#relatable theatre stuff

[glitteringpoet1685]

Do we think in modern day iwtv times there's a small group of very autistic people on reddit who are really into trying to figure out the lore and history behind this one vampire trial play that was only performed once, that has a weirdly deep and complex story and characters. And then there are a few outliers who think this was all real and the theatre was burned down to cover up the evidence of real vampires and everyone else clowns on them because the vampire stuff was all clearly a metaphor for gay love duh.

[tsukasalover]

This is the exact reason why I hate when people ask to go through my phone. Its always Tsukasa’s fault just remember that.

[boldlychristina]

after experiencing multiple false alarms w joe im not gonna get my hopes up for a tayvis engagement until i see a ring w my own eyes (but if they do get engaged good for them obviously)

[m00ngbin]

I'm trying to pick a major that I would be the most interested in just because it would make my life so much easier and right now I have like three ideas and they all have a million problems

[lunesart]

Drawing Chlostine All February: Day 15

[fromaliminalspace]

Yaroslav Bayarunas as Drifter/Perseus in Icarus Rock Opera

are you satisfied with the life inside your cage? you're not alive, you're puppets now you'll get the right to decide whether to stay in captivity or to rip the collar look at the old world crumbling enough with just complying and conforming outside the comfort zone does it matter who belongs to what caste?

[chippdhearts]

I would prev have posted this to like twit or IG stories, but....

[thethingything]

just found out that John A. Hamlin, the guy who made Hamlin's Wizard Oil, used the profits from his unbelievably shitty patent medicine to found the Grand Opera House in Chicago, and like wow you really could just do whatever the fuck you wanted back then, huh

[pi-cloud]

The fact that Fun Home was my favorite musical in high school should have been a dead giveaway to myself that I was gay

[music-class-quotes]

band director: *playing a chord on the piano to demonstrate a theory thing*

student: wait play that again

band director: *plays it again*

student: *plays You'll Be Back from Hamilton.* the opening chord is the same one you just played.

band director: huh. *plays it again.* now i hear it. it even sounds like the same voicing of the chord.

band director: I’ll actually argue that that’s the only memorable song in hamilton but i shouldn’t get into another argument, not after yesterday

band director: and that one wasn’t even music related. Jeez

[gellavonhamster]

monthly media recap: march 2024

(embarrassingly short this time)

read:

The Daughter of Doctor Moreau by Silvia Moreno-Garcia - I have to admit, I'm not a big fan of the original Island of Doctor Moreau, but I really enjoyed this retelling set in the 19th century Mexico. Loved how the story is woven into historical context, and how, while there is a love story, the plot doesn't revolve around it and the heroine's relationship with her family is a bigger motivation for her. Would've loved other hybrids aside from Lupe and Cachito (who were my favourite characters) to have had more personality; otherwise, a great book

+ currently reading: W.I.T.C.H. comics Volume uhhh 25 (I think), The Prisoner's Throne by Holly Black, and Raffles and Bunny short stories by E. W. Hornung through a Substack book club

watched: nothing to report here, alas

[johntorrington]

about me

- henry/stewart

- 20

- they/he

- nonbinary butch lesbian (tme)

- autism + adhd

- white

i’m currently running @polarexplorerspoll so go check that out

formerly @ jordanlakesessions

[aceofstars16]

My brain: time for emotions

Me, knowing why but also just wanting to go to sleep: oh, okay

[theoniprince]

Got an envelope... ❤️🥺

At home and my feelings are back. QAQ

[unproduciblesmackdown]

oh the broadway world review of summer stock (a) loved it as much or more than anyone (b) has as much or more info than anyone and (c) generally has the most vivacity thus far

Summer Stock made its world premiere at The Goodspeed Opera House to a most deserving enthusiastic standing ovation. Based on the 1950 MGM film starring Hollywood legends Judy Garland and Gene Kelly, Summer Stock is a spectacular production with phenomenal dancing, feel-good music, and a sweet story, all modernized for today’s audiences.

Audiences will recognize and love hearing classic songs by Irving Berlin and from The Great American Songbook, including “Happy Days are Here Again”, “Accentuate the Positive”, “I’m Always Chasing Rainbows”, “It’s Only a Paper Moon”, “Me and My Shadow”, “Red Hot Mamma”, “’Til We Meet Again", and “You Wonderful You”. Summer Stock’s writer, Cheri Steinkellner, takes the original film story to a whole new level that both contemporary and classic theater goers will absolutely adore. Steinkellner provides additional lyrics to upgrade the story to first class. It’s hard to believe that she “got the call” to write Summer Stock in October, completed the workshop draft by March, and had the rehearsal draft ready by June for a July opening. Steinkellner clearly works well under pressure - Summer Stock is a diamond.

In the Writer’s Notes, Steinkellner elaborates on the restrictions of bringing the film to stage (like how heavy farm machinery wouldn’t fit up on the Goodspeed stage) and how she tackled answering the many questions that the original film glossed over: “Why is a Shakespearean matinee idol starring in a musical in a barn? What happens when you make show-people wake up at sunrise to muck out the stalls?” and more. She repositioned and repurposed the film’s original songs like “Howdy Neighbor” and “Dig for Your Dinner”, so the classic elements that film fans are looking for are still there - only, frankly, much much better. Lastly, she addresses the challenge of “crafting a [contemporary] story to support a diverse cast of characters with intention, authenticity, and care.” Steinkellner rose to the challenge, knocked it out of the park, and created a great musical in record time.

The story is simple and sweet. Set just after World War II, we meet Jane Falbury (Danielle Wade), a doting daughter working the family farm with her father, Lt. Henry “Pop” Falbury (Stephen Lee Anderson). The Falbury Farm is in trouble thanks to the devious and ambitious Margaret Wingate (Veanne Cox), who has grand aims for a monopoly over the Connecticut River Valley. Scheming with her naive son, Orville (Will Roland), they will stop at nothing to own the farm. Meanwhile, Jane’s showgirl sister, Gloria (Arianna Rosario), has moved to The Big Apple to make it on Broadway. She wins a spot in the chorus line of Joe Ross’ (Corbin Bleu) brand new show. With his sidekick and music director, Phil Filmore (Gilbert L. Bailey II) in tow and a Shakespearean star, Montgomery Leach, ready to take center stage, they hit a snag when they lose their rehearsal space. Gloria suggests uprooting the show to rehearse in her family’s barn. Jane, who is fresh out of farm hands, reluctantly agrees to let the actors stay in exchange for earning their keep. The company’s tight harmonies might not charm Jane at first, but they certainly had us swooning. I won’t spoil the entire plot, but will say that hilarity ensues, hearts flutter, dreams are realized, and it’s wonderful.

When I first heard about Summer Stock, I cynically thought that it felt too familiar. The show is set on a Connecticut farm whose owners have fallen on hard times and risk losing their livelihood. They turn to their Broadway friends, who are amidst the usual uphill battle of making it big in show business, and agree to put on a brand new production in the barn to raise funds to save the farm. It’s based on the film of the same name, features music by Irving Berlin, and includes incredible tap numbers, and spotlights America’s sweetheart Corbin Bleu. Hearing that alone, I’d think this was a copy/paste of Tony Award-nominated Holiday Inn: The New Irving Berlin Musical, which opened at The Goodspeed in 2014 and went to Broadway in 2016. We’ve seen a number of Irving Berlin musicals, including White Christmas, and the most recent Broadway production Nice Work if You Can Get It, starring Kelli O’Hara and Matthew Broderick. So, what more is there to add to this Broadway subgenre? If you’d asked me before, I would argue there’s “Nothing More to Say”. I was very wrong. Summer Stock raises the bar with phenomenal choreography, clever storytelling and humor, beautiful orchestrations, and unparalleled performers.

Speaking of unparalleled performers, the cast is perfection. There’s not a single throwaway line or character. They’re all exquisite gems and I’m running out of words to compliment them all. The “city mice” dancers and ensemble features Erika Amato, Hannah Balagot, DeShawn Bowens, Ronnie S. Bowman Jr., Emily Kelly, Francesca Mancuso, Tommy Martinez, Corinne Munsch, Gregory North, Kaylee Olson, Jack Sippel, and Cayel Tregeagle. Danielle Wade sweetly croons just like Judy Garland and swept audiences off their feet. As I left the theater, I overheard two ladies praising Wade for her stupendous performance, saying it was perfect likeness of Garland, yet even more meaningful. Arianna Rosario, as the sugary sweet sister, is absolutely delightful. Stephen Lee Anderson, as  the veteran and father, tugs our heart strings. Gilbert L. Bailey II and Will Roland had the crowd roaring with laughter as the feisty music director and innocent corporate heir. Veanne Cox, as the melodramatic mother and CEO of Wingate Agricultural Corporate, had the crowd roaring with laughter from the moment she spoke her first line. Not to be outdone, J. Anthony Crane, as the over-the-top Shakespearean star, brought down the house with his entrance alone. Together, Cox and Crane generate instant heat, which is especially appropriate since they rock the stage with Red Hot Mamma. The cheeky, interspersed Shakespearean innuendo is fast-paced, clever, and had the audience hooting and hollering. I would see the show again for this duo.

Last, but far from least, Corbin Bleu, as the show’s director, gives the performance of a lifetime. Bleu radiates pure joy and leads with heart, inviting his scene partners to shine with him. Audiences instantly fell in love with his gorgeous, velvety voice, and, understandably, swooned. Bleu previously won the Chita Rivera Award for Outstanding Male Dancing in a Broadway Show for his portrayal in Irving Berlin’s Holiday Inn, and his transcendent tapping in Summer Stock shows he’s not stopping there. Bleu’s dancing is out of this world! You can’t miss his charming and virtuosic spin on Gene Kelly’s iconic solo dance, featuring the world’s most unexpected dance partner. Corbin Bleu is a national treasure.

The 8-piece orchestra, lead by Goodspeed’s resident music director Adam Souza, performs the remarkable orchestrations, by Doug Besterman, beautifully. The score is demanding, but the musicians don’t let us see them sweat. As much as I’m gushing, I would recommend shifting the show to one hour earlier and give it a little trim. Not a haircutter’s inch, but a discreet tidy-up. As it turns out, I was in slight agreement with the obnoxious subscribers behind me, who disrupted a precious moment to voice their complaints, “This is two hours and forty minutes? Way too long!” I nearly turned to fisticuffs in defense of this phenomenal cast, but chose to deliver an icy, yet effective, glare. I digress, but Goodspeed subscribers are truly spoiled with top-rate performers straight from the Broadway stage. In any case, we could use a couple more developmental scenes to fully flesh out the plot, and I’d be willing to sacrifice by shaving a bit off some of the longer dance numbers (“Everybody Step” and “Dig For Your Dinner”) and songs. (Not too much! Just an inch! And don’t dare recast any characters!)

That isn’t to say that the dance performances weren’t epic: Summer Stock has the best dancing I have ever seen, hands down. The virtuosic ensemble, lovingly called “city mice”, perfectly deliver wildly acrobatic displays all with impossibly high-energy and make it look easy. Director and choreographer, Donna Feore, has made an unforgettable, magnificent Goodspeed debut. Feore makes use of every inch of the stage, making it feel larger than life, and her attention to detail is unsurpassed. The choreography is out of this world! Wilson Chin, scenic designer, set the stage beautifully. The Technicolor New England farm-turned-theater is framed with classic red-sided barn, delicate florals climbing the walls, and hurricane lanterns lovingly displayed as accent pieces. Summer Stock is Goodspeed’s best original production ever. The 12, which opens next, has very big shoes to fill. Summer Stock has its eyes set on Broadway. Does Summer Stock deserve a Broadway run? Absolutely. In this critic’s opinion, it couldn’t get there soon enough.  Perhaps my favorite aspect of the production were the many comedic theater flourishes. Broadway audiences will cry with laughter when they watch the city mice (actors) learn how to play the part of farmhands: “What is the farmer’s motivation?” “E-I, E-I!” Frankly, I want an original cast album yesterday. Finally, when it opens on Broadway, you’ll wish you had seen it at The Goodspeed first.

[beetrootbug]

can we just... talk about Wednesday? Because I don't know how to feel about it. I watched the show with little expectations in terms of the plot, and I personally ended up enjoying it, though many people have expressed their distain for it. i didn't like everything about it. It was a bit brain numbing i guess, since after watching it my brain was devoid of thought, which is why i was probably able to watch it without question. I usually pick stuff apart whilst i watch it, but i think I was just so determined to finish it I didn't pay as much attention. Final opinions are:

i enjoyed the cartoon-ish nature of the plot. It wasn't that serious and things were solved very quickly. As a writer, I should despise that. I adore writing books with complex plot points that are long winded and explained with care as to not info-dump but to provide the context needed. However, as a person with horrid fucking anxiety, I LOVE stupid stories with shitty easy to solve plots, such as the one present in Wednesday. It's easy to see what's coming and if an episode ends on a cliffhanger, I know for a fact that it will be solve in the next episode. I also tend to judge shows and movies in context to other shows and movies made by the same company. For example, I was pleasantly surprised by how much I enjoyed Falcon and the Winter Soldier as I really didn't like the previous marvel movies and show. Of course falcon wasn't the best show in context to other pieces of media outside of marvel, but for a marvel show, it topped my standards. Wednesday is the same for me in terms of Netflix live actions reboots. I don't care what you think of the show Wednesday, you must agree it is better than the other live action reboots. I hate riverdale and i hate Winx fate saga, they are terrible, objectively and subjectively, they aren't good. Wednesday shocked me as it was better than both. This also plays into the other kind of shows that are on the rise: gritty shows with teenagers. Euphoria and the abhorrent Velma show, are disgusting inaccurate depictions of teenagers. Not to say teenagers don't do these things, it's just that it isn't presented correctly. Teens smoke, drink and fuck, we know this, I've heard shit, i've seen shit. But they do it immaturely. Teens are both children and adults. If they do adult things, they do it childishly, and vice versa. Wednesday had a relatively accurate depiction of teenagers (albeit a bit cartoony but it fits with the shows themes). So from that standpoint alone, it blew my expectations out the water.

Now to the stuff i didn't like about the show: the characters. Which is a massive part of the show of course. The characters were easier to stomach when i watched it because i simply liked the actors, but analysing the characters after, yeah, i don't like them that much. I liked Wednesday in the beginning, but towards the end, she wasn't as fun to watch. As far as what she does, she's very fun to watch and has to be the only who holds up well (kinda, i'll explain this later), the rest of the characters are kinda poorly written and become kinda unlikeable. I never thought i would say this, but I don't like Enid as much as I did when i started watching. Not from a "oh she's such a horrible person" but rather "oh, she's been written really poorly". That can be said about all the characters, including Wednesday towards the end. The messages the characters give the the audience is my main gripe with the show. Enid talks about how friends do stuff for friends, even without asking. "That's what friends do". This is stupid, it is. If your friend tells you not to do something, and you do it, you are betraying their trust. You don't know why your friend doesn't want you to do that, and they don't need to tell you, they'll tell you if they want to. You shouldn't assume things that your friend wants, especially if you don't know them well, like Wednesday's relationship with enid and the others. It's not a good message to spread as stuff like this is something autistic people and other nd people struggle with, this makes this line from enid to wednesday, a very nd/autistic coded character, much worse. A seemingly stupid request not to do something could have much deeper roots for an nd person. I got very mad at friend when she intentionally splashed me with water once. I had told her very explicitly not to splash me and explained that i hate getting wet when i'm wearing normal clothes as the texture is horrid and it would make me very cold. She continued to splash and my voice became more and more distressed. She ignored this, cuz duh, a little water never hurt anyone? But she eventually splashed me and i scolded her. I wasn't very cold nor wet, but it meant something else to me. She betrayed something i told her, and i even explained to her before hand why i didn't like it. So yeah it's stupid to most, but now i know i can't trust her with stuff like that, doesn't that seem a bit counterproductive to friendship. Wednesday was framed as a stuck up killjoy for not enjoying the birthday party she explicitly did not want, and yet i understand why. I think this is also a reason i liked this show; i liked wednesday, i related to her (kinda). She's not the Wednesday Addams character that she should be, but if you disconnect her from her roots (which you technically shouldn't since this is an adaptation) she's a fascinating character that could have had a lot more done with her.

So to end off: The plot is objectively bad, but a fun and easy watch. The characters are bad, but the main character is relatable yet lacking (which almost makes me wanna watch the next season because i want to see her expanded upon). She's fun by herself, but as a supposed wednesday addams adaptation, she falls completely flat of that title. Which is why i feel the show would have been better if it wasn't attached to wednesday. If it was just a show about ghouls going to school and the main character was an autistic coded character trying to survive among bullies while a murder mystery was being solved as a background plot, it would have been better. Think of it like a mix between monster high and gravity falls, heck it would have been nicer as a cartoon, though i did enjoy the visuals. I think wednesday should have had more conflicts with characters that actually hate her than just being a bitch to characters try to be nice. It's more forgiving in this context because wednesday is nd coded, but there has been a rise in the "everyone fucking hates me except no one hates me and everyone likes me" character archetype, like in the I am not starfire comic. It would have been nicer to see wednesday make a proper friend and in the mean time get back at actually horrible people, like bullies or bigots instead of people trying (and failing) to help her.

also TYLER AND XAIVIER SHOULD HAVE BEEN BOYFRIE-