careful Pheris

Also Relius went to Dite and Juridius, right? (I was convinced Dite would show up)

Sinerine!

290. SOCKS! Yay <3 magus

I was resigned to not much magus but he is HERE!

He’s … so much nicer than he was to the kids in the Thief, lol

A CART!

Lamb, falling in same paragraph. Worried.

Gen :( Gen you ran all over the palace and leapt in the water last night. You are so stupid.

292. Yay Sophos I love you

Math buddies!

294. I’M SAD.

They have had this convo before

I love them

It’s because I can that I think I should

295. Do not overreach. Eddis is right

Danger in self indulgence?

I love her! “I was outside chasing your brother with a stick”

296. My heart. You have to trust yourself. I don’t know if I can. Then you have to trust us.

Tactical Irene!

Thanks I’m gonna hold on to it: “The Call of life is a s powerful as the call of death, and it is no weakness to answer to it”

297. Oh no. My children. Tell each other things like that!

Great time to be childish, Gen.

Yeah honestly. It’s bothered her FOREVER

299. Pull it together, kids!

Thx Helen

Inkpots … :( :( :(

Chapter 7

302. See … that Continent occupation isn’t good either!

303. Unfortunately that is NOT an alternative. Bc volcano.

305. This is stressful.

Chloe, interesting

306. Elephants

Oh my god it’s better than I ever could have imagined (there was like 10 years of lead up to the elephants, and I thoroughly enjoyed them)

I love him

Gen wtf

Yes drink up those guards (“We could keep [an elephant] in the guard’s bathhouse! There’s plenty of room.” “And the guards will bathe ...?” “In the palace reservoir.” “Our drinking water.”)

#6 Gen about elephants

308. This is gonna be a disaster

Hilarion with an eyeglass

Fuck Pheris is making this up.

Gen I love you

Oh my god

Honestly idk if Gen is having fun but I AM

They’re. They’re such a power couple.

Also Bu-seneth is so rude to Attolia

309. so vague about battle, but I’m sure it’s horrible

310. hero talk. Chills.

311. all the woman comparisons for Gen (“Would [a world with no war and no heroes be a bad thing?” “That’s a woman’s question”)

Wow. Interesting. Anonymity

312. Don’t listen to them Gen!

Bad tempered cooks

313. lol. Good looks.

Gen. the hand joke. Why

Well that was … a scene (I don’t know my Henry V)

Reassuring to have a glove. Which one?

314. No. Bad. This is what I was afraid of. (Nahuseresh baiting Gen with Kamet)

Ok Pheris

315. That cannot be true. (it was not!)

Gen. No. No.

316. Wow. That worked out well. So far.

They called him annux. If Kamet is really dead…

319. Yeah Attolia is RIGHT

Yeah I can’t actually either!

Irene knows. In his story!

320. Glove resolved very fast

Interesting reversal (Gen and his dad)

Maddening!

Chapter 8

322. who’s charging off in a haze of glory now

Philologos wounded

Wait, the attendants follow him in to battle...

Cleon RIP

Temenus <3

No. Stenides

If they ever returned.

His brother died in an explosion

Gen’s tears

This is sad.

323. lion lamb :(

325. At least they have each other

Morality is an illusion. Like safety?

326. that’s what Costis was mapping, right? (nope)

How many has Gen killed now

328. Who. Pol? Ambiades? (The cairn man question remains)

Oh no

Oh no. you can fall from a horse

HILARION!

Is Fordad a spy?

I am just not accepting this yet

WAIT THE MEDES TOOK HIM! (I thought the Attolians had taken Gen, or Gen’s body, at first.)

330. wow things only Pheris can do

GDI Erondites

WOW THIS IS A VILLAIN TEAM UP

332. You gave it to him dude (Nahuseresh asking “Why does he still have this?” about Gen’s hook)

I love Gen. I wonder if he’s afraid.

This is bad.

Whose treason, whose betrayal?

333. Yeah! Kamet said so (“Tell me again that you are king.” “Annux, if you prefer.”)

334. Oh god.

Get your stories straight bastards

Rolled in a rug!

336. Oh gen

Oh god

Yeah this is …

Be careful what you ask for

338. What did he sign as, though, Attolis? Eugenides?

Nomenus wtf

What does mwt have against facial hair (Fordad, Nahuseresh)

Costis please come (idk how I thought he was going to help, but I was in Costis Denial and expected him to show up at any moment)

Everyone must be going through a lot

A face like an open grave

Gen.

Gen I love you

YES

YES

Is he … invulnerable now?

Gen what.

Is he possessed? Is he already a god?

341. Yeah same. (“I think he meant that I should not fear him, either. I did, though ... I still followed him”)

This isn’t being self indulgent or overreaching, is it?

342. RIP Ion Nomenus

“My work”

Oh Nomenus

Does he just exist for the morally gray and loyal angst feelings? It works (...)

344. What did he DO

Yes! Swearing Gen!

345. love all caps Gen

Those names

Aaah

346. Ooof.

Chapter 9

347. moon promises

Yeah

Noooo Philologos :(

Legarus … :(

349. Gen what what

Sparks

Costis? Stenides? STENIDES?

Wow ok he killed Bu-seneth

350. god

See I said Nahuseresh shouldn’t have said that

Also is Gen a bastard

351. WHAT (“Because your council had just voted to kill him”)

Oh Helen

Oh Irene

Does he invite him in?

This is reassuring to the reader (“He can bear his god a little while without losing himself”)

Aaaaah Galen

354. Gen that’s a lot. A lot.

Don’t kill everyone.

So so so x7 of doom

Bye Yorn

I hope he wins too

Go away Nahuseresh

Omg

another fall

Interregnum

Ok it was Lader (when you don’t know who the man at the cairn was, keep on guessing!)

Yeah the circumstances thing is back

Oh god

Oh no

Chapter 10

361. how long has it been?

362. three days

I love them (Elephants! My excellent queen!)

You promised to trust him

364. Oh no. Oh no. (Relius)

370. These Helen convos…

371. Sad. :(

372. Emtis and Lader

Yeah.

Omg

374. Wow

Steal by elephant?

377. Don’t forget about Dite!

378. He’s gonna kill him?

379. Is Dite dead too?

Oh Sejanus

Oh I see

He’s got a mercy taste too

380. Switching!

Lying in moonlight. Hm.

381. Yesss

Nooooo

383. I’m nervous

Gods blessing on your road

Wow. <3

They would have fallen… (if Pheris had gone through with his plan, that’s how they both would have died)

Did not expect Sejanus feelings in Rott.

Chapter 11

386. He’s gonna know. But the trust.

Ion knows.

390. Gen…

Pheris is Lyopidus?

I’m scared

393. I kind of love Ion

More Sejanus, bring it on

I’m nervous

Hmmm… who could it be

395. MoW :( <3 I will not be ok if he dies too

Gen knows the way bc Costis (nope)

Oh my god these two (“I lied” “I know”)

Chapter 12

398. Oh no.

This is not

Her Thief

Irene. “only sleeping” this is what Eddis said to her

But mist… water???

Face touch

402. not living or dead. King

Yes. But no.

403. crying at everything and the MoW next to him

There he went

It was the Eddisians. He fought with them.

404. yeah that’s a lot to deal with, Pheris

405. what a mystery man (Sejanus)

Lol mysterious exit averted

Excuse me that was a difference

406. :(

Am I king

407. Helen is once again right. She’s also always right

MOIRA was Melisande???!??!? (who even knows)

409. ?? Irene?

Same as for Dite. Man loves his brothers. (nephews. you know what I mean.)

Nice.

AAH yup. Add it to the list (“How neatly you tie them together” ... the list of is ways Gen and Irene are becoming more like each other)

410. speaking of which where is Costis!

Hm… what god was that

I love their reactions

411. SPLENDID.

Oh Irene. It’s true <3

It’s so true (“When the king gives his heart he gives it completely”)

Now I’m crying again, at them

412. Gen, she has a point.

Amazing. I … I don’t think she meant to ask like THAT

Jesus, Gen.

You do not know a wagon from a wheelbarrow

413. Irene!

She’d better get home safe.

Gen!

Omg

414. I have another bad feeling, about Gen

415. High king or queen though?

Magus <3

Chapter 13

416. “of course”

That’s ominous

417. No! Sejanus!

A gut wound yikes

418. sadness

419. lol “ill will”

We’re in Roa. My heart’s pounding.

422. I love Gen.

YESSS

Yes I love them.

Sheep.

Kamet!!!

?!?

Costis. Mattresses exist.

424. Oh no.

426. roof dream

Good roof dream

Good job Helen

428. TWINS. Everyone was RIGHT

Reyatimi

Oh shit. The sky.

Oh dear. :( aaah

430. Climbing the rigging!

“it’s just that you have so many least favorite things”

431. I love them (Gen and Irene)

432. I love them (Gen and Helen)

433. RIGHT! I was thinking

I can’t <3 (they’re naming the baby after the MoW, and it’s perfect, and she’s not gonna tell us, huh)

OH MY GOD!!! (baby thief!)

WOW!

434. AAAAAAH (Hector! @threetoadswaltz​ finished reading before me and knew that I would explode about this and I DID, I threw my arms in the air! HECTOR!)

PERFECTION!

435. AAAAAAAAH (this was when it became clear they were going to dance on the roof)

Yes she was (as surefooted as the king)

Is this the first time she’s Irene

Yes.

I’m filled with happiness

Celia and Lavia again … lol.

Lol Chloe

THALIA

CRENELATED wall

HE’S ALIVE

Kamet is a sweetheart

The gods!!!

The gods!

Aracthus

Mystery goddess?

Ula?

Moira! Yes!

(I was very happy. The page itself:)

Alyta’s Missing Earring

Wait. Was it Alyta.

Glad we got a bi god (with all due respect to Immakuk and Ennikar, whose bi-ness and godliness is perhaps more up to the reader)

Got very bi very fast

Also. He’s Gen.

Interesting difference in story

Kathodicia!

Are we literally getting ALL the answers? (No. But so many more than I expected!)

Gen’s grandfather sucks

An urn huh

Omg. Heiro’s earrings?

Oh my gosh.

Same, Gen. Same.

Obvs Phresine knows.

Is Phresine a goddess?

Same, Gen. Same.

She got to tell a story! She is so happy!

I think he’s a little scared

Moleskin

Yeah peace huh

This series is socially sanctioned silliness

1000 Eugenides. Wow.

They did melt though

Little thief.

<3 <3 <3

He’s a character in a story

A big question

Tamarisk? Takima? (We are not getting all the answers.)

That’s it! Thank you for reading - it feels very self-indulgent to type up all of these, but I will honestly take most chances to relive the intense and wonderful experience of reading this book for the first time, which often means looking back at my own notes and sometimes means sharing them with people. Also, I really love reading liveblogs/real-time book thoughts, so here is one from awhile ago ... all at once.

Anyway, check out this word cloud from all of the notes (made with this site):

It’s ... mostly just character names, with a variety of words that express my enthusiasm and feeling (love, lol, wow, yes, excuse me...). Gen is the biggest because I said his name 115 times! Here are some totals for the other characters who came up a lot:

115 - Gen (and 10 Eugenides)

42 - Pheris

26 - Costis

18 - Irene (and 6 Attolia)

16 - Helen (and 8 Eddis)

10 - Sophos (and 4 Sounis)

12 - the magus

11- Kamet

11 - Teleus

10 - Relius

9 - Ion

6 - MoW

6 - Moira

5 - Sejanus

These don’t fully represent how much I had to say about them, because I didn’t always refer to people by name or title ... which kind of explains why Costis’s total is ridiculously high compared to how much he is in the book -  I likely have more notes about other characters, but I didn’t need to bring up their names because they were already present in the scenes I was taking notes on (for example, I think I talked about Relius more than Teleus, the magus, or Kamet, but many of those just referred to him as he, because it was obvious to me who I meant). But also I was just looking for Costis! Anyway. My use of names and titles for the monarchs also really illustrates how much this book reshaped the way I think of these characters’ relationship to them, Gen’s and Irene’s especially.

It’s representative of my feelings about this series that I wrote “I love them” about so many combinations of characters. Who, exactly? And how many times? Well...

5 - Gen and Irene

4 - Gen and Helen

2 - Gen and Pheris

1 - Gen, Irene, Helen, and Sophos

1 - Helen and Sophos

1 - Costis and Kamet

1 - unknown combo of Gen, Pheris, and Relius on p.166, I love them all and can’t remember. Kamet’s map was there, too, and I do love Kamet, so maybe he was in there too.

no matter what the numbers say, I love them all endlessly, and I love this book.

be blessed in your endeavors, yes I will take any questions about these notebook screams, etc.

[jellybeanbeing]

My Favorite Tropes

This is going to get increasingly oddly specific so don’t mind me. Also, after writing this whole thing up, I realize that it’s heavily romance based so excuse me if you didn’t want that, and I repeat a lot of the same books because I’m boring.

1. Found Family Trope

We all love this trope so much. It just hits so good when there are characters who have never had that someone to lean on when they’ve needed it, and then they find those people. And the best thing is that, it’s always unexpected. The characters are like “I can never imagine being friends with this person” but then they become best friends, and it’s a good time. There is just something so pure about it and seeing a character just feel like they finally belong. 

Examples are: The Gangsey from The Raven Cycle by Maggie Stiefvater & The Six of Crows gang from Six of Crows by Leigh Bardugo & the Leverage crew from the show, Leverage

2. Friends to Lovers Trope

I live for this trope. There is something about this trope that puts ease in my body. It’s mostly because the two (or more) characters already know each other, maybe to their deepest core. They are so unaware of the fact until one day, something happens and then they’re like, “fuckkkk.” And I love the progression of it because they get to know each other in such a different and intimate way that hits the soul so well.

An example is: Emma and Julian from The Dark Artifices series by Cassandra Clare

3. Enemies to Friends to “I Would Literally Die For You”

This is such an endearing trope. I love it so much because you get to see the beautiful and hilarious banter within the relationship, and after (usually) a serious conflict arises, it shows that the other person really cares and would literally or figuratively die for the other person who they once hated. And it’s even better when they can’t admit but in those small moments, they show that they really care for each other.

Examples are: every friendship in Leverage (again), and (kinda) August and Kate from the Monsters of Verity duology by Victoria Schwab

4. “Characters Who Have A History Together That Caused Them To Have Bitter Feelings Towards Each Other But Meet Again And They Have To Work With Each Other And Their Feelings Blossom Again” Trope

This is definitely a slow burn kind of thing because it takes time to rekindle that flame, but this is different than slow burn because both parties have a history with each other, and they know each other but they are still like “fuck this bitch.” The thing that makes this trope work though, is if both parties acknowledge what had caused their falling out and talk it through and have grown as people individually because if it’s not, then I DON’T WANT IT.

Examples are: a future Ty and Kit (I’m hoping) from The Dark Artifices series by Cassandra Clare, Taylor and Jonah from Jellicoe Road by Melina Marchetta, & Nina and Matthias from the Six of Crows duology by Leigh Bardugo

5. When Two (or more) Mysterious Characters With Dark Secrets Fall In Love And Become Vulnerable To Each Other

This has become a new favorite of mine because I didn’t even know I needed it until I got it. It’s like these two characters have their guard up against each other and the rest of the world, and they know it. They push their boundaries to see how far they will let their guard fall when they are with each other, and IT’S SO GREAT. And when they do become vulnerable to each other, it’s the best thing in the world because they get to share their secrets with that other person and become this badass couple.

Examples are: Jordan and Declan from Call Down the Hawk by Maggie Stiefvater

6. Insta-Love or to be more specific Insta-Attraction

Now wait a fucking second because you probably just said, “What the fuck?” Yeah, but let me explain myself. I’m not talking about the kind of insta-love where “it’s love at first sight! I’m gonna marry this person!” or where you literally force characters to fall in love because THEY JUST HAVE TO. No. I think this trope only works when the audience already knows the nature of the two parties. When we know who each character is, when they meet and suddenly have this attraction towards the other, it makes sense. 

Three great GREAT examples are: (again) Jordan and Declan from Call Down the Hawk, Maura and the Grey Man in The Dream Thieves, both by Maggie Stiefvater, and Marco & Celia from The Night Circus by Erin Morgenstern

7. “I want you but I can’t have you but I still want you.” Trope

One side of the party is always “business” and “duty first” because that’s just who they are, but then they meet that person who is their undoing and everything turns into chaos. They want the other person but the circumstances that they are in, is stopping them from taking that step forward and it frustrates them. The other party is there wanting to accept their love but the other party just can’t but they want to.

Examples are: Kaz and Inej from the Six of Crows duology by Leigh Bardugo, & Helene and Avitas from An Ember in the Ashes series by Sabaa Tahir

8. Slow Burn Romance

My god, this is my favorite trope when it’s done right. The agonizing pain of watching the two parties fall for each other without them knowing but having this tension is GOLDEN. It hurts the heart of readers and make us want to rip our heads off because WE JUST WANT THEM TOGETHER, but no. We have to wait until ‘the moment’. 

Examples are: Gansey and Blue and Adam & Ronan from The Raven Cycle by Maggie Stiefvater

[cartoonfangirl1218]

BTS Inspiration of Winner’s Curse

I know not many people read my descendants fic, but hey it’s my Bday tomorrow and I feel like revealing some of the inspiration for it. This world building was actually what inspired me to start writing it down. Originally it was going to be from the POV of a Vk, and explore all the dynamics of the “new” Isle under the Coven of 13, and get into the motivations of each but as you can see that did not happen. I was intrigued by the idea of exploring a “sidekick” trying to be the hero and all that. Other notes are

Circe was originally going to be the mother of Malik, after having a fling with Mozonroth when she got sent to the Isle. Decided it was too much drama and discarded that.

There was going to be more focus on the power struggles between the mercenaries, the Coven and the authority figures. Was going to reveal Uma and Freddie to be siblings. Ended up sidelining Freddie.

Gaston’s daughter, Cosette, was going to have a role, becoming closer with Gil.

Atlantis characters were going to be part of the main group. As well as Black Cauldron characters. Also discarded.

Was going to redeem Drizella because I heard the original plans for Cinderella III was going to be Drizella redemption but they changed so they could give more development to Anastasia. So I decided I was going to do it. Dizzy would have been given more of a role.

Hans was going to be revealed as the cruelest villain. (Yeah I was going to make him a twist villain again. Be glad I did not).

Nasira and Mozonroth were going to be lovers before I decided on mother and son.

Diego and Ivy De’Vil would have had more a role.

Hercules characters would have had more a role. Including the Muses.

Ben would have had more a role somehow.

And that‘s about it.

But some things I am proud of in Winner’s Curse. Passing the Bedchel test.

A POC majority cast (This was completely unintentional but now I see it and counting it out, there’s four Agrabians, two WOC, and three European. Though I’ll admit I have not given Harry, Calix and Gil as much spotlight as I should. So my bad. But does Greek count as a white Euro? Idk, point is, unintentional diversity. Woo)

There‘s only two romances. Both are interracial. Also unintentional. Uma and Harry are totally together. And Aziz and Lala’s burgeoning crushes that will not end in a kiss after the final battle because it’s not important. Oh well. Attempts to explore PTSD, abuse, sexual assault and poverty.

The emphasis on family and friendship between characters.

Exploring the negative side of Auradon including it’s classist system, the Magic Ban, and the Euro-countries getting more resources and riches compared to the likes of Kuzcotopia and Atlantis and Atlantica,

Psychological studies(ish) and more character exploration.

Jay faces his dad!

Hook siblings!

Getting to mention tie ins to the Aladdin animated series, Legend of Tarzan animated series, Hercules animated series, Ariel‘s Beginning and soon Disney fairies books. And adding those characters.

That I finished 20 chapters! This is my longest fic ever! And just ten more chapters to go! I’ll get there.

Coven of 13: Villains dedicated to using their old magic to take over Auradon and be restored to their glory days once more. However they all have conflicting wishes with what the final plan should be.

Maleficent: Since being “overthrown” as queen of the Isle. Maleficent had to settle herself with working with others until she can be mistress of all evil again. Is in a constant battle for dominance with Queen Nerissa, Ursula, Mozenrath and Jafar.

(Evil) Queen Grimhilde: Though she may be pre-occupied by her looks and seem to be passive, Grimhilde is secretly gunning for complete control of the Isle and Auradon when they invade. She feels there should be a new queen that doesn’t get into such petty tantrums as Maleficent. Queen Nerissa: Queen Nerissa is the unofficial leader of the coven since it was her idea but it is impossible to convince the others of that. She wishes to get her ultimate revenge on Giselle, Edgar and the rest of Auradon by becoming the tyrant.

Ursula: Ursula is smartly setting her sights on just ruling Atlantica. Unless she gets bored. Then she might expande her pool of options. She mainly just wants to stick it to King Triton and when it comes to execution time. She isn’t going to make the mistake of keeping his soul, she wants to destroy it. Mother of Uma.

Circe: Very bitter about ending up on the Isle even after Helen of Troy vouched for her to stay in Auradon. So to say that she wants to crush Adam to the bone is understatement. She wants him to grovel. And if she can find that one good man while she’s at it, that would be a plus. Mother of Calix.

Mother Gothel: Though she has an intense rivalry with Grimhilde since day one about hoarding the scarce beauty products available on the Isle, she is her closest supporter now when it comes to finding magic for revenge and curing wrinkly skin. She is the mother of Ginny who she doesn’t dote on nearly as much as she did with Rapunzel.

Yzma: She wants Kuzcotopia and she will do anything and everything to get it even if it means teaming up with a bunch of “old hags” (yes pot calling kettle). Still remains overdramatic and delusional. Has a semi-dependent abusive relationship with her children Zevon and Yzla.

Morgaine Le Fey: Morgaine Le Fey, like Grimhilde, is quiet when it comes to group work but she is always observing for everyone else’s weaknesses and flaws that she will undoubtedly exploit when she becomes Queen of Camelot. Mother of Morrían.

Nasira: Sister to Jafar and mother of Jade and Mozonroth. She isn't nearly as enthusiastic about ruling Agrabah as her brother and Mozonroth are but she is just in it to get revenge on the stinking alley rat, Aladdin.

Queen La: Without her staff, her kingdom or leopard-man army, La has resorted to her Atlantean priestess magic again in hopes of getting off the Isle and reclaiming her staff. Still delusional, still lustful and hates having to depend on the rest of these people. Mother of Ranavalalona.

Jafar: Wishes to rule Agrabah and execute the royal family that “mistreated’ and “disrespected” him so much. Is in a constant battle with Mozonroth on the fact that he is the best sorcerer and will be ruler of Agrabah when they take over. Mozonroth: Finds Jafar to be a blowhard and believes that since he already took over the Black Sands and overthrew his former mentor that he should be doing far better plots. But with the Isle’s Magic Ban, he has to go with what he has. Besides that he would like to give his half-brother, Aladdin, a taste of “brotherly love” when he puts him in a headlock to crack his skull. Father to Malik and Imran Abbas.

Dr. Facilier: Like Ursula, Dr. Facilier smartly works on the fringes, setting his sights small on the Bayou before ruling the rest of Auradon. Father of Freddie and Celia.

All-Powerful Quartet: Generally speaking, if any villain was going to be taking over Auradon, it would be these 4. But due to their all-powerful status, they’d rather not exert themselves to do such menial tasks when they have other things to do.

Mirage: Evil Incarnate. So she does get to go off-Isle to maintain some balance of good and evil in the universe but generally enjoys the place. There is just so much evil and chaos everywhere and she glories in it. Mother of Illusion and Chimera.

Chernabog: Since being put on the Isle, Chernabog remains asleep on the mountain, waiting for his day to rise again.

Horned King: Without his deathless army, the Horned King remains in his cave, slowly wasting away. Mainly convenes with Hades.

Hades: God of the Underworld. So yeah, he has a full time job to do.

Mercenaries: The muscle behind the Coven, these are people who can’t adjust to domestic life, more 20th century living and miss the thrill of a fight. They deal with the dirtier deeds of murder and treason. The big boss (literal mob boss) is Sykes who rents their services out.

Sykes: Mob boss. Basically owner of the unofficially named, “Mercenary for Hire.” He never gets his own hands dirty but he has plenty of people who will do it for him. He keeps his people in line with his files of blackmail he has stocked up.

Clayton: Desperately misses the thrill of the hunt and more modern conveniences like a well-polish gun with enough ammo to shoot all these thieves to hell. Has a coworkers- with-benefits relationship with Helga. Father of Clay.

Rourke: Since being screwed over by magic, Rourke has kept a very rigid condition that he will only deal with non-magical situations. Still maintains his treasure-seeking ways and often pilfers from Jafar’s shop.

Helga Sinclair: One of the most intimidating humans on the Isle and of the mercenaries in general. She is known for her efficiency in work, stoic demeanor and same condition to her jobs as Rourke, no magic.

Muviro: Finds mercenary life to be very suitable since being exiled from his tribe. He does it less so for the money but for the glory and bloodlust. Father of Renavalalona.

Lady Caine: Self-proclaimed, “Queen of Thieves” and pirate extradonier. She is Captain Hook’s only real competition on the piracy front leaving a lot of punch-punch kiss tension between them. Many suspect that she is CJ’s bio mom since they share the same manipulativeness, “devil may care” attitude and self-centeredness. However she has no time for any child-rearing, and leaves James to do whatever neglectful work.

Gaston: Another mercenary that does it for the glory rather than the money. He needs something to do since his hunting days are over. Unfortunately he has not won a lot of admirers on the Isle for his chauvinistic attitude (Bad move considering that many of the women have actual powers). Father of Gaston Jr. Gaston the Second, Gil, Gaston (IV) the Great and Cosette.

Shan Yu: Finds himself very low being part of a mercenary gang instead of invading foreign countries. But it does provide some thrill that he can work on his own and make his homicides as bloody as he wants them to be.

Sa’Luk: Former “King of the Thieves,” Sa’Luk uses his mercenary work to get rid of his excess energy and anger towards his enemies. He joins Rourke in pilfering from Jafar’s shops and has a penchant for shiny gold trinkets.

Lt. Col. Jean Staquait: Former French officer and best to hire when you need someone to torture prisoners.

Authority Figures: Villains who are used to have some amount of power in more domestic/civilian pursuits. Pretty much like big corporations that constantly drain the other villains of cash, small trinkets, food and whatever other valuables are on the Isle.

Queen Saleen: One of the most malevolent mermaid, well only mermaid on the Isle. She spends most of her time in the Isle’s waters, avoiding the annoying two legged people. She is often in some sort of feud with Ursula.

Lady Tremaine: Guardian to Anthony Tremaine. Lady is getting on with her years and remains more or less infirmed in her house with a dozen grandchildren. She runs her house with an iron fist and is the most vocal on the Isle in support of child labor. She misses her days of richness and convenes with other elder women about how low they have fallen.

Medusa: Just like she did before the Isle, Medusa owns a pawn shop that is on a constant losing streak to Jafar’s so she has opened a small casino next to it too. She rather delusionally considers herself to be an entrepreneur and tries to work with those higher up in the social ladder to get more money herself.

Cruella De’Vil: While she spends most of her time tending to her furs and car and drinking, when she is sober she tries her hand at fashion design as in the olden days. She works closely with Lady Tremaine and Medusa.

Prince Hans: More or less the least-adjusted to the Isle with his loss of kingdom, servants and anyone gullible enough to believe his lies or manipulations. He is in close cahoots with Mozenrath and bought Drizella as his mistress. Father to Lars, his only son and heir since Stalyan refuses to ruin her figure again.

Sheriff of Nottingham: Serves as the Isle’s one man police force and a sucky job at that as he lets his henchmen squad do most of the work while he serves as trial judge and executioner with the Queen of Hearts: She works a bit on the judicial system, mainly the one who suggests the executions. She can also be found bringing most of the cases to court against henchmen who have wronged her or disobeyed her Tea Shop’s rules.

Captain Hook: The sole owner and commander of the coasts of the Isle while Ursula controls its seas. He is still as obsessive as ever about Peter Pan, his hand and crocodiles and can be found frequenting bars and other brawling areas on the Isle where his hook serves as a nasty weapon. Father of Harriet, Harry and CJ.

Gov. Ratcliff: The only one on the Isle that deals with paperwork. Sort of a treasurer of sorts. Not so much in organizing it but guarding it with his life and spends his time staring longingly at the piles wishing it were genuine gold than copper coins. Claude Frollo: Father of Claudine. Maintains his strict preaching and inflaming others against sin and towards prejudice. But he also tends to lose his inhibitions more and is a regular at the brothels of the Isle late at night. No woman has replaced his lust for Esmeralda though. Claudette seems to becoming close to that though.

Stalyan: Hans’ wife and Lady Caine’s part-time lover which drives Prince Hans crazy. She has her eyes on one thing and one thing only, money and bad boys that make her look good. She has no real ambitions of her own and depends on her father, the Baron, to give her what she wants. Mother of Lars.

Regular Citizens: Citizens that hold no sort of power and are pretty much everyone’s punching bags.

Morgana: Morgana would have been put part of the coven, but her sister, Ursula forbade it. Besides everyone knows that Ursula is far more powerful and talented than her sister. Instead Morgana is blackballed from any real position of respect and takes care of Ursula’s restaurant when she is away.

Marina Del Ray: Since losing her job to Sebastian she has become the Madam of the Isle’s seaside brothels, using the money to spiffy up her gaudy wardrobe.

The Bimbettes: Claudette (red dress) used to be Gaston’s gf but left him after he tried to “throw away” their daughter, Cosette, to try for a boy. She has since then been seen with the likes of Prince Hans, Mozenrath and Frollo. Laurette (yellow dress), the mother of Gastons 1-3 is Gaston’s favorite. Paulette (green dress), Gaston’s official wife is more or less his servant/punching bag and mother to Gil.

Drizella Tremaine: Since she couldn’t be married to Prince Hans, she has settled for being his mistress whenever he and Stalyan have a fight. A thankless position since she regularly bends over (literally and metaphorically) to his will and gets discarded like trash every time.

Lefou and Smee: Live together and own a kinda profitable gun and fishing shack. By far the best parents on the Isle due to their goofy more sympathetic natures.

Jasper and Horace: Still devoted henchmen of Cruella, they serve as secretaries, gophers and all manner of assistance to her. Fathers to Jace and Harold.

Ivy De’Vil: Mother of Diego, is the brains behind Cruella’s beauty designs since she isn’t drunk all the time. Can be considered one of the better mothers on the Isle.

Animals: No explanation needed

Scar, Zira, Shere Khan, Sabor, Benzai, Ed and Shenzi, Tublat, Hista

Couples: Captain Hook and Lady Caine (fight-hate sex rivalry. Child- CJ)

Lady Caine and Stalyan (with-benefits)

Stalyan and Prince Hans (Married. Child- Lars)

Prince Hans and Drizella (affair, possibly Dizzy?)

Mozenrath and Hans (Hans swears it was an accident. Or he was too drunk. Or it was magic)

Lady Caine and Hans (Revenge against Stalyan)

Queen Grimhilde and Prince Hans (One night stand)

Ursula and Dr. Facilier (fling, potentially Freddie and Uma)

Frollo and Claudette (with-benefits)

Gaston and Laurette (Affair/borderline married. Children- Gaston Jr. Gaston the Second, Gaston (IV) the Great)

Gaston and Paulette (Married. Child- Gil)

Lefou and Paulette (Lefou deux, drunken night of pity sex because Gaston’s treatment of them)

Smee and Lefou (Couple. Adopted Sammy)

Ivy De’Vil and Frollo (One night stand. Child-Diego)

Mozonroth and Morgaine Le Fey (Fling)

Clayton and Helga Sinclair (co-workers with benefits)

Queen La and Muviro (Married and dumped. Children- Ranavalalona. Musala, Taytu Betuvira, and unnamed, deceased)

Queen La and Clayton (Fling- Leopold, deceased)

Queen La and Gaston (Fling. Children-Amina and Shaka, deceased)

Queen La and Rourke (Fling. Child- Euware, deceased)

Queen La and Mozonroth (Fling. Child-Sarounia, deceased)

Shan Yu and Sa’Luk (Once- There’s no straight men in the trenches)

[cockvengers]

Final Great Comet Notes (2/2)

So as I mentioned in Part 1, I was fortunate enough see Comet on September 2nd (matinee) and September 3rd (closing) with a friend. In Part 1 I covered mostly the 9/2 matinee but there may be a few leftover notes interspersed.

September 3rd:

So first we actually went to the stage door to drop off some candy before the show. We went the day before with baked goods from a local bakery and gave them to Alex Gibson who was super nice.

I usually don’t do pre-show stage door because I don’t necessarily want to interact with people on my way to work but since they prefer you don’t bring food food into the theatre it is what it is.

Lauren was signing things for fans when we got there and since I hadn’t had the chance to give her the drawing I got to do that and she signed my book which was really generous.

One fan had a rose for each cast member that came by and idk if they’ll see this but I thought it was a very classy move.

Moving on, we headed back around to go in only to be stopped by the massive line around the block that would eventually lead into The Imperial

We were in line behind some ladies in their mid-sixties who were complaining about the show closing. It was something I heard a lot of whispers between fans about. Obviously we’re all upset. I could write essays on my feelings about the whys and hows and the disappointment but no one wants to hear it. It led to such a negative atmosphere on what I had hoped would be a going away party of sorts (ala The Abduction)

Luckily we went separate ways once in the theatre and the atmosphere was much improved.

Unlike our stage seats last time we were in the front of the rear mezz (2C) along the aisle closest to the center. It was a few rows forward from where I had seen Comet the first time and I’m fond of that area for that reason.

We had another friend (and their friend) in Row C of the front mezz and said hi to them before the start of the show

When Rachel and Sam came in and sat on the stage there was much applause. We actually missed it them sitting down because we were prepping our drinks

We saw Scott and Celia in the doorway to the mezz before the start of the show and I gave Celia her drawing since I hadn’t been fast enough to yesterday and I know that during normal show days she often leaves early if she’s not on

Andrew gave out dumplings. My friend got one and was kind enough to share with me.

After the warnings it was time for Dave to come out. That was a standing ovation that lasted maybe a minute.

Natasha chases Andrei and there is applause for her entrance.

The Prologue starts and at this point I feel sorry for anyone who hadn’t seen the show. That includes a person behind us. Hopefully you got something out of the show because I’m pretty sure there was no way to figure out who’s who over the applause.

Natasha is Young... *LOUD APPLAUSE*

Sonya is Good... *Applause* The audience hadn’t decided if we planned to applause for everyone at that point so Brittain didn’t get as much applause. We made up for it when she sand Sonya Alone.

After that we had figured it out and we continued to applause for every character

At that point we already could feel the energy in the room. Things were electric.

Brad walked by at some point and sung “everyone has nine different names” and I held up 9 fingers and he nodded.

Literally if there was a spot at the end of a song to applause we were there. By the end of Pierre I already felt like my hands would fall off.

During most of the songs in the first act I really tried to take in the costumes and movement because it would be my last chance.

During Private and Intimate Life Blaine starts to sing in his old man voice and the girl sitting in the banquettes across the aisle from Bolkonsky  waved and he flirted and waved back.

He also was all over the woman he picked to be the “Cheap French Thing”. At least from our angle he looked like he was halfway on top of her.

During No One Else the guy sitting near Denée nodded  at her during “We were angels once. Don’t you remember.”

Was there applause and a standing ovation at the end of No One Else? You know there was.

During The Opera Dolokhov just kind of lets Helene go to Natasha with a shrug like “Kuragins gotta hit on pretty girls” kind of a shrug. He’s used to it.

I always love the black cloaks and candles part of the opera. The whole thing makes no sense

The Duel is always exciting to me because the lights hide some naughtiness. I believe Katrina was dry humped by Cathryn. There were definitely piggyback rides happening on the stage.

Also, I had never realized that Brad wears the same outfit as Sumayya and Cathryn and a few others and tthose shorts... that’s some equality right there.

Also during the Duel Paul did the Denisov lisp that Dave mentions in the book (and I think on the genius) that they had tried but people found distracting. It was subtle until the end.

So, Dust and Ashes got the LONGEST standing ovation during the show. Two minutes by my estimate.

Did Charming get applause? Was the entire audience in love with Amber Gray? You know we did and we are.

I love the Ball. I get distracted watching the ensemble dance.

I loved watching Helene’s glee at when her plan to throw her brother and Natasha together came to fruition.

The Natasha and Anatole kiss was wow. Normally Natasha leans into it but today Denée really took over the kiss.

Act II. Begin Letters. Who do we spot coming to the rear mezz but Kennedy and Celia. We later learned at stage door that stage management approved them to come out and do the second half of the show as additional tracks so they covered the rear mezz during letters. It was outstanding.

The woman who gave Natasha The Letter was there for it. I have never seen someone get on the stage so fast.

Just says “yeeeeeeeeeeeeeeeeesssssssssssssssssss” was longer than normal

As I said Sonya Alone got major applause. What I forgot to mention was something I noticed during the day before. As Sonya marches off the stage while Dolokhov starts Preparations she is pissed as hell at him.

“Was ruining this family once not enough for you?” her look conveys.

Glad to hear Nick Choksi’s “NO” off mic again when Lucas explaining the argument for the hundredth time.

Balaga. Who got shakers? You know our row did. It was my first time getting a shaker and I was so excited when Brittain handed me the basket.

Our friend in front mezz row C said she had a good feeling about getting shakers and she was right as we all got shakers that night.

Did we singing along? Of course. The entire audience did.

Balaga and the Abduction were a non-stop party. Brittain held my shoulder and comforted a girl across from me who was crying as the ‘Goodbye my g*psy lovers’ portion began.

Anatole’s WOAHHHHHOOOOAHHHHHhhhhHHHHHhhhhHHHH was longer as expected for the final show. Lucas held all his really great notes for as long as possible.

Sometime around here you could hear Lucas trying to hold it together.

When Pierre did his WOAHHH. The audience did a standing ovation. The cast was sweaty as usual. Nick Gaswirth was on the floor in front of the mezz stage door panting. Everyone went all out.

Dave had to motion for us to stop twice before we actually did.

The song continued as usual. As you know the triangle strike was a miss. He hit it in the end.

Also a note from the day before actually being able to see Natasha pour the arsenic into the drink was helpful. The first time I didn’t see that and I thought when she poisoned herself with a “bit” of arsenic it was just a ton of arsenic in the whole glass.

The Petersburg Note was long as expected.

I really liked Blaine’s emphasis on “If you want to be MY FRIEND, Never speak of that AGAIN.”

Natasha and Pierre is wear things started to get awkward. I don’t really cry much over these very emotional things (luckily my friend doesn’t either) so while the audience was sobbing (some of you sobbed loudly) I kind of kept glancing at her for reassurance I wasn’t alone.

The last two songs of Comet are always so hopeful in message despite the melancholy tone and even during it’s closing their beauty fills me with such joy.

Denée was folded over and crying and it took her a little bit to recover. Then you could hear it in Dave’s voice that he was crying. Amber and Grace were both wiping their eyes from the tables.

There was so much love in that theatre at the end.

During bows Paul came out beardless and many I spoke to at stage door commented that they almost thought the beard might not have been real and that Paul was just so committed by doing stage door with it before logic won them over.

Bradley King runs down from the front mezz to make it to the stage.

Or Matias, Rachel Chavkkin, Sam Pinkleton, Badley King, Paloma Young, Mimi Lien, and Nicholas Pope all came on stage for Rachel’s short speech.

Erica Dorfler dame up as well and I saw Paloma Garcia Lee at the stage door at one point but I don’t think I saw her on stage.

Josh was there as well in the banquettes but he kept a low profile and I feel like that was probably the right move given how much hype his appearance would have caused during the show as a whole’s moment.

I was one of the first five or so people out the door from rear mezz and even the people from orchestra were just coming out. Normally that would have put me front row for stage door but today the first row was already full which was a little tragic.

While we were waiting for everyone to come out Sam Pinketon, Paloma Young, and a few others threw shakers at us. I caught one in the opposite color scheme from the one I had gotten from the basket. I was very excited.

Everyone was so kind at stage door. Most everyone who came out signed things. Or Matias, Nicholas Pope, and Paloma Garcia Lee did not but everyone else who is or was involved in the broadway run did.

People had been asking if Josh Groban would sign and they initially said no. Josh’s car was already waiting and everything but he went down the whole line and signed and took photos, etc. which was very nice of him.

I enjoyed talking to everyone and I was able to give out most of the drawings. I only had Brandt, Denée, and Amber left at the end of the night.

Since our friend in the front mezz talks with Nick Choksi every time she sees the show he stopped to talk for a minute or two longer than normal given the line size and I got to ask a very important question about his serving plate spinning while shot pouring skills. He said he came up with it at Ars Nova and asked for something that spins so he could use it to pour the shots. It seems like an important life skill we should all learn

That’s all I got right now (aside from a brilliant side story of what happened in the theatre while we were at stage door but that’s not mine to tell) but I’m sure I’ll think of more and maybe I’ll make a post for that later.

[archive-03012022]

great comet 8/24/17 (matinee with dave malloy + blaine krauss u/s anatole)

ok so this is more for me to remember than for anyone else but here’s a song-by-song breakdown of great comet from when i saw it lol (lots about technical stuff)

i was in the top row of banquettes which is honestly the best place to sit in the entire theatre. we could see every part of the theatre (balcony and mezz included) without having to spin our heads around like owls and there was a+++ audience interaction (i’ll get to that later)

pre-show

ok so everyone literally burst out of the entrances randomly without any warning and just started talking to everyone it was great

a man with a sparkly mustache made sure we were all ok with strobe lights and if not to just deal with it and cover our eyes

i got a pierogi box thrown at my face. fun times.

theres an announcer guy that starts speaking in russian and english before just switching over to english

announcer: cameras? ensemble: NEIT!

my grandmother got super into this format and started shouting along #quality family bonding

prologue

dave malloy is a god end of story

but seriously the prologue is such a jam 

before the song actually starts theres a super sad scene of natasha saying goodbye to andrey and she hands him his coat and letters and he gives her the locket (she has a hearbreaking “no!” as he starts leaving)

the lights go from basically pitch black to full blast at the line “anD THIS IS ALL IN YOUR PROGRAM”

denee benton is so beautiful

the ensemble was roaming around everywhere and came over to where we were a LOT

bolkonsky made his entrance right next to us after his costume change right before the minor characters line by screaming and jumping through a curtain with his guitar 

the whole ensemble gathers on the platform by the doors for the beginning of pierre

pierre

dave malloy is a god end of story

while they’re all gathered watching pierre for the first bit of pierre, sonya is rubbing natasha’s back, reassuring and soothing her

i love the ensemble,,,,,, so much,,,,,,,,

helene conducts all the women dancing during “he is charming he has no sex”

the “good russian men” part singled out azudi and he looked so offended at pierre lol

all of the “ahhhh”s were magical

theres not much that hasn’t already been said about this song tbh?

oh and right after it’s over all the ensemble members drop out of their poses and deadpan, walking to the exits with bored expressions like “alright shows over, bye guys, our job is done”

moscow

marya? hates sonya so much?

but when they’re introducing each other natasha is super prim and proper and sonya does this awkward, lopsided bow with her little hand puff half hanging off brittain is such a dork im love her

natasha’s humming is so childish/naive i love it

“you’ll read to me while i K N I T”

marya casually roasting the audience? iconic

marya’s whole speech to natasha is honestly just great

mary walks between marya and natasha when she’s mentioned

private and intimate life of the house

he

draws

out

every

single

word

“people enjoy me though” got a really good laugh

gelsey bell? the godsent angel? yes, Her

B R I N G M E M Y S L I P P E R S (he finally started screaming it again)

“natasha is young and worthless and dumb” natasha literally looks so offended its great

mary picks a “suitor” from the audience and he was so confused

BOLKONSKY KISSED HIS “CHEAP FRENCH THING” ON THE LIPS FOR SUCH A LONG TIME AND HER DAUGHTER WAS LITERALLY DYING BEHIND HER

paul pinto’s servant character. that’s all.

marya plays the cowbell during the “where are my glasses” breakdown and generally looks disappointed in him the whole time 

natasha and bolkonskys

there was a 12 year old boy who had no clue what was happening and kept getting in the way of them putting the stools down it was great

all of bolkonsky’s interjections are met with a really quick spot on him and idk it was just super funny to me (he also did this really weird/hilarious lip trill at the end of “i do not wish to see herrrrrRRRRR”

denee and gelseys harmonies 

mary and natasha’s fake laughter

“says the mean old man in his underthings”

HOLY SHIT GUYS WAIT

WHEN MARY SAYS “AND HE LOOKED AT HER ONCE / HEAD TO TOE” BOLKONSKY MUTTERED “NOT IN MY HOUSE” AND I DIED

bolkonsky exits past marya who, once again, just sort of glared at him

no one else

the blue light change??

all of the light bulbs slowly start coming down and fading on to look like stars its gorgeous

at the “we were angels once, don’t you remember?” she said it right to this teenage girl at a table who literally grinned and turned away to be like “holy shit that just happened” it was really sweet

natasha is so innocent throughout the whole song its honestly so beautiful

andrey is shown in a blue spotlight with snow falling around him and he unwinds the red ribbon from her letters (and wraps it around his wrist like a bracelet for safe keeping) and starts reading them 

when he leaves and runs into the darkness natasha steps into his spot under the snow and starts singing the “you and i”s after him

the opera

marya is such a godmother is so cute

sonya’s narration is gorgrous and i’ll never get over it

ensemble members twirl mirrors around natasha at the beginning

this song makes me think about how important it is for natasha to have people like her which makes the ending even more sad :(

helene’s entrance is honestly so her idek how else to explain it

pierre’s fist pump when he says “though i’m enjoying myself at home :D”

marya is super obvious about mentioning pierre to helene since she’s with dolokov

the curtain “rising” is shown by the lightbulbs going back into the ceiling

the opera is such a good satire

GELSEY’S GOT SOME PIPES

when the dancers are “dying” they’re making this really funny, drawn out sighing noises and its amazing

denee’s face was hilarious after the dance seen she was just like :o

anatoles entrance is so extra

with every little *bum* *bum* he moved his head in a different direction and the lights flashed

helene and anatole have this creepy little moment where they’re standing under a light bulb and anatole taps his cheek for her to kiss but turns his head so she kisses him on the lips and right as their lips touch the lightbulb goes out

the opera singers continue miming in the doorways of the balcony and it was really cool to see

the ensemble was in costumes on the stairs acting out the opera as well

not only was anatole constantly looking at natasha, so was helene,,,,,,,,,

natasha hallucinates andrey’s dead body being torn apart, holding out the ribbon that held her letters together towards her

natasha and anatole

anatole checks himself out in the mirror before entering the box (blaine was really funny in purposefully pulling down a single curl over his forhead for ~fashion~)

i feel like he sings deeper than anatole but its wayyyy smoother like damn

when he’s asking natasha to the costume tournament her little “oh (:? oh,,,, i (:” when shes feigning modesty gives me life

blaines voice holy s h i t

when he grabs her from behind its really sensual and denee moaned really loudly and i

have i mentioned i love blaine’s voice

when anatole steals her flower natasha looks so scandalized

at one point he smells it and seems so in love

helene is watching the whole thing go down (basically the whole time the two of them are “alone” together she’s watching them)

after chasing each other around the stage a bunch them sitting down next to each other was treated as a Big Moment

the duel

in between songs anatole walks to pierre’s study fist bumping and grabbing at his head like “YES! YES YES!”

at “oh dear andrey’s betrothed?” anatole did like this little so-so hand gesture that was hilarious

the strobe lighting was way more intense than i expected

i watched grace mclean grind on a riding crop and then put it between her teeth it was great

lowkey threesome up in the mezz/balcony

and the girls were essentially using the railings as stripper poles

during “just as a duck is made to swim in water, god has made me as i am” anatole moonwalks, does the chicken dance, and gets grinded on by two girls

there was just A Lot during the duel

but i was too focused on celia mae’s glow in the dark thong to notice most of it

“here’s to health of married women.... and their lovers ;D”

oh i just remembered there was girl passed out drunk over someone’s box and all the people sitting in it were howling with laughter

helene’s voice is cracking when she says “he will kill you stupid husband” and might i say,,,,,,,,,, character depth

paul pinto’s announcer voice for duel

helene screams when the gun is shot

when pierre holds out his arms to be shot but starts looking around in confusion omg

idk but i love “we live to love another day”

dust and ashes

dave’s version is honestly so gut-wrenching

i never noticed in the recording but the strings on this song are honestly so beautiful??

he acts the hell out of this song and its just so :(

during the “we are asleep until we fall in love” the ensemble lines up in the orch aisles and in front of the mezz all backlit and its just so haunting 

as their “ah”s get more and more intense the lights don’t change at all and it just seems very church choir-y

sunday morning

sonya and natasha seem like they’re sneaking around in the beginning and its really cute

“everyone sees a man” is delivered so well, like she’s trying to reassure her 

the whole time natasha is staring into the mirror pierre is standing right behind her looking at her through the mirror

marya still hates sonya

charming

helene enters through the double doors with her face covered by her cloak and its sort of a mystery who it is until she starts singing

natasha seems embarrassed at first (since shes basically in her underwear) but then starts fixing her garters and stuff almost like she’s trying to impress her

amber gray holy shit

since natasha is still in just her corset and garters helene gives her her cloak 

“he was thinking about you, kept sighing about you” natasha literally lights up and puts her hand over her mouth and walks away like a middle schooler lol

when natasha gets her dress on first she runs around and twirls but then starts imitating helene but its still really childish

helene yanks andrey’s necklace off of natasha before giving her her own and keeping it for herself

in summary this song is Not Straight Whatsoever

the ball

all of the couples enter from the doors doing this weird little movement before going down the stairs 

two girls danced in front of us together (edit: it was gelsey and katrina i only just remembered) and it made my day 

all of the dancers (all through out the theatre, all the way into the balcony) are doing the same movements as anatole and natasha but since they’re in dark greens/black and anatole and natasha are in white it’s easy to not get distracting

blaine as anatole,,,,,,,,,,,,,,, yeah

the “i love another” seems a bit forced on natasha’s side like she’s just saying it out of habit rather than for real

helene is still watching them

the kiss

lasts

a

long

time

BUT

when you look away you see that everyone has wine glasses and are putting their fingers around the rim to make the little noise

helene has a lightbulb over her and a spot. she’s the last one to stop.

the way natasha’s little part after the kiss goes it makes her look like she’s going to choose andrey because she’s singing to the orchestra but turns to anatole to sing the “i will love youuuu” part

the ensemble is lined up on the staircase, “ahhh”ing and holding their glasses up to toast them

anatole and natasha run through the doors together

letters

the whole cast comes in through the double doors

my grandmother screamed “HEY HANDSOME” when blaine passed by wlfkjvbvjnrev

most of the cast had stuck their letters to audience members into their bras/shirts

andrey stands on the platform in front of the doors (the same place he enters pierre and andrey) and pierre speaks directly to him for his letter

at “it is NAPOLEON” the portrait of napoleon on the wall (which was right above my seat lol) lights up and pierre starts pointing the gun at him

anatole and andrey stand on walkways next to each other when natasha is writing her letter

pierre, natasha, and mary all stand in a circle around the study singing at each other and it looks really cool

ok so anatole’s love letter..............

dolokov was holding the letter

they actually made the woman passing the letter walk up on stage to pass it to natasha

blaines “just says yes”s were suuuuuuuuuuper stretched out but he was pressing his face in her chest, stomach, thighs and trailing his hand up her whole body and it was uhhhhhh way more sensual than how lucas steele plays anatole

sonya and natasha

sonya steals the letter from natasha while shes’s sleeping

their argument is honestly everything

“its seems to me i’ve loved him a hundred years............ :)” sonya is just like “what the fuck natalie”

“would you think so badly of me??” brings me back to how much natasha just wants to be loved and cared for 

sonya and natasha yelling at each other is so heartbreaking

her letter to mary is all very final

sonya alone

the whole theatre is dark and theres a single lightbulb and spot on sonya as she sings

natasha makes her way up the stairs to the mezzanine (PASSES ANDREY WHO’S SITTING THERE WATCHING HER)

and wanders all the way across the mezz and back down the stairs on the other side

the whole time, sonya never takes her eyes off of her

i think we need to appreciate that in the realm of musical theatre, there are no other songs about just loving your friend? and wanting to help them?

“i know you’ve forgotten  me” natasha is back in front of the stage left stairs, but a light bulb lights up over her and she stops, looking at sonya

“it’s all on me” kills me she’s so selfless shes sacrificing her friendship with her best friend just to save her and just kjvn;efvaer

preparations

pierre literally doesnt care about what anatole’s doing 

theres a spot on sonya and natasha when they are mentioned

helene brings dolokov the tea

anatole shaves in front of a mirror

there was still shaving cream left on his face and dolokov had to wipe it off his face while they were arguing lol

the two of them were arguing really aggressively it was intense

i think helene was playing the drum during this whole part

balaga/the abduction

paul pinto deserved a tony

my grandmother stole egg shakers from the row in front of us

balaga runs up into the mezz and starts wreaking havoc it’s great

the musicians were all running all over the place saying hi to audience members and generally being great

anatole’s “woooooooooooo” and cape spin was a sight to behold tbh

blaine did a little “mm” noise when everyone went quiet after the big "WOOOOOOOOAHHHHHHHH”

his “gooooooooooooodbye” was so stretched out that the ensemble started swaying really slowly but then had to go the other way before starting again it was really funny

during the goodbye my gypsy lovers part marya slid on the end of the banquette seats i was in and i was freaking out so she blew me a fucking kiss and ran away

everyone dancing in a circle around the study

there was a little accordion-off 

alex gibson came over and was like “WATCH ME! WATCH ME OVER HERE!” and had a dance off with a guy all the way up in the balcony

there were people dancing allllllllll over these platforms through out the theatre there was never a dull moment

alex gibson also started humping a drum next to us and banging it while he moaned

he was so into it that he didn’t realize he was blocking lauren zakrin from chucking pages of war and peace everywhere (which i caught out of the air which is pretty neat)

one of katrina’s braids was coming loose so she started helicopter-ing them in our faces

i saw helene and marya make out and it was great

all of it was so completely organized chaos that was so incredible watch i love rachel chavkin with all my heart

when anatole sat down on the banquette next to the girl he made her kiss him on the cheek and did the “stretching” to put an arm around her thing it was hilarious

the girl leaned her head on him and they just chilled out (they actually looked like a real couple tbh) for an awkwardly long time before they all ran up the stairs

marya’s entrance is just as incredible as you would imagine

anatole did like a little smile like “uhh, hi” and then sprinted down the stairs away 

in my house

grace mclean deserved a nomination for best featured. seriously.

the maid servant tries to apologize to marya but she just points her back inside the doors

ok so grace kept it all super calm and contained until she exploded on natasha

she honestly plays this scene so well she’s ocnstantly jumping between concern, disappointment, and pure, unfiltered rage

natasha screaming is terrifying

when natasha “falls to the sofa” (she’s stand completely upright with her arms crossed) marya softens and becomes very calm again but when sonya tries to go to her she snaps again

natasha? still? thinks? anatoles? coming? :(

a call to pierre

the letter is followed by the light bulbs and lights under the mezz as it makes its way across the stage

paul pinto is the best

he stretches out the announcement

so

much

“........................................w h a t”

grace and dave have such good chemistry

the ensemble’s vocals make this scene so much more tense

“natasha and A N A T O L E  K U R A G I N”

marya’s whole demeanor changes when she hears that he’s married

find anatole

pierre literally walks down to the study, back up, puts on a coat and is already wheezing its actually pretty funny

“the club” is just the ensemble along the stairs and mezz dimly lit and gathered in small groups pantomiming its really realistic

“he cant BE MARRIED!” is said in complete disbelief and heartbreak

helene sits with anatole’s head on her lap

on his way to the study anatole passes sonya who glares at him

and if looks could kill

pierre and anatole

blaine plays off anatole as faking his confidence from the very start of the scene thinking pierre will just let him off

pierre literally pins him down and almost bashes his head in with a paperweight

OH WAIT I JUST REMEMBERED

helen is watching the whole thing from the stage right staircase (she was right in front of me) as if she’s eavesdropping from the hallway or something

she flinches when pierre stars grabbing at anatole and reaches her hand out to help when he’s about to hurt him

the letters look almost exactly like the ones natasha gave to andrey #parallels

anatole sits at someone’s table pouting and covering his ears like a child throwing a tantrum

“amuse yourself with women like my wife” helene actually seemed a little surprised at pierre actually knowing about their relationship

it hit me during the show that the only reason that anatole is upset is because pierre is calling him names which is just so childish considering everything happening

natasha walks between them arguing and pours arsenic into her glass, chugging it and then lets out this guttural scream

she runs up and meets marya and sonya who rush her through a curtained exit

blaine can hit the petersburg note 

natasha very ill

this song is honestly just so haunting

dolokov plays guitar in the double doors

the whole stage is dimly lit and its all very ominous

pierre and andrey

andrey enters through the same doors he left during the prologue and speaks to pierre on the opposite side of the stage before they meet in the middle platform

the “well, how are you?” seems a bit comical and sarcastic

i could write essays about how much “theres a war going on” does for the story at this point

andrey acts like he doesn’t really care about the whole ordeal and like he’s already trying to distance himself from it, almost laughing at himself

“i much regret her illness” is so cold and passive aggressive that it hurts

oh and if this scene didnt hurt enough, mary is watching the entire thing

after “dont every speak of this again” he shoves pierre. hard.

when he leaves, he passes mary who smiles and tries to hug him but he just puts his hand up and walks past her before taking his place in his father’s chair and folds in on himself

natasha and pierre

i’ve been classically conditioned to cry to these piano notes no joke

natasha comes down the stairs really slowly, relying heavily on the railing to help her

pierre tries to help but she brushes him off

she’s in a white, shapeless nightgown (she only wears white through the whole show), is barefoot, and has her hair in a braid and looks like a little girl

when she starts singing its very weak

ALL 👏 SHE 👏 WANTS 👏 IS 👏 LOVE 👏 AND 👏 TO 👏 BE 👏 FORGIVEN 👏

oh and all of the ensemble members since find anatole have taken places all over the theatre and are just. sitting. watching the ending of the show. i noticed mostly courtney basset sitting cross-legged on the walkway in the orchestra

when natasha begins to cry, its not crying. it’s loud, almost primal sobbing

pierre is just so tender towards her and :’)

when pierre tell her that she can talk to him they both look confused

right before the proposal natasha is making her way up the stairs and turns back around when pierre starts talking

dave’s delivery of the proposal is So Good

he choked on the “and for your love”

the mini pierre reprise is heartwrenching

natasha made her way really slowly back up to the doors, but seems hopeful

the great comet of 1812 

ok so

the song is song in complete darkness, theres barely even a spotlight on pierre

veeeeeery slowly individual light bulbs start fading on but you cant see much

then the chandeliers start to slowly light up

but this is all super gradual and doesn’t really become notciable for a few minutes

hearing the ensemble coming in from all sides is gorgeous

then the comet prop above pierre’s study starts lowering (i think around the time its mentioned by name for the first time)

as most of the chandeliers are coming on, a tiny light on the bottom of the comet fades on and starts illuminating the larger comet

now the entire theatre is lit only by the lightbulbs, chandeliers, and the slwoly brightening comet. no table lamps, no stage lights, nothing.

as the final minute or so approaches all of the lights start to dim except for the comet until it’s the only thing remaining lit

and in 100% honesty every single one of the 1200 people in that theatre had their eyes fixed on it for the final moments of the show

then, as the song ends, the lights on the comet fade until only the tiny light on the bottom remains. pierre is collapsed in his chair looking up peacefully and the conductor raises his hands to praise it as it’s dimming until the theatre is in complete darkness

anyway this really wasnt for anyone else to read but if you made it this far? im sorry? this was a complete mess i’m still a wreck from this show

[kickstarter-promotion]

Another Amazing Kickstarter (INNER GHOSTS by Paulo Leite —Kickstarter) has been published on http://crowdmonsters.com/new-kickstarters/inner-ghosts-by-paulo-leite-kickstarter/

A NEW KICKSTARTER IS LAUNCHED:

INNER GHOSTS is a scary ride into the heart of a woman who’s about to face a longtime enemy – a demon in the making – for the last time. What brings these two characters together and what they will do to each other is just one side of our story. 

What will happen after that, will blow your mind!

The goal of this Kickstarter campaign is to give us some FINISHING FUNDS that will allow us to finish the film with the best sound possible. Yes, the film is completely shot and edited. All digital effects are finished. We’re close to the end of this amazing journey.

INNER GHOSTS is a horror feature film entirely produced in Lisbon, Portugal.

“If ghosts can function and remember who they were, even though they lack a physical brain, then the brain is not the only place where we store key information about ourselves. The soul is the key.”

HELEN is a neuroscience researcher trying to develop a revolutionary therapy to treat degenerative brain diseases like Alzheimer’s. To prove her theories, she needs to run cognitive tests on ghosts: beings who apparently can act and remember without the need of a physical brain – suggesting that unresponsive patients whose brains are too damaged to function can be accessed, somehow, through their living souls.

After the death of her mentor, Helen finds an apartment inhabited by benign ghosts who agree to be tested. The problem is Helen renounced her gift 15 years ago after the loss of her daughter when she made a vow never to contact the other side again. Things start to change when an artist called ELSA begs Helen for some spiritual training hoping to get rid of a demon who has been haunting her for many years.

Helen reluctantly accepts it unaware of the demon’s true goal. Meanwhile, Helen’s tests with the ghosts are a success. The entities offer her the design of a device that can communicate with the dead (and possibly living patients), triggering a set of events that will bring Helen face to face with the demon she has known all along. After so many years, two enemies are about to meet for the last time, showing us that revenge is a dish best served cold. Oh, but there’s so much more happening!

Over the years, we read many books about ghosts and grew frustrated with the lack of concrete answers some of the most reputed psychics seem to offer. That was when we turned to actual reports on scientific experiments made over the past decades that we began to find some answers.

Some of the ideas and results that were reported were so sophisticated that we were stunned no one ever used them in horror films before. There were so many fascinating ideas that we could not fit them all in just one script. But writing a horror story is a labor of love and, through some several drafts, INNER GHOSTS nearly wrote itself over the period of one year.

We’ve always thought horror fiction (in literature or films) to be the sign of superior minds and a healthy society. You don’t believe in us? Take a look at Soviet and Nazi cinema. They did not produce horror films. Why? Because horror stories are subversive by nature.

They show us things about the universe around us and ourselves that the powers that be do not want you to see. They tell us the truth other genres try to hide. Great horror stories leave no one indifferent. INNER GHOSTS is one of those stories. It will show you something about the Universe that is truly original, disturbing and scary.

Because the best projects and the best people are on Kickstarter.

We invested three years of work in this film. For outsiders, it’s just a horror film. But for us, it is a true passion. We love the genre, we love this project and we love our audience. The good news is that the film turned out better than we could ever imagine. After developing, pre-production, production, editing, digital effects, we’ve got something we’re really proud of.

But we also took the film as far as we could with the very limited resources we had. Now it’s time to bring in the BEST crowd in the world to help us: horror fans. There are no people like horror films people!

Every serious horror fan knows how crucial sound is to horror films. From older classics like ROSEMARY’S BABY (1968) and THE SILENCE OF THE LAMBS (1991) to recent films like THE CONJURING (2013), IT FOLLOWS (2014) or THE WITCH (2015) sound is key to a great horror experience.

Unfortunately, a sound mix in a professional studio costs a lot of money. And the same goes to foley services, ADR, music recording and additional sound-related deliverables we must have if we want you to experience INNER GHOSTS as well as you deserve. We worked hard to give you a horror story that will make your jaw drop (really!). We are fully committed to the project’s quality and we humbly ask for your help. INNER GHOSTS is an incredibly ambitious film that needs a sound that will do it justice.

CELIA WILLIAMS is a British actress. She studied at the Guildhall School of Music and Drama. Her work has taken her to London and to Edinburgh, to Lisbon and even India. She has performed in a variety of genres including tragedy, drama, mystery, comedy, musicals, opera, radio, television series and feature films. Among many major roles on stage are Jean Cocteau’s THE HUMAN VOICE in London’s West End, THE DIARY OF ANNE FRANK, DON’T WALK ABOUT WITH NOTHING ON, and BE MY BABY, also in London; Paulina in DEATH & THE MAIDEN, Elizabeth I in MARY STUART, Nora in A DOLL’S HOUSE, Stephanie in DUET FOR ONE, Gertrude in HAMLET and Judith Bliss in HAY FEVER.

ELIZABETH BOCHMANN has a degree in Drama and Theatre Arts from Goldsmiths College, University of London, as well as short courses on Technical Voice Production and the Method. She has played major roles in PYGMALION, HAY FEVER, THE MOUSETRAP, RELATIVELY SPEAKING, THE PROVOKED WIFE, THE THREE SISTERS and ROMEO AND JULIET. She has appeared on TV in soap operas and in short films, including THE HUNCHBACK, written and directed by award-winning director Gabriel Abrantes and Ben Rivers. INNER GHOSTS is her first experience working on a feature film. Her passion is, and always has been, acting. “The feeling of being able to bring another character to life is an extraordinary sensation, and the challenge is to embody that person with as much truth and honesty as possible”.

IRIS CAYATTE spent her childhood and teenage years moving from place to place (from the vast Finnish forest to the desert of Alentejo, to Luxembourg and back to Lisbon where she completed the International Baccalaureat at an international school. She is fluent in Portuguese, English and French. At the age of 17, she moved to London where she graduated from The Central School of Speech and Drama in 2008. Since then she has been busy working in major theater productions. On Film she has worked with directors such as Roberto Faenza in SOSTIENE PEREIRA, Fanny Ardant in CADENCES OBSTINÉE and Rob Marshall in NINE.

NORMAN MACCALLUM was born in Scotland but has worked in many countries. In Portugal, before INNER GHOSTS, he was cast as a comedic journalist in one of the country’s biggest advertising campaign ever. Norman has also experience in television, theater and film. His commanding presence and perfect reading of the character gave him a challenging role on INNER GHOSTS.

ANA SOFIA LEITE studied at the Escola Superior de Dança where she won a scholarship that made her move to the Fontys Hogeschool voor de Kunsten in The Netherlands, where she graduated in Theater Dance Performing – Modern Dance. She continued her training through several workshops: Forsythe Improvisation, Feldenkrais technique, Release, Contact improvisation, Fly low, and more. Between 2007 and 2008 she worked with Helma Melis, Sjoerd Vreugdenhil, Eddy Becquart and Paul Estabrook (The Netherlands). Back to Portugal, she was part of the Kamusuna Ballet Company. Beyond being a ballerina, Ana also teaches both classical and contemporary dance. She was chosen for INNER GHOSTS because if her ability to express character simply through movement alone.

AMANDA BOOTH was born in Yorkshire, England. She began traveling early in life and her acting career started when she was thirty-seven when she played the role of Lucky in WAITING FOR GODOT. As a stage actor, she has toured Europe as well as performing several times at the Edinburgh Festival. She has worked for radio and television and been a successful voice-over artist for many years. “Acting is the pleasure of absorbing myself in the task of creating a credible character. It’s like being a detective where you work out the profile of your “suspect” and then assimilate it into yourself” She’s always been a fan of horror movies.

PATRÍCIA GODINHO is one of the most promising young actresses in Portugal. She studied at the prestigious Escola Superior de Teatro e Cinema and quickly began getting roles outside the school. Currently, she can be seen at OS JOGADORES, a TV series on RTP Radiotelevisão Portuguesa.

JOÃO ALVES (director) is the director of the award-winning short BATS IN THE BELFRY. He is also a highly skilled storyboarder, animator and digital artist. INNER GHOSTS will be his first feature. João is dedicated to his craft and has a unique eye for detail.

PAULO LEITE (writer/producer) has almost 20 years of experience working with TV and Films. INNER GHOSTS will be his first producer credit. Paulo is also a film professor at Lisbon’s Film School and is passionate about the horror genre.

MIGUEL SALES LOPES, A.I.P., is Portugal’s top cinematographer, having over 40 films under his belt. He was the filmmakers’ first choice and was easily won by the story and the project’s ambitions.

JOÃO RAPAZ is the makeup artist heading a team of the best makeup artists Portugal has to offer. Over months of preparation and weeks of shooting, the producers successfully destroyed their personal lives and relationships. But the work they made in INNER GHOSTS made us proud.

ANIBRAIN was the company selected to produce the digital effects we needed. It was selected after months of research in North America, Europe and Asia for the right company. Based in Pune, India, an army of artists led by Jesh Murthy and Mark de Sousa brought the expertise that made all the difference.

We chose our team carefully because we fully understand the risks of not having the best people. Plus, they all love the project and are fully committed to seeing it come to life on your screen.

“We wanted a Kickstarter campaign that was different from all others. We wanted a campaign that would celebrate the awesome film we are making and be relevant to horror fans and filmmakers who are as passionate as we are about the genre.

We tried to pack as much value as possible as early as possible, so our backers don’t have to spend a lot of money to get nice stuff. On the other hand, we have some STUNNING rewards for those SUPER DUPER backers who feel like giving a little more. Got questions? Let us know and we’ll get back to you right away.

Here is our first reward. The A-Class goes for a pledge as low as just $1.

Our B-class reward has something really useful.

The C-Class reward gives you another great tool to help you make your horror film. And how about a thank you tweet for 25K people? Sweet!

The D-Class reward gives you the film INNER GHOSTS in the format of your choice. It also gives you a pretty revolutionary reward: “Marketing and Developing Your Horror Film”. Yes, there are books about film marketing and development. But their approach is usually “one book fits all genres”. Well, this one is specifically about HORROR!

Get a real film credit with our E-Class reward. For just $49 you can become an Associate Producer. That’s pretty awesome. Also, you get a t-shirt that shows your love for the genre… and more!

The H-Class allows you to add amazing stuff to the previous rewards. It comes with four options of add-ons.

      Now we enter the Premium Rewards. The I-Class reward gives you a personal Skype session with director João Alves. Or you can go a bit higher and get the J-Class reward: one of the demonic paintings straight from the film set (only 10 are available though)!

The K-Class is really special: come to Lisbon for a private screening AND be part of our group in every festival and market we attend. We’ve been going to most festivals and markets for years and we know them very well. Learn HOW they work and WHAT they can do for your project. We’ll give you the best tour you could ever imagine! Travel, accommodations and accreditation costs are not included, but we’ll advise you on the best solutions (we’ve been doing it for years). Take a look:

The M-Class reward is pretty special: some gorgeous 16-inches demons you will love! Only 10 are available for now.

And now for something completely different: the N-Class reward! Give us one tweet and we’ll put it in the film. Here’s a suggestion: say “I love you” to someone special right in a horror film! The rule is simple: 140 characters + one image.

The P-Class will give you a full day with writer/producer Paulo Leite, wherever you are. All costs are included! It will also get you a co-producer credit. However, you are NOT just getting a credit: let us go over your horror project and give you some precious insights on what you can do to make it even better. that’s what co-producers do.

Q-Class and R-Class will give you two very important movie props. “The Device” and “The 3D Boddy Scanner”. Only one of each exist. Pledge now before they’re gone! (Or before we change our minds!)

Our amazing special effects team made these two heads for a very special scene. Get them separately (S-Class or T-Class rewards) or get them or both (U-Class reward). The level of realism of these heads is impressive!

    After the bang, we’ll end our rewards in style! V-Class reward: become an executive producer. Put your company name right after our own. W-Class and X-Class will give you remake or sequel rights – or both if you pledge for the Y-Class reward. Get access to our Intellectual Property and use it in your own film (scroll down for the conditions that apply):

(***) Those REMAKE and SEQUEL rights come with a few conditions:

1 – The REMAKE rights include SCRIPT, TITLE, STORY and CHARACTERS. Starting from the first day AFTER the end of this campaign (providing payment succeeded), you’ll have a period of 10 months to start PRINCIPAL PHOTOGRAPHY (SHOOTING). After that, you have 6 months to finish the film.

2 – The SEQUEL rights mean only ONE sequel (not ten) that MUST be titled “INNER GHOSTS 2”. It can be a sequel to our film or a sequel to the remake (you choose). It includes the CHARACTERS, the TITLE and any STORY element you need. The SEQUEL rights are yours for a period of 24 MONTHS, starting on the first day AFTER the end of this campaign (providing payment succeeded).

3 – You cannot sell, loan or give as collateral these rights or use them in a way other than making the afore mentioned film(s). After those afore defined periods of time, the Remake and Sequel Rights revert back to the original producers.

4 – The INNER GHOSTS producer will receive a credit as Executive Producer on the films that result from tue acquisition of these rights.

5 – No equity, promise of equity or any other value is needed, asked or offered for/with these rights. We want to fully comply with Kickstarter rules here!

INFORMATION PROVIDED BY Kickstarter.com and Kicktraq.com VISIT PAGE SOURCE

[monsterintheballroom]

Richard Osman’s The Thursday Murder Club set for stage adaptation (x)

Tom Basden to co-write the stage play, with Steven Spielberg co-producing

Acclaimed author, presenter and producer Richard Osman has announced that he is working on a stage adaptation of his best-selling novel The Thursday Murder Club.

Speaking on the latest episode of his podcast The Rest is Entertainment, co-hosted with Marina Hyde, Osman said that a stage version of his book was being developed as a theatre production, confirming: “We started working on a Thursday murder Club adaptation for the theatre.”

He is writing the adaptation with “a brilliant writer” and actor Tom Basden (Plebs, After Life, Mandy), “so you have people who know what they’re doing, and directors who know what they’re doing. But honestly, I think the key, and Inside No. 9 will do this brilliantly, is understanding you have a live audience and there’s an electricity and there’s a crackle”, he said.

The project is “very, very early stages” confirmed Osman. “Me and Tom are just sitting down and thinking about it and talking about it at the moment, more on that kind of next year, I suspect.”

Osman and Hyde referenced the new stage adaptation of Inside No. 9 as as an example of adapting stories for the stage. A new stage show of the hit BBC comedy, to be called Inside No. 9 Stage/Fright, is coming to the Wyndham’s Theatre later this year starring the TV show’s writers and stars Reece Shearsmith and Steve Pemberton.

“In general, the idea that, if we’re talking about the boys from Inside No. 9, the insane amount of work they put into that program and the insane amount of imagination they put into that program, the difficulty of filming; the idea that they could put together a stage show, which could then run for the next 10 years and delight people everywhere and bring them, you know, money as well for the next 10 years, I think is great. But just the idea of entertaining a live audience for a writer, I think, is very, very exciting”, said Osman.

Richard Osman is also working with Steven Spielberg and his Amblin Partners company on a movie version of Thursday Murder Club, which will star Helen Mirren, Pierce Brosnan, Celia Imrie and Ben Kingsley.

Chris Columbus (Harry Potter, Mrs Doubtfire) is set to write and direct.

Osman spoke about how signing the film contract with Amblin has meant that Steven Spielberg will also be a co-producer of the stage adaptation of the show.

“As soon as you go into another medium, if you do Thursday Murder Club as a book, okay, I understand what it is to be a reader or, you know, you’ll listen to an audiobook. I understand the intimacy of that. I understand that you can go back and re-check things. I understand that you can put it down and pick it up again the next day.

“You understand how somebody reads in the same way that if you’re making a quiz show on TV, you understand that people are sitting at home with their family. They’re not always concentrating the whole time, but if they are, they want to interact. They want to talk to their family about what they’re seeing. They want to answer questions. So you understand exactly why and how somebody is consuming what it is that you’re doing.

“And in the theatre, again, it’s that idea of, you have to get inside the feeling of somebody who’s come down to London or to a regional theatre on the train, who’s had a bit of dinner beforehand, who’s now sitting and there’s going, oh, someone a bit taller than them in front of them, but just that excitement.

“The second you understand that, you start thinking about your raw material, if it’s Inside No. 9 or if it’s Thursday Murder Club, you start thinking about it in those terms, it’s how do people want to see that, what’s the first image they need to see, what feeling do they want?

“And, for most creators I think, most writers, that is not something that frightens them, that’s something that excites them. You know, that’s incredibly… I’ll just talk about Thursday Murder Club because I can think about it from my own experience, I know what the material is. I know who the characters… the adaptation has to go through the lens of being in the theatre. Lots of smaller things, you know, it has to be an hour first half, there has to be an interval because that’s how theatres pay for things, and then there has to be a slightly shorter second half, but you know, that’s not a million miles different to a movie. It’s very different to a book, but I think by and large, when you adapt things and change them into a different medium, the technical thing is interesting, but there’s a million, great theatre producers.”