#kate marilley

[barrygeuse]

beetlejuice: the musical (the tour) production photos! click for better quality :) [ x ]

[gayron]

Look at these cuties from the tour <3 AAAAAAAAAAA so good! Go follow @shakingwithregret-blog on insta!(they gave these pics!)

[beej-juicy]

I just...uh...yeah 🥵

[tabooi]

Wake up babe new Lydia just dropped

[medium-observation]

MARCH RELEASE

Beetlejuice - First US National Tour

March 25, 2023 - Medium Observation

Video

Cast:

Justin Collette (Beetlejuice), Isabella Esler (Lydia Deetz), Britney Coleman (Barbara Maitland), Will Burton (Adam Maitland), Jesse Sharp (Charles Deetz), Kate Marilley (Delia Deetz), Danielle Marie Gonzalez (Miss Argentina), Abe Goldfarb (Otho), Brian Vaughn (Maxie Dean), Lexie Dorsett Sharp (s/w Maxine Dean/Juno), Jackera Davis (Girl Scout)

Notes:

Absolutely beautiful recording from the right mezzanine. A really nice side angle that is uniquely really pretty. Nice wideshots and zooms. A head pops in at the bottom of the frame every once in a while. Overall one of my favorite videos of the tour!

NFT Date: September 1st, 2024

Screenshots: https://flic.kr/s/aHBqjAzpnc

Video is $20

Hadestown - First US National Tour

February 25, 2024 - Medium Observation

Video

Cast:

J Antonio Rodriguez (Orpheus), Amaya Braganza (Eurydice), Matthew Patrick Quinn (Hades), Lana Gordon (Persephone), Sevon Askew (u/s Hermes), Marla Louissant (Fate), Lizzie Markson (Fate), Hannah Schreer (Fate), Nick Cortazzo (s/w Worker), Jamal Lee Harris (Worker), Cate Hayman (Worker), Quiana Onrae'l Holmes (Worker), Daniel Tracht (Worker)

Notes:

Near perfect video of Sevon Hermes from the orchestra. Nice mix of wides and zooms. Sevon is a great hermes with a totally different take than Will Mann.

NFT Date: September 1st, 2024

Screenshots: https://flic.kr/s/aHBqjBg3QP

Video is $20

Videos can be purchased through me at

mediumobservationtrading@gmail.com

[hoodoo12]

The Tour The Tour The Tour

I just got back from the Land of Cleve!

One of the things I was looking forward to was sitting in an audience that wasn't as familiar with the show; I wanted to experience it for the first time again through their eyes. (It half worked, lol, because I was also focused on the changes from the Bway show)

Justin was ah-MAZING. Absolute delight and so much fun. He didn't hold back on the innuendos ("So I was like, 'let's do this!' And she was like, "But I don't have any baby oil.' I was like, 'I have this guacamole!' She was like, 'I love guacamole on my taco!' I was like, 'Is that what I think it means? And that is how I got herpes . . . [long pause while audience is both laughing and catching up] . . . from Katharine Hepburn!" THEN he called back to it after TBS as he talked about "did I mention my mom's a demon? 'Mom, when's dad coming home?' 'He'll be stopping by for dinner with his new girlfriend Katharine.' 'Awesome, I have guacamole!'") He zinged "that guy" well. He engaged the whole audience when he couldn't find kids close enough for the sad puppet show.

He had voice closer to the og Keatlejuice which was a pleasant, welcome surprise.

I have Thoughts about each Juice and the actors who play them, including ranking them, but that's a different post.

Isabella . . . holy shit I thought I'd seen the best Lydia (it's pretty close to a tie now) but she really gave her a different dimension, one that made the character ring very true. She made it seem like Lydia was younger, more hurt than angry. She really pulled at the heartstrings.

ngl, I didn't particularly like Kate Marilley's voice for Dehlia.

The changes for the tour were understandable. Some lines were changed which worked. It didn't bother me they didn't have full sets for some of the scenes; this is theater after all so suspension of disbelief and using your own imagination to fill in the gaps isn't an outrageous request. The most jarring thing (for people who saw the show previously) was no Sandworm during TWBDT, even though the line "there's a giant snake here!" hadn't been cut. Maitlands die differently, Life or Death isn't a wheel, the sets were less intricate. But it all made sense and worked.

I am excited to see it again in a couple of weeks! And Justin reblogged(? re-Instagramed?) my post last night, lol

[howlingdemon13]

Did not meet the juice man, but kate marilley liked my guide hat. 😭😭😭😭😭

She’s the sweetest I’m dying mannnnnnn

“Sometimes you guys look better than we do.”

Guuuurl stop ahhhhhh 🥺🥺🥺🥺🥺🥺🥺

[popblank]

Beetlejuice at the Pantages Theatre:

I have never seen the movie, and though I thought the Tony performance was decent I didn't go in with much knowledge of the show.

It was entertaining, but as a show it's a lot (and I was already tired that day). In that sense it was kind of like Moulin Rouge! for me, except the energy level remained constantly high; except for a couple of Lydia's songs, it felt like a whole parade of razzle-dazzle numbers, all with the same button. (I have literally never noticed this before in a show but it just kept on happening to the point where it was annoying.)

The audience overall was clearly excited and was having a great time. Lots of people were wearing black & white stripes, I saw one person in full Beetlejuice costume (incl. green hair), and the line for merchandise was winding all the way into the lobby entrance area even before the show started.

This show made me realize that I am used to seeing the scenery being moved around/on/off the stage as a part of the scene transitions, but very frequently here it was the curtain coming down and a brief video projection. I suppose the Deetz household does have quite a bit of furniture to put in place.

Did find it funny that the weird art piece was the only household item that transitioned into the 2nd act without modification (or comment).

Really liked Kate Marilley as Delia. Great singing, and Delia's general weirdness (and "yes-and"-ness) was both fun and made me want to see what Catherine O'Hara did in the movie.

From looking at reviews, the tour sets up the Maitlands' deaths a little differently than on Broadway.

I understood maybe 10% of the lyrics in Miss Argentina's song.

Favorite joke that hardly anyone laughed at: "Dolly Levi, Matchmaker."

[dreamcastingbroadway]

Dreamcasting Broadway: SWEENEY TODD

Okay, this may seem like a strange cast at first. And it kinda is. But that’s mainly because of the crazy concept I have for this production. I’ve been obsessed with Eleri Ward’s ‘Sufjan on Sondheim’ series on YouTube, with her version of the Johanna quintet being played on loop while thinking of possibilities for this cast. With that concept of folk-inspired orchestrations, I tried to think of actors with unique voices to match the vibe. So imagine a stripped back, folksy take on this story and this cast will make a little more sense.

Dreamcasting Broadway: Sweeney Todd - The Demon Barber of Fleet Street

Ivan Hernandez as Sweeney Todd

Grace McLean as Mrs. Lovett

Marc Kudisch as Judge Turpin

Manik Choksi as Beadle Bamford

Jakeim Hart as Anthony

Mikaela Bennett as Johanna

Sam Poon as Tobias

Heath Saunders as Adolfo Pirelli

Chelsea Lee Williams as Beggar Woman

Alex Gibson as Jonas Fogg

Nicholas Belton as Standby (Todd, Turpin, Fogg)

Kate Marilley as Standby (Lovett, Beggar Woman)

Chris Bannow as Standby (Beadle, Pirelli)

Billy Joe Kiessling as Standby (Anthony, Tobias)

Scarlett Walker as Standby (Johanna)

Honorable Mentions

Scott Stangland as Sweeney Todd

Katie Finneran as Mrs. Lovett

Sherie Rene Scott as Mrs. Lovett

Adam Bashian as Judge Turpin

Ken Wulf Clark as Beadle

Colton Ryan as Anthony

Siri Howard as Johanna

Andrew Barth Feldman as Tobias

Brittain Ashford as Beggar Woman

Brandon Uranowitz as PIrelli

[gavesomezazz]

I love this story so much.

[fybrooksashmanskas]

View this post on Instagram

A post shared by Kate Marilley (@katemarilley)

[fuckyeahtheprom]

From @beccaleebackstage’s IG story!!! (10/23/18)

[talesandfluff]

The musical's newly announced ensemble will include David Josefsberg (Waitress), Mary Antonini (Jesus Christ Superstar), Josh Franklin (Anything Goes), Teddy Toye (Lysistrata Jones), Kate Marilley (My Fair Lady) and Drew Redington (Holiday Inn), along with the Broadway debuts of Gabi Campo, Jerusha Cavazos, Shelby Finnie, Fernell Hogan, Joomin Hwang, Sheldon Henry, Becca Lee, Wayne Mackins, Anthony Norman, Jack Sippel, Kalyn West and Brittany Zeinstra. They join the previously announced Tony winner Beth Leavel, Tony nominees Brooks Ashmanskas and Christopher Sieber, Caitlin Kinnunen, Angie Schworer, Courtenay Collins, Josh Lamon, Michael Potts and Isabelle McCalla.

[newyorktheater]

Lincoln Center’s sumptuous fourth Broadway revival of “My Fair Lady,” the supremely tuneful and witty 1956 Lerner and Lowe musical adapted from George Bernard Shaw’s pointed 1913 play “Pygmalion,” features a revelation and a looming question for those who know the musical. The revelation is Lauren Ambrose as Eliza Doolittle, and the question is: Does the story still work if we see no romantic feelings develop between Eliza and Henry Higgins, her bullying speech teacher?

Lauren Ambrose

Lauren Ambrose and Harry Hadden Paton

Harry Hadden-Paton as Henry Higgins

Norbert Leo Butz as Alfred Doolittle

Jordan Donica as Freddy Eynsford-Hill

Harry Hadden-Paton, Lauren Ambrose, and Allan Corduner in “The Rain in Spain”

Lauren Ambrose as Eliza and Diana Rigg as Mrs. Higgins

Norbert Leo Butz as Alfred Doolittle in “Get Me To the Church on Time”

Ambrose, still best known as the oddball art student daughter in the HBO series Six Feet Under, turns out to have a beautiful soprano voice. She also starts off as an impressively off-putting Eliza, a lowborn feral street vendor with a grimy basket of flowers whose dense Cockney bleating and sniveling manner grate on highborn Higgins (Harry Hadden-Paton,) who happens to encounter her outside the Royal Opera House in Covent Garden. Under Higgins’ tutelage, Eliza slowly and magnificently blossoms into a graceful, intelligent and independent woman. There is no question that at first Higgins has no interest in her, as a woman or even as a human being; he actively disdains her. He simply wants to win a bet he made with fellow linguist Pickering (Allan Corduner) that, merely by teaching her proper English pronunciation, he can pass off “this draggle-tailed guttersnipe” as a duchess at the Embassy Ball in six months’ time. It’s a nice touch that during their tutoring sessions, Higgins wears a white lab coat, as if he’s the scientist and she’s his experiment. What happens in many productions of “My Fair Lady” is that Eliza grows fond of Higgins:

I’ll never know what made it so exciting; why all at once my heart took flight. I only know when he began to dance with me, I could have danced, danced, danced all night

And, although it takes longer and it’s against his nature, Higgins grows fond of Eliza:

I was serenely independent and content before we met; surely I could always be that way again— and yet I’ve grown accustomed to her looks; accustomed to her voice: accustomed to her face.

And then this usually leads to an ambiguous ending, which offers the audience hope that perhaps they will get together.

However, in this production directed by Bartlett Sher, a wordless action makes the ending unambiguous – they will not get together – and, despite the lyrics to “I Could Have Danced All Night” and “I’ve Grown Accustomed to Her Face,” the actors make clear all along that there’s no amorous spark between them.

This might baffle or irk some devotees of this Golden Age musical, but it’s important to note that Alan Jay Lerner’s book and lyrics changed Shaw’s original intent. The playwright explicitly abhorred the notion that Henry Higgins and Eliza Doolittle would become romantically inclined. “Eliza has no use for the foolish romantic tradition that all women love to be mastered…,” wrote Shaw, a socialist and a pioneering advocate for women’s equality, in an epilogue to the published play, explaining at great length what happens to Eliza in the years after the play ends. And Henry Higgins, the “confirmed bachelor” of Shaw’s imagination, seems too immature to be able to love anybody.

So Sher’s adjustment is not an act of revisionism but of restoration, which happens to fit the values of a 2018 New York audience more comfortably than the original adaptation from the 1950s. Shaw’s pointed comments on class and gender are now brought more to the fore. It registers when Eliza says things like: “The difference between a lady and a flower girl is not how she behaves, but how she is treated.”

However one judges the director’s unfamiliar shift in the inner life of the characters, his treatment of the outer life of the musical is familiar from his previous acclaimed Lincoln Center revivals of “South Pacific” and “The King and I.” Sher’s “My Fair Lady” is an elaborate affair, featuring several stellar performances, all 15 memorable songs lavishly backed by a 28-piece orchestra, and a lush design by his usual collaborators, especially scenic designer Michael Yeargan and costume designer Catherine Zuber. Zuber is likely up for her 16th Tony nomination for outfits that are not only lovely and period-perfect; they also often clarify the moment and enhance the tone. I’ve already mentioned the white coat. When Higgins brings Eliza to Ascot to test-run her newfound upper class manner, she is saddled with a fashionable ridiculously unwieldy hat that looks in danger of toppling to the ground, and bringing her with it.

Yeargan’s sets, which effortlessly roll off and on the immense stage of the Vivian Beaumont, can take your breath away. Sometimes, though, they take up all the oxygen. Higgins’ mansion is solid, wood-lined, book-lined, two-tiered, awesome. It’s also on a turntable that rotates to reveal other rooms besides the study in Higgins mansion, which Eliza walks through as she’s singing; admittedly impressive, this didn’t especially add anything – yes, we figured the mansion had more than one room.

Similarly, Christopher Gatelli’s choreography is lively throughout, as it was in Sher’s “King and I” and in “Newsies,” which won Gatelli a Tony. But then there’s the number, “Get me to The Church on Time,” in which Eliza’s father Alfred P. Doolittle (the always reliable Norbert Leo Butz) has turned against his will from low class loafer to respectable member of the middle class, celebrates before his girlfriend is forcing him to marry her the next day. Among the high-kicking ensemble of drunken rowdy celebrants are a music hall full of can-can girls, most of them bearded men in drag. I mean…..what?

I suspect these occasional excesses are intended to bypass our cultural cerebrum to massage our theatrical limbic system, or even burrow into our Broadway brain stem.

This may help explain why, despite the director’s intellectual commitment to keep the relationship unromantic, Sher cast as Higgins an actor who on the surface seems to be more of a match for Ambrose’s Eliza than 48-year-old Rex Harrison was to 20-year-old Julie Andrews when the original production of My Fair Lady opened on Broadway. Harry Hadden-Paton is not only close in age to Lauren Ambrose; he is actually three years younger than she is.

Luckily, audience members at “My Fair Lady” have more straightforward outlets for any romantic yearnings. This includes stand-out Jordan Donica as Freddy, who we’re meant to see as a more apt match for Eliza; he is certainly swoon-worthy when he sings the outright romantic ballad “On the Street Where You Live.”

And then there’s Dame Diana Rigg as Mrs. Higgins, Henry’s mother, who is on a whole other level of swoon-worthy. She not only lands every one of her witty lines with seeming ease. Her very presence romantically evokes different memories for different generations — the impossibly mod spy Emma Peel from “The Avengers,” the scheming Lady Olenna Tyrell from “Game of Thrones,” or even, on stage in London, a certain Cockney flower girl who becomes a lady.

My Fair Lady Lincoln Center’s Vivian Beaumont Theater Book by Alan Jay Lerner; Music by Frederick Loewe; Lyrics by Alan Jay Lerner; Adapted from “Pygmalion” by: George Bernard Shaw; Original musical arrangements by Robert Russell Bennett and Phil Lang; Dance arrangements by Trude Rittmann; Musical Director: Ted Sperling Directed by Bartlett Sher; Choreographed by Christopher Gattelli Scenic Design by Michael Yeargan; Costume Design by Catherine Zuber; Lighting Design by Donald Holder; Sound Design by Marc Salzberg; Hair and Wig Design by Tom Watson Cast Lauren Ambrose, Harry Hadden-Paton, Norbert Leo Butz, Diana Rigg, Allan Corduner, Jordan Donica, Linda Mugleston, Manu Narayan, Cameron Adams, Shereen Ahmed, Kerstin Anderson, Heather Botts, John Treacy Egan, Rebecca Eichenberger, SuEllen Estey, Christopher Faison, Steven Trumon Gray, Adam Grupper, Michael Halling, Joe Hart, Sasha Hutchings, Kate Marilley, Liz McCartney, Justin Lee Miller, Rommel Pierre O’Choa, Keven Quillon, JoAnna Rhinehart, Tony Roach, Lance Roberts, Blair Ross, Christine Cornish Smith, Paul Slade Smith, Samantha Sturm, Matt Wall, Michael Williams, Minami Yusui and Lee Zarret Runtime 2 hrs. and 55 min including one intermission

My Fair Lady Review: Unromantic Eliza in Lavish Revival Lincoln Center’s sumptuous fourth Broadway revival of “My Fair Lady,” the supremely tuneful and witty 1956 Lerner and Lowe musical adapted from George Bernard Shaw’s pointed 1913 play “Pygmalion,” features a revelation and a looming question for those who know the musical.

[medium-observation]

JUNE RELEASE!

Monty Python's Spamalot - Kennedy Center May 18, 2023 - Medium Observation Video | Matinée

Cast: James Monroe Iglehart (King Arthur), Leslie Rodriguez Kritzer (The Lady of the Lake), Matthew Saldivar (Patsy/Guard 2), Rob McClure (The Historian/Prince Herbert), Jimmy Smagula (Sir Bedevere/Dennis's Mother/Concorde), Alex Brightman (Sir Lancelot/The French Taunter/Knight of Ni/Tim the Enchanter), Nik Walker (Sir Galahad/The Black Knight/Prince Herbert's Father), Michael Urie (Sir Robin/Guard 1/Brother Maynard), Michael Fatica (Ensemble), Kaylee Olson (Ensemble), Ryan Kasprzak (Ensemble), Phillip Attmore (Ensemble), Daniel Beeman (Ensemble), Maria Briggs (Ensemble), Eloise Kropp (Ensemble), Daniel May (Ensemble), Shina Ann Morris (Ensemble), Kristin Piro (Ensemble)

Notes: Nice video of this hilarious show. Filmed from the orchestra. Lots of wideshots, which can lead to some washout at times. Beautiful zooms however on the cast (Alex Brightman fancam at times but it never takes away from the video!). Overall a great video of this Hilarious and perfect production.

NFT Date: December 1, 2023

Screenshots: https://flic.kr/s/aHBqjAEn7m

Video is $20

Hadestown - First US National Tour May 20, 2023 - Medium Observation Video | Matinée

Cast: Colin LeMoine (u/s Orpheus), Hannah Whitley (Eurydice), Matthew Patrick Quinn (Hades), Nyla Watson (u/s Persephone), Nathan Lee Graham (Hermes), Belén Moyano (Fate 1), Cecilia Trippiedi (u/s Fate 2), Dominique Kempf (Fate 3), Racquel Williams (Worker), Jemal Lee Harris (Worker), KC Dela Cruz (s/w Worker), Ian Coulter-Buford (s/w Worker)

Notes: Fantastic video of Colin's Orpheus Debut! there is a small head obstruction in the far left bottom that obstructs nothing but Hermes legs at times. This was a very unique and stressful show for the cast as they were down a worker and had everyone in the company on in the show. the show started almost 25 minutes late as they had to rehearse and change choreo. The lights hit in wait for me and the choreo change is quite fun to see and it's unique!

NFT Date: December 1, 2023

Screenshots: https://flic.kr/s/aHBqjAEEBp

Video is $20

Beetlejuice - First US National Tour February 19, 2023 - Medium Observation Video | Matinée

Cast: Justin Collette (Beetlejuice), Isabella Esler (Lydia Deetz), Britney Coleman (Barbara Maitland), Will Burton (Adam Maitland), Jesse Sharp (Charles Deetz), Kate Marilley (Delia Deetz), Danielle Marie Gonzalez (Miss Argentina), Abe Goldfarb (Otho), Brian Vaughn (Maxie Dean), Karmine Alers (Maxine Dean/Juno), Jackera Davis (Girl Scout), Matthew Michael Janisse (s/w Ensemble), Ryan Breslin (s/w Ensemble)

Notes: Big head obstruction on the left side of the screen where the crib, and Charles room is. it's worked around fine, but it's there and can be very distracting at times. besides that it's a great 4k video and it's a unique one, because they had asl and captions so the cast had to stick on script, which led to some fun choreo improv!

NFT Date: December 1st, 2023

Screenshots: https://flic.kr/s/aHBqjAsYaU

Video is $10

Videos can be purchased through me at mediumobservationtrading@gmail.com