#the choreography is just so much better in the london production

[pixiedustjellicle]

I have such a difficult time connecting with the Cats community now. Part of me feels like maybe I'm too old for the current fandom(I don't feel old, but I'm certainly not 19 anymore). Or that perhaps it's because I don't much care about ships. Sometimes I worry that I intimidate people, and I'd hate that. Let me introduce myself and how Cats has shaped my life, and maybe I can find my people?

I first saw Cats at a tiny local theatre when I was eight. I fell in love with it, and even though I didn't have the movie yet, I spent months afterwards with just the poem book and highlights album. Eventually I got the 98 VHS too- and then another local theatre put it on when I was ten! I got to see it twice there. And afterwards, I made up my own attempt at a costume, turned our spare room into my attempt at the set, and put some chairs in there to put on the highlights show for some friends of my mother. The CD was worn out, I went on with the show, and they even gave me a card and a new CD afterwards- the London 2 disc set! Looking back, I think how embarrassing it probably was, but I was so happy and proud of myself in the moment. Two more years later, US Tour 5 came through Nashville, and I got to go and stagedoor for the first time. I wore a tail I made and one of the actresses told me I had a perfect Bombalurina tail twirl. For all those years, I worked Cats into school projects, I drew nothing else. My mom put up with it for so long, and I still thank her to this day.

And then I went into middle school. New school, new students, and I started getting bullied for it. I found other musicals I didn't get bullied for- Phantom, Wicked, and Sweeney- to latch onto, and I kinda put Cats in the back of my head. I still loved it, but my hyperfixation had waned thanks to mean kids, and other than occasionally watching the 1998 movie, I didn't think much of it for years.

But the US Tour 6 announced a date in Nashville. I hadn't seen the show in eight years, and I wasn't about to miss it. I had already started taking an interest in cosplay, but I'd never made a costume like that. I remembered admiring the CCDB as a kid though, and I told myself I was totally capable of making my own, just to go see the show in costume. And I did.

And the cast were SO sweet, and I started finding Cats fans on Instagram. I thought I could do better on the costume, so when the show stopped in Chattanooga a couple months later... I did it again.

The pandemic hit and I lost my job. Immediately I started getting work making Cats cosplays for others, and I haven't stopped since. And when the show resumed, I made an overnight trip to Memphis to dress up again!

And then, I saved until I could finally go see the Royal Caribbean production (front row all three performances), and got to cosplay on the cruise and get a picture on stage with the cast! This was absolutely everything to me, especially seeing the original choreography as opposed to the revival. I definitely cried. (I'm in the middle bottom row!)

I've gotten to make some costume pieces for three regional productions of Cats, in the Dominican Republic, Atlanta Georgia, and most recently Georgetown Texas. I've won some local cosplay contest with my costumes, too! And I'm lucky enough to own a few original pieces- though I've had to part with some too.

My love for this show has spanned just over 17 years now. I adore the story, the costumes, the choreography, the sets, and the characters. It's part of how I learned I am autistic. It's given me confidence I didn't know I could find. And every time I get to see it live, I feel like I'm where I belong. The fandom has felt quiet. And I'm not sure if that's just because I don't know where I fit in? So here's hoping I can find my tribe.

Favorite productions: Original Broadway, Moscow, and Mexico 2013/2018

Favorite Cats: Jemima/Sillabub, Bombalurina, Demeter, Munkustrap, Tumblebrutus, Jellylorum

Favorite songs: Jellicle Songs for Jellicle Cats, The Song of the Jellicles and the Jellicle Ball, Macavity

Favorite cats to cosplay: Etcetera and Victoria

[millenari]

What are your mixed feelings about the macavtiy interlude?

im so glad u asked :)

I think it could've been cool with the right execution. With Cats Macavity is kind of haunting the narrative up until the point that he shows up; Demeter mistakes every loud noise that occurs through the whole show as him, and the Macavity Scares serve the function of deliberately building up to his appearance as well as establishing that the whole tribe -and especially Demeter- are terrified of him. I'm not opposed to an interlude that tries to drive this point home even more so than the musical already does.

(Note that I've only seen this bit in the bway revival; the wiki says it's been in other different productions so who knows if it comes off differently in those)

But as is it's kind of... sloppy. The music doesn't really sound like anything else in Cats, the lyrics come straight from Macavity's song but it doesn't sound or feel like his song. The speak-singing thing the girls do sounds weird on top of that; the cast shouldn't be speaking in Cats. It sounds weird.

(In the May 2002 boot (and looking at the wiki, in London productions around that time?) there are spoken lines. Munkustrap has a couple, so does Deuteronomy and Macavity. They happen between the songs and imo it sounds janky as fuck. Cats is supposed to be p‌sychedelic and abstract; having the characters just speak normally kind of, uh... kills the vibe. It's like if a mime went through a whole complicated silent routine, wiped off his brow, and then went 'well shit that was hard! Want to go grab a beer?' It's jarring and kind of ruins the suspension of belief (as much as we believe mimes can't talk and people in leotards and wigs are actual cats) but tldr them speaking is janky as hell and I don't like it.)

I don't mind the sort-of dance-thing they do-- a lot of modern changes to Gillian's Lynne's choreography, imo, kind of fails to capture that elegant-cat-vibe the way she did, but that short bit did kind of feel a little s‌ensual and catlike? Maybe that's just me.

Maybe it would've been cooler with music that sounded more like Macavity's number and maybe it would be better if the lyrics were sung more than spoke. But. Uh. Regardless the Implications that bit has are kind of. Something.

1.) Maybe this is just my interpretation and I'm crazy but I feel pretty certain that up until the point Macavity actually shows his face Demeter is in a 'boy who cried wolf' situation. It feels like the Macavity scares are taken less seriously as the play goes on, and Demeter keeps looking like a crazy person when she keeps calling him out-- that's why everyone looks at her like she's insane when she starts freaking out during the Deuteronomy return. Nobody pays much attention to her because she's been losing her mind about seeing Macavity in shadows this whole time and the one time he actually showed up she didn't see him coming. So when she attacks Deuteronomy and Macavity reveals himself it's kind of a gratifying moment for her. 'I was right, you all were wrong, he was here, we were in danger'. If Macavity --as early as Old Deut's song-- is making his presence plainly known, that element is lost which is a shame to me.

2.) On that thought, Macavity making his presence plainly known and then everyone gathering together for the Jellicle Ball right after looks fucking stupid. Your local EVIL DOER just MIND CONTROLLED half of your tribe without even showing his face and thirty seconds later it's 'come on out everyone lets do a silly dance together :)' like what. There's no suspense about whether he's there or not. HE'S THERE, and YALL ARE SHAKING A‌SS AND SHIT INSTEAD OF DOING SOMETHING ABOUT IT. WHY.

3.) It's mind control. Only the female characters are affected. There's a whole load of yikes there to unpack.

3a.) I assume the mind control thing is, at least to some degree, a s‌exual thing. One, this is Cats. Two, this is every female character in the whole cast and none of the males. There's a bit in the Macavity fight where you can see both Jerrie and Cori watch their respective twins get pulled in by Macavity: if individual strength of personality/mental hardiness is an aspect, its not a big one. (And if it is a big one: that's sexist. boo.)

Honestly even if it's not supposed to be a s‌exual thing it kind of very clearly is. The lines they sing: 'He's a fiend in feline shape, a monster of depravity / he hypnotizes with his eyes, his head sways like a snake'. It's not even an exact quote from the song. The bit about 'hypnotizing' isn't even in the song!

And even the part that is -when Bomba and Demeter sing it- is clearly supposed to be s‌exual. Which brings me to,

3b.) When Bomba and Demeter, two characters who claim to know Macavity personally (and who almost seem to compete over who knew him more) sing his song, they deliver the lines 'he's a fiend in feline shape, a monster of depravity' in a way that's clearly meant to be s‌exual.

And like... also a good thing on top of that. 'He's a monster of depravity' clearly means 'he's a freak in bed', you can tell by how they say it. Gillian Lynne talked about Demeter and Macavity's relationship by saying '[Demeter thought] he was wonderful when he made love to [her], but [she] hated him'. And this translates to the audience by how they deliver the lines, as most things in Cats go. Bomba smiles when she delivers that line in 98!

But when the girls in the interlude deliver that same exact line, they sound terrified and the music is haunting. That changes the implication. A lot. Especially when it's followed directly by 'he hypnotizes with his eyes', a line that's not even in the damn song. They wrote that line to put it there.

Everything about that, to me, says that all those girls have personal experience with him. (Not to mention how when Demeter calls Macavity out after Bustopher's number, several of the female characters cry out afterwards, like they're all panicking. Again, as if they have personal experience with him... that left them terrified.)

Which.

3c.) if Demeter and Bomba aren't the only ones who knew Macavity carnally why are they singing his song? Why do they stand out? Why is Demeter's story special in any way?

4.) If all the female characters have known Macavity carnally then WHAT THE FUCK.

4a.) Don't get me wrong, I'm not defending Macavity here or anything, there were clearly SA elements in Demeter's story regardless of the interlude's existence. But all of those girls talking about how 'depraved' he is at the same time talking about his ability to 'hypnotize' at the same time they're all terrified and some horror movie music shit is playing in the background... there's a pretty serious implication at hand there! Were they all assaulted by this man? Are they all afraid they'll be assaulted by this man?

4b.) Either way, it's an extremely dark implication about this little universe that comes out of nowhere and then is never picked up again. Especially with how the Jellicle Ball picks up right afterwards! 'yes, yes, your mind and body were terribly violated, but how about you all just come back out and dance a silly dance with the rest of us!' WHAT.

4c.) Even if that wasn't the intent (and to be honest I don't think it was) that's definitely the implication to my eyes, and I feel like most women would be coming to a similar conclusion? It just feels like one of those things that a Man™ slapped in there without thinking of the implication And Then Just never Asking Any Woman Ever about it.

So... yeah I have a lot of feelings about it. I... think it could be cool, with better execution? I love Macavity's mind control powers; I think it's such an on-point ability for him to have, since he was assumedly cast out as one of the tribe. Mirroring and copying each other is how they demonstrate tgetherness/community/affection/admiration/etc. And Macavity the Outcast uses his powers to force them to mirror him? Delicious 10/10 no notes. Tons of notes on the other stuff tho.

[strechanadi]

Matthew Bourne Swan Lake, the 2019 DVD edition

So I finally got to watch the 2019 Matthew Bourne’s Swan Lake with Will Bozier and Liam Mower and I have thoughts.

First things first - Nicole Kabera is gorgeous queen and Katrina Lyndon is having a blast as the girlfriend.

I quite like good 95 % of Bourne’s changes he made from the original 1995 production - be it in choreography, costume or dramaturgy. I like the slight shift with the girlfriend not being in it from the beginning with the general secretary, which makes her story more tragic and painful, so bring it on! I like there’s no prince as a kid at the beginning with a swan plushie. But I’m not sure I like that the connection between the secretary and the stranger was erased. True, with the 1995 production the end of act III (the ball) looked a bit too cartoon villain-y, with the stranger evil laughter while shaking hands with the secratary, but now - he just goes to the queen and embraces her and it’s just... Bland. I don’t know, I quite like the idea of the secretary plotting with everything and everyone all the time.

Now to the main characters. Liam is pretty good (saying it in the most british way possible), there’s no denying that, his dancing and technique is on top, his acting skills undeniable and he’s a perfect cast choice for this role.

But now to Will. I was truly looking forward to finally seeing him, as he was the only Swans/Strangers I missed back in 2019 when I was in London to watch the production live. And I hate to say it, but I was quite disappointed. His characterisation was OK I guess, nothing special necessarily, but nothing too bland either. But what was putting me off all the time was his technique... It was clear he is not a classically trained dancer (as Adam Cooper was back in 1995 or Matthew Ball and Max Westwell in the 2019 run) and it was painful to watch, especially with the whole company evolving so much in this aspect! Back in 1995, they were not what you would call a ballet company (and New Adventures is not claiming they are a classical ballet company, so it’s cool) and there was basically just Adam Cooper (and possibly Scott Ambler) standing out. But now, looking at the company (both men and women), they are different kind of animals now. True, Bourne is still much more about musical/jazz/modern/ballroom/whatever type of dancing, but it is undeniable his dancers now are much better in the classical ballet technique department. And watching the male corps de ballet as swans doing really well with all their arabesques, pas de chevals, developpes and pointed feet in general, and then Will who you can see is trying, but his feet are just not trained enough for this sort of things... And it’s infurriating, because the man has A JUMP! His elevation is huge, he was seriously flying over the stage.

Is the Swan about pointed feet? Of fucking course it is not. The Swan is all about raw energy, animalistic power, charisma... (to the point where Matthew Ball sometimes looked like too well classically trained ballet dancer, not truly ready for the sheer abandon)  But the technique matters as well. It may not be the most imporant thing (and gods know it is not for me, not by far!), but while its lacking is putting you off, then it is clearly a problem.

Will found his was as the Stranger, he seemed much more in his element, reigning over the stage and all the characters. And he was positively glowing in last act as the beaten up, but still fighting Swan. I love all those moment where he was jumping head first between the other swans, ferociously protecting his prince, fighting for him almost on the verge of absolute hysteria. The ending was as heartbreaking as it should be.

But still...

MB’s SL is still one of my very favourites. It’s still fucking spectacular and I love all the paralels and connections and reflections of the original SL characters and story with Bourne’s new one and all the possibilities his retelling offers. But I just couldn’t shake the treacherous ideas about different casting for this latest dvd edition.

Because I would give anything to once again see Max Westwell as the Swan/Stranger (preferably with James Lovell as his prince - since these two together broke me beyond repair). And Katrina Lyndon as the Queen (because she was heartless, stone cold and freaking amazing in this role) and Carrie Willis as the Girlfriend.

[filthybonnet]

I made it to Phantom West End Friday November 18, 2022! It was 100% better than the Broadway production I saw in October 2021. Everyone whining about the changes, are whining about nothing. The angel was the biggest and while I still would have like to have seen it up there I found the Phantom on the stage much better. I think the changes refreshed it as it just seemed so much more alive and energetic than the Broadway one. I am SOOO happy I got to see PONR as it should be live. Broadway fucked it up by changing the choreography on that one. And the only other I've seen live is the restaged tour.

I am a Killian convert! Everything I'd seen of him online made me go meh but he was so good! He had a few weak moments but he passed the "nipple test" and what I really liked about him is he didn't play the Phantom as crazy he played him as almost straightface like "what do you mean this isn't how normal people act?" Like he knows he's wrong but he's too far into this argument now to say so. He wasn't a very threatening or violent Phantom in the usual sense. When Christine pulled his mask off I didn't feel that instant dread and anger. He seemed more like the kind who would pull her into a tight embrace and then say why as she worries about being chained up instead of hit.

Holly was amazing a near perfect Christine. The best Christine I've seen live and I dare say nudging Sierra. Her voice was as clear as a bell, she really played into the sexuality The Phantom was stirring in her yet was scared of it. With Raoul she was hesitant at first but then melted for him. I liked this approach because it wasn't this instant old flame reignited. It was like I kinda have this thing with another guy but...

Matt almost could make me team Raoul. IDK if it was his acting choices or new direction but you can tell he really cared for Christine. Unlike other Raouls he never belittled her experiences or feelings. He came across as very sweet and concerned like he was saying yes these feelings were real but that can be the past, we can make a new future. He was seriously cute and he and Holly are good friends which could also explain why they were good together on stage. I would love to see Holly with him and James since she's friends with both.

I'll be back in London tomorrow afternoon and am 100% entering the 30 pound drawing for tickets on Tuesday night. It was so good that if can see it again and see Lucy as well why not?

[yanderepuck]

Apparently I'm not allowed to have a prefERENCE

BUT THE LONDON PRODUCTION OF SIX IS BETTER THAN THE BROADWAY

[thegirlwhowritesawksh-t]

la douleur de l'amour - georgenotfound x f!reader

author: @thegirlwhowritesawksh-t​ me!

word count: 4.7k +

warnings: hella angst, mentions of blood/scabs/injuries. if there’s any you think that you see, please let me know!

a/n: hi y’all :)) first off, to whoever’s reading this: stay hydrated, smile and laugh! and second: this is my submission for @bozowrites​ writing event! <33 congrats!!

**this is my second fic, and i’m hoping to push more out as i get more comfortable with writing! i’m thinking to maybe make a part two to this but i don't know yet. please let me know what you think! *sending besitos to y’all :))*

Prompt: Why are you crying?

1:15 p.m.

In the corner of a dimly lit studio in front of the barre, (y/n) leans over to her left, counting four beats before resetting and proceeding to stretch over her right side. After months spent choreographing, picking costumes, and endless bandages wrapped around her feet, it has led to the final product: her first piece in her dance company’s annual recital premiering tonight.

All (y/n) could feel was pure energy and pride at what she has created. It’s her baby after all and nothing could ruin the day for her.

Feeling her joints start to loosen up, she runs through a mental list in her head making sure each dancer had their costumes, knew where all the dancers would start and end on stage, as well as remembering her own choreography, seeing as she had an important section to end her piece. After double-checking, (y/n) then begins to travel to the center of the studio, and begins to run over the piece.

Remember the triple pirouette here, before you end with a leap to fourth position. Finishing in the fourth position, she lets out a curse as she accidently stubs her right thumb toe, a small scab already tearing at the edge. Shaking out her pain, she reattempts the move, succeeding with an effortless bow.

“You know, your piece is going to be excellent. Why are you so worried?”, a voice calls out in the quiet studio, with (y/n) yelping and trying to find where the voice came from. Standing against the edge of the doorway stood Liam, her dance partner and best friend. (y/n) begins to chuckle and runs the piece over again.

“Can’t help but make sure it’s perfect. I have drenched all my blood, sweat and tears creating this dance, this- this masterpiece. It is my first, and most certainly not my last choreographing piece at this company. There’s too much riding on this for me.”, she replies.

“Even if so, I’d like to think you’ll be fine. Don’t stress, it’s amazing. Otherwise, how are you feeling?”

“Kind of excited, kind of feeling like I should run away.”, (y/n) replies. Avoiding to answering the question entirely, she begins to run the piece over again. She continues,

“I think regardless, it should be a great night. George is coming to the recital tonight and it’ll be the first time he’ll be seeing this dance.” With George editing and recording videos for the Dream Team, his Twitch channel, and YouTube channels, (y/n)’s barely seen him since the start of the dance season. The only time she’s been able to spend time with him has been going to bed with him - even if it’s been a bit more rare lately - and sometimes, a free day on a weekend with no dance practice or no recording for George.

“So that’s why you are nervous, how cute.”, Liam laughs, with (y/n) leaping over to Liam and swatting their arm lightly.

“He swore that he’d come tonight, and he knows how much time I’ve spent perfecting this. I just can’t imagine tonight going any other way. I made sure to get him a seat right in the front, so he’ll be able to see the whole performance, and me.”, (y/n) smirks. As soon as (y/n) found out she would be choreographing one of the pieces in the recital, she immediately told George her good news. George had told her she deserved it for working her butt off since the start of her being at the dance academy. Making him pinky swear, George swore that he would be there for her first performance with her also starring as a choreographer.

“So focus on that instead of thinking your piece is going to crash and burn! Relax a bit. We only have a bit of time before we start getting ready, so let’s run it over a few more times. And don’t even think about slacking off now, missy, we’ll stretch and go get ready after.” Liam decides, and she nods, thinking it’s probably for the best. Running to her bag, (y/n) sends a quick message to George.

George J: hey, can’t wait to see you tonight! i left your ticket on your nightstand, and remember to dress up slightly, it’s a dance recital after all ;) lub you xo - sent at 1:34 p.m.

Content with her message, she tosses her phone back into her bag, and heads back to run over the piece with Liam once more.

>>>

6:47 p.m.

Sticking the last bobby-pin to her bun, (y/n) glances in the mirror to make sure no mistake is in place. Eyeing her look, she can’t help but smile looking at her dance attire, admiring how her purple leotard and dress matches her eyeshadow. Paired with a dark nude lip, she smirks and turns to check her phone for any messages, hoping that one could be from George.

Out of the nine messages she received, most were from friends and family, wishing her luck on her performance tonight. She replied with a thanks and a heart emoji before finally reading the last message coming from George about two hours ago.

George J: hi darling, i saw the ticket, i am so excited for you! can’t wait for you to take my breath away, as you always do. love you more xo  - sent at 4:48 p.m.

Smiling even wider, (y/n) puts her phone on silent, before walking towards the backstage area, passing dancers along the way. Grabbing their hands and wishing them good luck, she arrives at the destination, nerves buzzing as members of the audience start gathering at their seats. Deciding to take a peek, (y/n) rushes to the curtains, peeking her eyes out towards the front rows, trying to spot the pale boy who danced into her heart. First row, seat G for George, she giggles to herself.

“Trying to find your lover? I’m right here!” Liam asks, with (y/n) turning around.

“As much as I’d love that, I’m no Harry Styles, so I don’t think I’m your type…” (y/n) smirks.

“Hm. Where’s George, I want to see him!”

“I’m looking for him right now, Liam. Give me a second.”, (y/n) laughs as she turns back to the audience. Finding his seat, she subtly frowns seeing as he’s not in his seat yet. He’s probably in the bathroom, or still in line to get to his seat, (y/n) tries to explain to herself.

“He’s not here yet, I think he’s in the bathroom or something. But give him time, he’ll be here.” (y/n) mutters as Liam frowns at her.

“He better show up, it’s your night, (y/n).”, they grumble. They start to say more however-

“Places, everyone! Take your places! We’re starting at seven sharp!” the stage manager yells out. He continues,

“We start in five minutes!” Rushing to get off the stage, she sees dancers brush past another wishing them luck. As the ballet dancers start to move into their places for the intro piece, she then walks over to Liam, helping them set up the microphone as they begin to breathe slowly.

“Hey, you got this. It’s just reading off of cue cards and announcing pieces. And then you’ll be set for my piece. You’re going to do great, Liam.”, (y/n) tries to motivate, with Liam smiling shyly at her.

“And your piece is going to kick ass, (y/n). It’s perfection. Just wait until George sees you dance. I’m a hundred percent sure he’s going to fall for you even more.”

“Yeah, yeah, we’ll see…” (y/n) laughs. Liam clears their throat a bit before raising the microphone to their lips. (y/n) proceeds to head to the viewing room, where a broadcast of the show would play for other dancers to watch and support their fellow castmates.

Taking a deep breath, Liam starts to speak as (y/n)’s nerves start to palpitate.

“Hello, how are you this evening? And welcome to the 67th Annual Recital for the London Dance Academy! I am your emcee, Liam Barrings, and let me introduce you to the first dance of the night created by Sam Hastings. Here is Invictus!”

>>>

8:51 p.m.

An hour later, seven dances, and many whispered good jobs, it is finally time for (y/n) to step on stage and premiere her masterpiece. Slowly tip-toeing to her first position on stage, she glances at her castmates, thanking them silently in her mind for them to trust her to bring her visions to life. Before the curtains open, she turns to Liam on her right, kneeling down and grabbing her thighs, and they smile back at her.

“Ready for it?”, they smirk. Thinking to herself, she nods and turns back to the front of the curtains waiting for the music to begin. Remember the triple pirouette after Liam grabs you. And try to look like you’re in pain from loving him. It is exquisite pain, right (y/n)? Liam is toxic, yet you still love them. Make it believable. And finally, breathe.

Another emcee, Josh begins to speak.

“And now, I present to you (y/n - y/ln)’s dance. This is her first piece with her own choreography with the London Dance Academy, and tonight, we are the very first group of people to watch her story come to life. Please let me introduce you to (y/n) and her piece, La Douleur Exquise!” the audience claps softly, before the curtains open its wings to reveal the creation.

The background, a stark white, yet the lights casts hues of soft lilacs, with streaks of dark reds splattering across the dancers’ bodies. With a small pause, music begins to sing out of the speakers. Liam and (y/n) begin the piece with a small duet. Following closely behind, a quad of dancers mimicking their moves with childlike innocence.

Liam turns to (y/n), conveying an I love you through their linked hands and they abruptly pull her to their arms, as she looks at them with confusion in her eyes and pulling away. Gliding towards the middle, the quad walks slowly to (y/n), enveloping her with open arms, before having a dance section with (y/n) in the middle as Liam looks on, hellbent on grasping (y/n) once more. Every other beat, (y/n) turns to Liam, feeling lost as if they were missing from her.

As the quad looks away, having their own small solos, (y/n) slips away from the group only to leap back into Liam’s arms with her hands grasping their face as Liam slowly grips her waist. Looking at her with renewed interest, his face morphs into fury as one of the dancers pass by her, softly guiding his fingers from her shoulder down to her inner wrist. An angry duet starts, with Liam and (y/n) clashing against each other, as if saying they hate but love each other at the same time.

(y/n) leaps into Liam’s arms, before slowly sliding herself off him as the quad of dancers, follow closely behind, lifting (y/n) to her feet. Everyone proceeds to move as one, with the quad dancing in the center, whereas Liam paces their way to (y/n), lifting her into the air once again, before they land in a small leap. Conversing with their bodies, Liam guides (y/n)’s hands to their heart, slightly pulling her along. Finally coming to the end of the dance, (y/n) runs to the center of the stage, facing the audience.

Grabbing her left arm is Liam, pulling her to their side, and the quad of dancers are pulling her on her right. The war between the two goes back and forth in a tug-of-war before (y/n) seemingly gives up and slams herself to the ground, as the music fades into silence. The audience erupts into booming claps and cheers, and (y/n) feels herself being pulled up from the ground by Liam as a light blush covers her skin. Glancing up at the audience, she tries to smile despite the stage lights burning into her. I did it, I managed to make a story, my story come to life. Hearing the audience continuing to clap, realization sets in and she finds her eyes wandering over to the front row, seat G for George. Seat empty, her smile falters and her eyes become glassy. Some would think because of her success with her piece. She couldn’t tell if she was happy or sad, maybe it was a little bit of both.

>>>

9:23 p.m.

He’s here, he has to be. He’s probably peeing or waiting for me in the front with flowers, or in the dressing room. He has to be here, I know it, (y/n) mutters to herself, hellbent on her beliefs that George is here. Yet the bitter taste of rejection starts to seep into her bones. Shaking her head a bit and attempting to put on the brightest smile, she starts to rush back to the dressing room, a sinking feeling residing in her stomach with each looming step.

Facing the dressing room door, (y/n) can’t help but hope that maybe George is standing there with a bouquet of flowers and kisses reserved for her. Slowly opening the door, her hopes slip through with her mouth curling as she stares at only her reflection in the mirror. He swore that he’d be here. He swore that he would be here for my first performance, (y/n) softly whispers to herself, tears threatening to fall. Gasping, she finally lets herself breathe as she repeats to herself again and again that he wasn’t here.

A soft knock on the door interrupts her thoughts, causing (y/n) to quickly wipe her tears before foolishly yelling out,

“George?”, as the door opens to reveal Liam and the Director himself, Nicholas Anderson.

“(y/n)? It’s us. Where’s George?” Liam asks, a frown settling into his brows.

“Oh, he’s just in the bathroom, he hasn’t been feeling good.” She lies, feeling bile itch her throat. A little white lie shouldn’t hurt anyone, (y/n) thought.

“Hello, (y/n). You looked wonderful out there! Your dance was easily one of the highlights of the night, I couldn’t stop replaying the duet between you and Liam in my head. Your dance truly captured the aspects of a toxic relationship not from one side but from both of point of views. It truly showed exquisite pain, knowing that you would always go back to Liam, but would Liam be there for you?” Nicholas explains, his words smacking (y/n) at full force. Is- is George there for me?, (y/n) thinks to herself. Nicholas continues on,

“I think you are a great addition to our Academy, and tonight truly proved how ready you are to become a full-time member. So how about it? Next season, we’ll be adding you to the roster of choreographers.” Eyes wide, (y/n) nods furiously with a yes and hugs Liam. Nicholas smiles and exits the room, leaving behind two excited dancers jumping around.

“You did it! Now we have to celebrate! Club night, I don’t care. We are going to get plastered! Bring George!” Liam laughs. At the mention of George, her stomach turns as she then realizes George wasn’t here. What sounded like good news turns to rot as she starts thinking of George.

“Let me check my phone, it has been a while in the bathroom, huh?” (y/n) tries to joke, trying hard to not let her voice waver and letting her brain scramble to come up with another small lie. Reaching through her phone, she reads over the texts once again sent from family and friends, finding the conversation between her and George. No new messages, her heart sinks as she slowly starts to open up the rest of her notifications, scrolling to most likely find the purple box that would always stay permanently stuck on her home screen. With bright white letters glaring at her, her heart begins to ebb away feeling a familiar sense of loneliness.

1h, 53 min ago: MINECRAFT MANHUNT W/ THE DREAM TEAM

Relying on her emotions, she turns to face Liam, hoping that her excitement of her promotion would overcome the feeling of abandonment of the man she loved. Plastering a sad smile through watery eyes, she forces out,

“George isn’t feeling well, he’s got an upset stomach. I think it’s the stomach flu going around.” If you can convey pain through dance, you can lie through this as well, (y/n) thought. She continues,

“I don’t know if I should be going out since he’s sick.” (y/n) mutters.

“So we go without him! It’s your celebration, his loss.” Liam rolls their eyes. His loss, my loss - seems like the same.

“I- I don’t know, Liam… I’d want to celebrate with him as well.”

“And I get that, but at least go out with us. You always have tomorrow with him, or later tonight. Do it for tonight, do it because you’re going to be a choreographer next season! At least do it for me and the group. We’ve worked our ass all season and we made your vision come true.” Liam explains. Contemplating with herself, (y/n) resolves with a soft smile and mutters an okay. Pumping their fist in the air, Liam excuses themselves to notify the others of the good news and plans.

Once again facing the mirror, (y/n) repeats with determination to celebrate her night. It’s her night to celebrate with loved ones, even if the one she loved the most isn’t there beside her. So much trying to take your breath away when you weren’t even here, George. Taking a breath, she forces out a shaky laugh and tries to smile. Let’s go celebrate, (y/n).

>>>

1:39 a.m.

Slightly stumbling out of the taxi, (y/n) manages to slowly walk her way up to his doorsteps, phone still showing that George was still streaming. Pausing her hand on the doorknob, she resolves to try to wait until morning to confront him, not trusting herself completely to be okay in front of him. Opening the door softly, she walk in, attempting to not make a sound. With small steps, she closes and locks the door before setting her bags down. That can be cleaned tomorrow, (y/n) thought. Rubbing her eyes, she decides to make herself tea before she goes to bed, most likely not with George until he finishes his stream.

While making her tea, (y/n) thinks of everything that she has worked for in the last few months. Endless changes to her dance, countless small injuries, whether it be a jammed toe/finger, scrapes of blood scattered around her feet from dragging her feet too hard across the floor, everything. Why is it that with her triumph, she is beyond proud yet the idea of George not being there to witness her moment shatters that accomplishment? Mulling it over, she doesn’t notice George bustling down the stairs, finished with his successful 5 hour stream with Dream and Sapnap. Spotting (y/n) making her tea, he slowly approaches her and wraps his arms around her waist, landing a soft kiss to her shoulders.

“Why are you home late, Darling? It’s nearly almost two in the morning.”, George chuckles, as (y/n) freezes in his arms. Softly shaking her head, she tries to side-step out of his arms and brings her tea to the opposite side of the room, wrapping an arm around herself. Clearly, he didn’t remember, (y/n) slowly starts to think and repeat to herself.

“Why do you think I was out, George?” she softly asks, taking a sip of tea to calm her nerves. I guess we’re just going to have to hash it out now.

“I don’t know, but did you see the stream? I beat Dream at the last second and he was this close to defeating the Ender Dragon!”, George starts to explain while laughing, with (y/n) taking a harsh breath in. Pinching in-between her brows, she snaps,

“No, George, I didn’t see the stream because I went out to celebrate.”, she mutters, tears slowly starting to escape.

“(y/n)? Is there something wrong? Why are you crying?“ Turning around, (y/n) tries to look anywhere but him. She settles on looking at the clock, watching as time went by, and her nerves increasing with each second. George starts to say more-

“I needed you tonight. Do you remember what tonight was? To my career? To me?”, (y/n) cuts him off. Standing there without a thought, dread slowly seeps in as George realizes that he missed her performance. He starts to stutter,

“Darling, I- “

“No! No. You do not get to apologize. I needed you and where were you? Sitting on your ass playing Minecraft with Dream and Sapnap! I get that your career is very reliant on you being consistent with your uploads, but you couldn’t have taken a night off? For me? I- ”

“(y/n), it’s not like that at- “

“Don’t- just don’t try to explain or come up with excuses. I just don’t want to hear it George. I spent months working on this, exhausted yet still pushing myself for the damn Academy. You swore that you would be there. I left you the ticket on your nightstand, you even texted me saying that you were excited to come! So imagine me standing on stage, looking at the front row, seat G, and where the hell were you? Not there, George. You were not there. I looked like a fool waiting for you to see me perform and dance. Do you remember Nicholas Anderson?”, (y/n) tries to ask calmly. George only stare at her with defeated eyes as he shakes his head no. Cursing, she heaves out a breath before continuing,

“He’s the director of the Academy, George. He’s offered me a position to be a permanent member and choreographer for the London Dance Academy. So please, let me ask again: where were you? I had to lie to Liam and say that you had an upset stomach and that you couldn’t come out! So, Liam invited me to celebrate with the dancers, to celebrate tonight’s success.”

“(y/n)- (y/n), we can celebrate now. I know- I truly know I messed up, but I can fix it, we can celebrate right now!” George stumbles out, walking towards her to grab her hands. Stepping back, she glares at George, appalled that he truly thinks he could resolve this. Shaking her head harshly, she bites out,

“I don’t want to celebrate with you. I’ve already celebrated with loved ones.” Rolling his eyes, George tries to reason with (y/n).

“Okay, I get it. I’m the bad guy in this scenario. But I’m trying to make this right. I am so sorry, darling, but I want to make it up to you, you know I am sorry.”

“You know, I never ask you to cancel a stream or get off of the stream. I always try to understand for the life of me why the streams have to be long, but I try. I always watch your streams and interact with your fans for your sake. I’ve had to explain countless reasons as to why you never show up to my performances, or why you can’t go out with me with the other dancers. And I am okay with it, don’t get me wrong. I know how much Twitch and YouTube and the Dream Team means to you. But you mean everything to me as well. So forgive me if I wanted to be a little selfish and ask you to support me in one of the biggest performances of my life.”

“I can go to the next one, (y/n). It’s not like it’s the last performance.” George snaps.

“You don’t get it, do you?”, she asks, wiping furiously at her tears, trying to not stutter through her words.

“What is there to get? Clearly I’m trying my hardest to make it up to you.”, he replies.

“I love you. I’m so much in love with you, it hurts. But you don’t get it. I have been there for everything in your career. Your first hundred subscribers, your first million subscribers, when you won the MCC back to back, everything. This was- is the important night of my life, and you didn’t show up. You stuck with Dream and Sapnap and decided to stream instead. This night was important for my career, and you knew! I told you months and weeks in advance. I wanted you to take charge and clear your schedule for today and- and sit in the damn seat that I chose because G stood for George. It was for you.” She sobs out, chest shaking as she tries to collect the words tumbling out of her mouth. With eyes flashing in annoyance, George tries to speak over her tears,

“(y/n)- “

“I created this dance for you! For me and- and for us. Because we believed in each other and had the support for each other. Clearly, it was one-sided and tonight proved that.”

“(y/n), listen to me- ”, George stops himself. Watching (y/n) fall apart, he takes a shaky breath and tries to walk closer to (y/n). However, (y/n) takes more steps back, leaving a distance of hostility and guilt between the two lovers.

“I love you. I love you with all of my heart. And… and I know you love me. But I needed you. Do you even need me?” she asks, the thick silence covering the air.

“Yes! How- how could you even say that, (y/n)?“ George replies just as quick as she finished asking. Looking at him for the first time tonight, she lets out a sob. With cheeks red, hands tugging at his hair, and George frantically looking at her, (y/n) can’t help but cry a little more.

“Because tonight proved otherwise. I wanted a night of you to myself to watch me be pretty and dance, and you didn’t even give up one night for me.”, she says, tugging at her sweater. Looking up, she further goes on to say,

“How stupid would it be if I were to ask to choose between me or the Dream Team? Or- Or your career?”, barking out a bitter laugh as George stares with guilt. As silence meets her ears, (y/n) slowly starts to sober up, eyes slightly widening with shock.

“George…”

“I’d find a way to make it work, I’ve been making it work for us since the beginning!” George snaps.

“George, you know I would never ask that, because I personally think it’s a selfish question. But if I decided to ask seriously, right now. What’s your answer?”

“And I’m telling you, I am making both work. Please believe me, (y/n).”, George says quietly, grasping at whatever opportunities there are left to resolve this potentially fatal matter.

“I can’t tell anymore.”, her voice cracking as fresh tears pool down her cheeks.

“I don’t think I can stay here for a while. At least until I’ve had some time to think.”, she manages to force out.

“(y/n), you can’t be serious. No, we are fixing this now!” George tries to say with an unwavering voice, eyes slowly becoming glassy.

“I can’t look at you George without wanting to cry, and- and scream- yet tell you I love you, even if you don’t deserve my love, especially right now. I need to go- I’m going to go. I’ll be back in a while.”, (y/n) says, choking on her words. Walking backwards, she turns to the door, with George following her and watching her pick up her dance bags. Lying on the ground was a bouquet of flowers, crumpled amongst her heart. Choosing not to pick up the bouquet, she mumbles out,

“I’ll call you when I’m ready.” Pausing, (y/n) looks up at George for the final time tonight, willing herself to not run back to him, despite how much the desire is growing to do so.

“I love you, George.”, opening the door, George yells out,

“I love- “, the door cutting through his confession, acting as a wall between the two. George tries to reach the door knob, ready to run after the love of his life. Yet… he’s frozen on the spot, with tears finally trickling down his cheeks, and pushing deep breaths out to steady his shaking heart.

Why are you crying, George?

[cto10121]

A lot to chew on in this scholarly article I’ve revisited on RetJ’s reception in France and the failure of the Production-That-Must-Not-Be-Named (I love how the author just tears into the blatant and cruel Francophobia of the London RetJ reviews, even while pointing out its failure to capture Presgurvic’s vision). I also really liked the insight of the filmatic aspects of the musical (the freeze-frame at the end of Le Bal 2 is definitely cinematic). But I disagree with the following:

That the show’s success rests on its postmodern mixing of previous versions of R&J, chiefly the Zeffirelli and Luhrmann film adaptations and West Side Story. Redha was certainly inspired by Robbins’ WSS choreography and the Zeffirelli influence is there in a thematic sense (the emphasis on the romance in particular) but the musical is just…so different from any adaptation of R&J???? I only knew about Redha’s influence because I grew up with WSS so I could spot it. But I feel you could watch the musical only knowing Shakespeare’s R&J and it’d still work. Hell, many people have without even liking the original play. Also, there are many aspects and even characters of RetJ that are not in any other version.

That Presgurvic’s musical owes more to previous adaptations of R&J than to Shakespeare. Actually, this musical is pretty much the only adaptation of R&J I have seen so far that captures the love, romance, energy, and passion of the original work. When I first saw a clip of “Les Rois du Monde” on YT, I instantly knew who the characters were, who played who, and at what point in the play they were at, though I hadn’t seen the musical before then and even though the scene is unique to the musical. It’s still strictly a musical adaptation with various changes at the character, plot, and thematic level, but those changes serve to highlight the affect of the original work, not detract or change from it.

It’s still enlightening, though, to read about the criticism of both sides of the strait, predictably ludicrous, almost unhinged:

The critics of RetJ accusing it of “not having a new, fresh take” on Shakespeare—no social commentary on the contemporary situation, no “shedding new light on the material” (ugh)—and only “modernizing the aesthetics while keeping the play’s original historical context.” That’s literally what makes it work. If Presgurvic had decided to do a version in modern-day France, it would have dated as fast as West Side Story’s ethnic white gangs did. He was smart enough to realize R&J worked just fine, if not better, in Shakespeare’s original conception—all he needed to do was to musicalize the drama and to bring it to life in the modern idiom. And so it works. It’s fresh. This criticism feels actually very anti-Shakespearean (how dare Presgurvic actually…respect the original intent of the Shakespeare and not do something inferior but radically different!!! It’s not as if Shakespeare’s play is still relevant to us moderns without drastic change, you know!!!).

Also that criticism of RetJ’s lyrics being modern and not the original Shakespeare, as if it were a straight adaptation and not a musical one. As Sondheim has said time and time again, poetry does NOT make for good lyrics. You cannot put the original lines to music without it being just…weird. And Shakespeare is definitely meant to be spoken, not sung. You can criticize Presgurvic for not including more modern paraphrase, sure (he only has the Song of the Lark, I think, maybe “la vie n’est pas un théâtre”) but not for using early modern verse for modern musical theater lyrics.

The excoriation of Presgurvic’s lyrics in general. Nobody is ever going to accuse him of being Sondheim, I know, but I suppose it takes actually translating the show into English, as I did, to appreciate his lyrical ideas and how they compliment the music. It was really difficult to improve upon the original idea; in the end, I found my revisions being more successful when they hedged to the Presgurvic idea than anything else, even the Shakespeare.

The criticism of London RetJ being too “European” for West End audiences and critics…funny, but I’ve always maintained that one error of London RetJ was to cut half the score and include unnecessary reprises, obvious attempts to “Broadway-ize” it for Anglo audiences. Of course it didn’t work; if they had done a Notre Dame de Paris and kept at least the same songs and similar orchestrations, it would have been more successful even if the critics didn’t go for it.

I think the real “issue” for the critics, so to speak, is the fact that RetJ has never been a traditional “musical-theater” musical—it belongs more to the Porgy and Bess, The Merry Widow (Die Lustige Witwe), and even West Side Story school of musical-opera hybrids in contemporary dress. Actually, RetJ is atheatrical, especially in the original French, which plays like a mini film on stage. No wonder critics didn’t take to RetJ. It always takes a bit to rejiggle their points of references. With Notre Dame de Paris having played in London in its original French with English surtitles (!!!), perhaps now is that time.

[sevenkittensinatrenchcoat]

Flaws of Cats 1998

Cats 1998 is my favorite version of the show and it’s basically designed to be the most watchable version, so it tends to be the favorite of many. But, like every production, it’s not perfect, so I’ve decided to gather a list of imperfections. Some of these are objective problems with how something was done, while others are nitpicks or entirely about personal preference.

I’ll start of with the disclaimer that I love this version, I love the cast, and I don’t think anyone did a downright bad job. Most of the Bad Stuff is less Bad and more Could Be Better.

Anyway...

The continuity editing is comically bad. *Insert teleporting Pouncival comment here*

1998 Tumblebrutus is, and I’m sorry to say this, underwhelming. He’s not bad, and Broadway-based productions give the character more to do than London-based productions like this one, leaving him at a disadvantage, but compared to Pouncival, Plato, and even George, he often feels like “the other boy”. Out of the trio of Plato, Pouncival, and Tumblebrutus, both Bryn Walters and Karl Morgan had played their roles before, while Fergus Logan had not and you can tell. He didn’t seem comfortable with the role. His voice in Jellicle Songs is much deeper than it is later on, so he was experimenting with how the character’s voice should sound between these scenes, meaning that he was probably still figuring the character out throughout filming. It’s an opening night performance, rehearsed but not quite perfected yet, and there was really no time to fix that.

That said, Fergus nails the physical part of the role. He can tumble like a Tumblebrutus should and his ballet during the Jellicle Ball is just as good as Jacob Brent’s is. According to Jacob, Fergus actually had the timing right for the dance while he was slightly off. Fergus is generally at his best here when he’s doing something he would’ve been doing as Mistoffelees on stage.

Disclaimer: Fergus Logan was not the only actor playing a character he’d never played before and these sorts of problems could apply to anyone in this situation, but this is the example I found to be the most noticeable.

Speaking of Tumblebrutus at the Jellicle Ball, the decision to give Tumblebrutus Pouncival’s track during the ball was a bit inconsistent. During the Boys Jump segment, Pouncival has his usual track, though it’s a Broadway-based version of the track. In London-based productions, Mistoffelees and Carbucketty/Pouncival usually have opposite roles in this part. Tumblebrutus comes out in what I usually see as Mungojerrie’s entrance. Then the tom kittens sort of switch out for the Boys Ballet. Having Tumblebrutus as Pouncival during the Cartwheels actually removed Tumblebrutus’ usual track in that segment. They should’ve either had Pouncival do his usual thing here, swapped the tracks completely, or had someone else, possibly Mungojerrie, cover Tumble’s track.

Exotica. They at least could’ve kept her in the ensemble consistently. Or kept a consistent character design. Or given her a better name.

Macavity’s design is too monstrous. It’s established that multiple queens, despite hating him, are attracted to him, so he should have at least a few qualities that the audience could see as attractive, in order for this to make sense. But he’s a big furball who lacks the more human face that the other cats have. He looks and acts like the monster that he is, so Demeter and Bomba’s thing for him, and him being described as “outwardly respectable” don’t quite make sense. He’s supposed to be unkempt and somewhat feral-looking, but they went too far with it.  

Lastly, this is not a flaw as much as a personal preference for something other productions have done, but this one didn’t. When it comes to the Mr. Mistoffelees number, there’s a specific version of their dynamic that best highlights Misto’s character development. Throughout the number, though Misto is the center of attention, Tugger is the instigator. When things aren’t quite working, Misto turns to him. Tugger narrates everything.

Towards the end of the number, as Misto gets to work bringing back Old Deuteronomy, he directs a few other cats on how to help him, but he never directs Tugger. He interacts with Tugger as if he’s the one in control here. This is why Tugger can’t be his assistant in the trick. But, after bringing Old Deuteronomy back, Misto has confidence and has truly come of age.

In some productions, this is when he realizes that this is his musical number and he can decide how it goes, so he whispers to Tugger how he wants the number to end. The words Tugger says at the end of the song are at least partially Misto’s suggestion. He has enough confidence and authority to take charge of the number and Tugger does what he asks. He probably would’ve done that before, but Misto lacked the sense of confidence to try. 

If you want to see a good example of this, look at the German Tent Tour.

The 1998 production has Tugger come up with the finale by himself, so the sense that Misto has come into his own as an adult isn’t quite as strong as it could be.

Also, they could’ve not removed every bit of choreography where Tugger and Misto touch. That was a bit lame of them.

[mcwriting]

Live from New York, it’s Saturday Night!

In which the reader is the musical guest at Saturday Night Live the same week Tom Holland is hosting.

Ship: Reader x Tom Holland

Word Count: 5747 (what in the heck?? my longest piece ever lol)

Warnings: Mild alcohol consumption

Rating: K

Preface: I mention the NBC page program, which is like an intense internship/fellowship with the company where college grads work with at least 3 parts of the company over a year to get job exposure. A lot of famous actors and actresses were pages!

***

Walking into 30 Rockefeller Center on Wednesday afternoon was a surreal experience for sure. As a young NBC page led you through hallways and up to studio 8H, you were getting butterflies.

On one side of the hall was a sign for studio 8G, which hosted Late Night with Seth Meyers, but the page turned the other way, guiding you through doors to the Saturday Night Live studio.

There was hustle and bustle all around you as she took you to your green room, which had a sign printed with your name on it over an NYC skyline. You almost pinched yourself.

You had known for about a month that you’d be performing as the musical guest for SNL the upcoming weekend, but now that you were here for your first rehearsal, things were getting real. 

When your manager had asked if you wanted to play the show, she’d been met by your enthusiastic “YES! Are you kidding me?!” It was even better when she mentioned who the host would be:

Tom Holland.

You’d watched every season of SNL since you were probably in middle school. You could easily name off every cast member but would have to remember to keep your cool until after Saturday.

Another thing you’d need to stay cool about was Spiderman himself. You had the biggest crush on him, but who your age didn’t? He was charming and British, disregarding physical features. You were most nervous to meet him. 

The page let you put your things down and took you to Lorne Michael’s office where he and some of the production team wanted to talk to you about your set. You’d only get two songs, but one of the writers also asked if you’d want to be in a couple sketches, too.

Later that evening would be the normal pitch meeting, where writers who’d spent all Tuesday afternoon and night into the early hours of Wednesday writing finally got to show the host and cast their ideas. They’d narrow it down to eight, so you were surprised they wanted you in not one, but two sketches.

It wasn’t difficult to say yes to that. You wouldn’t be present for the pitch meeting, however, because in just a few short hours you’d be heading down to studio 6B to film a segment for Jimmy Fallon’s show. 

Your management team stayed behind at the hotel to work on details for a couple concerts you had and were planning to head up to the studio before your interview.

After the meeting, you were shown around to familiarize yourself with the studio and stage before starting your first rehearsal. For one song, it would be just you and a piano, but the other song would have a band playing while you sang and did some limited choreography. 

You sat in front of the keys of a beautiful grand piano, stretching your fingers. Someone requested you play one of your songs, so you looked around, as if asking for permission. Everyone in the room nodded for you to play, so you began the tune of your favorite song from your album.

Your voice wasn’t warm and there wasn’t a mic on you, but you got lost in the lyrics and chords like you always did. By the song’s end, you’d drawn a small crowd. They clapped and you blushed when you finished, closing the lid and standing to do a sheepish curtsy. 

Most of the small crowd dissipated and you were talking to some crew about stage setup when someone interrupted you.

“Sorry to bother, but that was incredible. Can’t wait to hear how good you’ll be this weekend,” said a male voice with a distinct London accent. You turned to find Tom Holland right in front of you. 

“Oh, well, thank you! I- I uh, didn’t expect to meet you so soon,” you stuttered, thrusting out a hand. “Y/n y/l/n.”

He gripped your hand firmly and shook it, nodding his head once, too.

“Tom Holland. You know I was excited when I heard you’d be performing the same week I host. The last film I did, we listened to your music like, all the time. You could say I’m a fan.”

Was this real? Tom Holland was a fan of you!? You chuckled.

“I could definitely say the same for you. I love your movies. ‘Been a fan for years.”

You both smiled happily and Tom was about to respond when the page who’d been showing you around the whole time came up.

“Sorry to interrupt, but Miss y/l/n, they’ve asked to get your measurements in costuming if that’s okay.”

“Oh! Yes of course!” you said to her, then turned to Tom. “Sorry. It was nice meeting you! See you around?”

“Of course! Nice meeting you also!”

As the young girl led you away again, you missed where a younger brother of Tom said to him,

“Think you’re in love yet?”

***

After an eventful visit at the Tonight Show that included you and Jimmy playing box of lies and performing one of your songs for the audience, you headed back up to 8H alone. 

You’d remembered leaving something in your dressing room and had let your team go on back to the hotel without you. You’d felt confident that you could sneak back to your hotel safely without causing a big ruckus. It was only a few blocks away.

You were digging in your bag for your phone when you bumped into someone. Each of you said a quick “oh, sorry!” before looking to see who the other was.

It was Tom again.

You hadn’t realized before, but his room was the one right next to yours. It made sense, both of you being guests and all, but you were still caught off guard. 

“Headed out?” he asked. You felt yourself blushing a little.

“Yeah, well. I just finished at Fallon’s and they don’t need me back here until tomorrow so I’m heading back to my hotel to order pizza for my whole team and then crash,” you laughed. 

“Oh yeah? That sounds about like what we’re doing,” Tom gestured back to his brother and best friend, who you shook hands with gladly. 

You talked as you wound through the halls and quickly realized you were all staying at the same place.

“That’s crazy! We were just going to get a cab if you want to just come with us. I’m already paying for it, so...” he offered. You were surprised.

“What? No, no, I couldn’t just ride on your coattails like that,” you started.

“No seriously, y/n. It’s fine! We’re literally all going to the same place and no one can bother us from a taxi cab. You don’t even have to talk to us if you don’t want to.”

You looked at the other two boys questioningly and they nodded, encouragingly nodding for you to accept the offer. 

“Okay, okay! If all of you are fine with it, I’ll come.”

They cheered and you continued in happy conversation as you headed downstairs. A doorman called a cab for you and you piled in. Harry took the front and you offered to take the middle, sandwiched between Harrison and Tom.

Never in a million years had you expected to be in such close proximity to one, much less all, of them. It was a short drive and the driver took you to a back entrance, the place celebrities usually entered.

You still weren’t quite used to the star life. Up until you’d hit it big, it was normal for you to do pretty much everything yourself and stay in relatively cheap hotels like any other person.

Now, your management team handled most things and you were staying in five star places with secret celebrity entrances and prices that would probably make your grandmother faint.

Inside, you’d also realized you were on the same floor, both of you staying in large suites used by many elites over the years. You parted ways, anticipating seeing each other in the morning for rehearsals and later that evening when you’d be doing Seth Meyers’ show together.

***

The studio was buzzing when you entered Thursday morning. Your small team headed straight for the dressing room as you were taken away to a sketch read. Both sketches the writers had asked you about had been greenlit, so you were excited to work on them

“Morning, y/n. How was the pizza?” Tom asked cheekily when you first walked in. A couple of people passing by gave strange looks but said nothing.

“Well, who doesn’t love a good New York slice, huh? I’d say it was pretty darn good. And you?”

“We ended up getting room service, but pizza’s definitely next on my list,” he joked before you were handed scripts and asked to review them. The writers and cast were trying to figure out some basic spacing as you looked over your lines and cues.

You finally got to work rehearsing the two sketches. You broke a couple times when Kate landed a punchline and when Beck accidentally tripped. 

When they decided to move on from those, you where whisked away to wardrobe and makeup to shoot "bumper” stills and videos, the photos and clips between sketches and commercial breaks. 

You were excited to see how they envisioned your style and personality and would bring it to life. The photographer collaborated with you and shot some really incredible photos, both serious and goofy.

Next you were back in music rehearsals figuring out more about the staging and running some diagnostic sound checks. Once lunchtime came around, your stomach was growling.

You just barely caught Tom as you went for lunch, he was finishing up as you built your plate. As it always seemed, you only got a few words in with each other before someone was dragging Tom off for his own photoshoot.

You got to talk to Harry and Harrison for a little bit, too, until your manager asked to have a quick meeting about your schedule. Once you were free, you were taken to costuming to try a few things on and figure out hair styles that would fit the show.

There were more music rehearsals and you read the new scripts (as they had already been rewritten twice now). You were pretty tired by the time someone asked you to head across the hall to prepare for Late Night.

You grabbed a quick bite to eat on your way out of 8H and finished is by the time you were in the doors of 8G and a page led you to your green room, once again located next to Tom’s. 

Since you were both doing SNL together, you and Tom were going to be interviewed together, but you also had the added bonus of being the musical guest again. 

You only needed to rehearse a couple times to get the sound down (it’s not like it’s live, so you could easily restart if something went wrong). Once you were finished, they brought in the studio audience and you got a chance to go back to your green room and chill for a little while. 

Seth had a couple other guests, so while you were waiting, you knocked on Tom’s door to greet him and discuss the talking points each of your management had given Seth.

As the in-house band was warming up, Seth came into the room.

“Well I didn’t expect to see both of you in here,” he joked, shaking both of you hands. Tom had been on the show before, but this was your first time meeting the host. 

After a couple minutes, Seth was informed of the time and made his leave, going out to meet his audience and begin taping. After his monologue and the first guest, you and Tom were called to the stage.

“Now for our nexts guests we have both the host and musical guest of this weekend’s Saturday Night Live, Tom Holland and y/n y/l/n! Come on out here!”

Tom gestured for you to go ahead of him, so you walked out, waving to the cheering crowd. You took the seat nearest to Seth’s desk. 

“Well hello, there. Good to see you two,” he greeted as you settled in. “Welcome back, Tom, and welcome for the first time, y/n.”

“Wait this is your first time here?” Tom asked incredulously. You laughed.

“Yeah! Up until a few months ago like, no one knew who I was. Not even Seth!” you poked right back. Seth jokingly agreed. 

The interview went well, both of you telling some funny stories and explaining how the week was going. Finally, you cut for a commercial.

“Alright we’ll return with y/n and Tom after this short break!”

You were right back to the interview after the commercial “break.” Towards the end of it, you all got off on the subject of alcohol.

“You are 21, right?” Tom asked you. You rolled your eyes and gave an exaggerated hair flip.

“Yes, I am of the legal age. You should know as well as anyone what it���s like to have a baby face,” you roasted, causing the audience to go “ohh!” and Tom and Seth to raise their eyebrows.

“Wow looks like we’ve got a little rivalry now. The real question is who can handle their alcohol better. I think we oughta bring you two back for my day drinking segment to settle this!”

Both of you overconfidently pointed at yourselves when Seth asked who was better with alcohol.

“Now that’s an idea I can get behind!” you exclaimed before the interview finally wrapped up and you got ready to go sing. Tom and Seth stayed at the desk while you performed, which thankfully only took one shot.

As you wrapped up the show, you gave final waves to the audience and then headed offstage. You and Tom walked through the halls together and Seth caught up with you after finishing his outro.

He thanked you both for being on the show, you took a few pictures, then talked for a while. Seth was eventually called away to look at something, so you said your goodbyes to him and continued towards the green rooms.

“You were great tonight. Your voice is phenomenal,” Tom said to you. “and honestly I can’t believe you haven’t been doing talkshows that long. You’re a natural.”

“I think it has a lot to do with the fact that I love to talk about myself,” you quipped. “But seriously, thank you. Everything leading up to now has happened so fast, it’s hard to really gauge if things are going well or not.”

“I can relate to that. It’s hard, but having my family and brothers helps keep me grounded, you know? Harrison, too. They know that they can call me out and, yeah, I might get mad at first, but I understand that they’re keeping me from getting a big head.”

“Yeah I can’t imagine how overnight it must have been for you. My family and friends definitely don’t miss the chance to poke a little fun here and there to keep my ego down, too. You know, it’s nice talking to someone who understands for once. I love them, but unfortunately they’ll never fully get what it’s like, but you do,” you smiled.

You talked a little more, then spilt off to actually go to get ready to leave the building for the night. The upcoming Friday was going to be a long one.

Once again, you let your manager and assistant and everyone leave ahead of you. Regardless of whether you would hitch a ride with Tom again, you could find your way around easily.

You waited by the door until you heard their voices nearing and the boys came into the hallway.

“Oh y/n, you’re still here, too,” Harry said.

“Yeah, I was trying to decide what to do for dinner tonight before I head back to the hotel.”

“Well we’re going to grab some pizza if you want to join us,” Harrison offered happily, causing Tom to look at him funny. 

“Y/n probably doesn’t want to be bothered by us all day every day and plus, she had pizza last night, I’m sure she doesn’t want it again. Sorry, y/n, don’t feel pressured by this div,” Tom said apologetically.

“Honestly, I could eat pizza everyday, so that’s not an issue, and I honestly love hanging out with you guys. You remind me of my friends back home. If y’all want to eat together, I seriously would not mind.”

“Really?” Tom asked incredulously, then recomposed himself. “Well, yeah, sure. We were gonna head back to the hotel to change clothes and then figure things out from there, is that okay?”

“That sounds perfect, except I’m paying the cab fare this time.”

***

In most situations, a group of guys you’d only known a couple of days asking you into their hotel room would be a major red flag, and it probably still should have been, but you threw caution to the wind and went to Tom’s suite anyways.

Harry answered the door and let you in, and inside you found Tom and Harrison on the floor of the living space drinking beers. They both raised their cans up to you as you came in.

All three of the boys were in simple sweats and t-shirts, similar to you in your leggings and sweatshirt. It wasn’t much later that Harry went to the lobby to retrieve the pizzas they’d ordered and you were all digging in, seated around the coffee table talking.

You all discussed random things, poking fun at each other like you were old friends. It was like they’d already accepted you as one of their own.

“How you think this weekend’s gonna go, y/n?” Tom asked between swigs of his ale.

“I’d say pretty good. I’m hella nervous though. SNL is like its own universe.”

“You can say that again. This is like nothing I’ve ever done before.”

“Oh, come on. You two are both going to do great Saturday. Don’t think too much about it and just have fun,” Harrison encouraged as you continued eating.

Throughout the evening, you couldn’t help but pick up on the way you and Tom kept making eye contact. It was brief, but it was different than how you and Harry or Harrison looked at each other. There was something else there.

Your stomach fluttered. Who else could say that they spent an evening drinking with their biggest celebrity crush? And then continually exchange flirty looks?

At one point Tom even tossed a wink at you after cracking a joke, causing your heartbeat to quicken momentarily. 

After getting lost in conversation with the boys, you realized the time and prepared to excuse yourself back to your own room. The coming morning was going to be an early one, after all. 

“Oh man, I better head out. We’ve got a long day ahead of us,” you commented, stretching as you stood up. The boys followed suit.

“Wow I didn’t even realize how long we’ve been sitting here,” Tom added.

“Yeah. Thanks again for letting me come over tonight. I haven’t gotten to do something like this in a while so it’s nice to just spend time with people who I don’t pay to hang around me all day, you know?”

“I understand and definitely can agree, since these divs are kind of paid to hang around me.”

You all laughed as Tom walked you to the door. 

“Well. See you bright and early...” you trailed.

“Yeah, see you then,” Tom answered, awkwardly sticking out his arms for a hug. You obliged, squeezing your arms around his neck as his held your waist.

And goodness did he give good hugs.

***

You were definitely tired walking into 8H Friday morning. The caffeinated drink in hand helped a little, but late night beers paired with waking up early didn’t quite go hand in hand.

It wasn’t really a hangover either, since you hadn’t been fully drunk, but it didn’t help the exhaustion from traveling, working the past two days, and a lack of sleep.

The first thing you had to do was rehearse your songs for Saturday as the set team worked on transporting and putting together large set pieces that had been made at the navy yard in Brooklyn.

Tom and the cast weren’t far away, figuring the live show with costuming and quick changes along with doing some pre-filmed sketches. The writers were continually making adjustments and figuring out how things would be done. 

They eventually called you over, too, to rehearse your sketches and film one of them. You had to get used to the costumes and cue cards and blocking of each. There had been some minor changes as well, so you had to be quick on your feet.

By lunchtime, all the cast took a well deserved break to sit and have a bite. The writers were having to shuffle around while they tried to eat as you and Tom sat down to talk some more.

“Hey, sorry to bug you, but do you guys mind if I take a picture or two for the SNL social media accounts?” a page asked while you were munching on sandwiches.

You and Tom looked at each other and shrugged.

“Fine with me,” you answered, Tom giving a similar reply. The two of you leaned in next to each other, holding up your sandwiches and laughing.

A few photos were snapped and you and Tom approved of them to be posted online. You thought nothing of it as you went to more rehearsals, working through the show’s order and trying to get down timing before Saturday’s dress rehearsal and show.

You couldn’t help but laugh watching the sketches, as this was your first time seeing the ones you weren’t a part of. Tom’s comedic timing and dry British humor paired well with the material he was given.

When the day came to an end, you were looking through instagram and gathering your things. You went to SNL’s page and put the post of you and Tom together onto your story, adding the text “Can’t wait for everyone to see my favorite sandwich partner host the show tomorrow!”

As before, you thought nothing of it and posted the story, heading out the door to ride back with Tom and the boys.

***

At the hotel, you and Tom had decided to not hang out for the evening since you’d be having a late, late night Saturday and wanted to get some sleep. You opened up social media as you laid in bed to wind down.

You decided to look at the picture of you and Tom from lunch again and read some comments, hoping there would be some funny ones and whatnot.

Instead, you found hundreds of comments saying “omg ship” and “my two faves together” and “this couple would be everything!!” 

You were honestly shocked to see people saying that about you, especially since you had never heard of your fans indicating that they wanted to see you two together.

Twitter was also buzzing over you and Tom’s picture, some fan pages just talking about either one of you, while others also talked about shipping you.

In your heart, you kind of enjoyed it, since you were hardcore crushing on Tom now, but you had no idea how he felt.

Did he like you back? Did he just think of you as just a friend or acquaintance? Was he secretly dating someone and you were just reading too much into it? 

It was much to think about, so instead you closed your phone and fell into a deep slumber.

***

You didn’t have to be in the studio as early as the past days since dress rehearsal wasn’t until 8pm and the show started at 11:30. You felt better rested than the day before, but butterflies were constantly erupting in your stomach.

You and Tom caught each other at the building’s entrance and went up the elevators together.

“Ready for tonight?” you asked, tapping a foot anxiously.

“Absolutely not. You?”

“Same here. Not only is it going to be watched by millions, but some of the most important people in my life are coming and I’m freaking out a little.”

“Oh yeah?” he asked softly. “And who would that be?”

“Well, my parents and some friends from home. I can sing in front of sold out stadiums but I still get nervous if I know they’re in a crowd. It’s stupid, I know.”

“No I totally get it. My parents and brothers will all be here, too, and my heart races when they watch my work. The best advice ever given to me, though was ‘turn nerves into excitement,’ and that’s exactly what I’m trying to do.”

You nodded and smiled up at him.

“That is pretty good. Thanks,” you replied as the elevator doors opened. 

The halls were bustling with what seemed like every employee as you headed to your green room. It wasn’t long before you were being thrown updated scripts and rehearsing again.

Finally as dusk turned to night, the dress rehearsal audience seats began filling up. You were bouncing nervously in the hall as you watched the cast begin the cold open on a monitor.

“Nervous?” a male voice asked quietly next to you. It was Tom, of course. You bobbed your head from side to side.

“Excited,” you replied cheekily. He smiled and was about to say something else when a crew member came by to lead him to his starting place for the monologue. He gave a quick wave before heading backstage, instead. 

The dress rehearsal went okay, certain jokes and lines being cut and rearranged by the end for time. Thankfully the audience received everything well, for the most part. 

Your own music and sketches felt like a rush, but you were proud. Tom’s advice had really gotten to you, because you were bubbling with excited anticipation for 11:30 broadcast to begin.

There was about an hour between dress and the actual taping, so you scarfed down a few bites of food and tried to shake out some jitters. You also sipped some caffeinated hot tea and did vocal runs to stay in tip top shape. 

Your friends and family stopped by the green room to say hi before they joined the audience, giving you hugs and encouragement for the evening ahead.

As the clock neared 11:30, you were walking down a hall already dressed for your first song when you almost bumped into Tom.

“Oh, hey! Great job at dress! You’re gonna do amazing,” you immediately said, making him beam.

“Thank you! And you too! Your voice is on fire tonight, as if it’s ever not.”

“You haven’t heard me try to sing sick, then. I sound like a diseased animal.” You shook your hands and head to dismiss yourself. “But, uh, earlier I was gonna tell you ‘break a leg’ and then I remembered you used to dance, sooo... merde.”

Tom raised his brows and chuckled. 

“You know that phrase too?” You nodded. “Well then merde to you, too. Oh, and I was wanting to ask if tonig-” 

Tom was cut off by someone once again needing to drag him away to prepare for the show, causing you both to toss waves at each other again. Maybe he’d finish his thought later.

This was it. The real deal. 

You took that as a cue to find your place by the monitors until after Tom’s monologue and the commercial break, when you’d start moving to stand with the band.

The cold open landed well, and you felt chills hearing two of the cast yell,

“And live from New York, IT’S SATURDAY NIGHT!”

The classic jazz music of SNL played over the intro and Tom made his way down the iconic steps to do his monologue. 

Your heart fluttered seeing him stand on that stage with a wide smile, waving at the crowd. He was dressed in a blue suit and his curls were styled just right. He looked incredible.

The monologue landed well and you felt an even bigger flutter as you heard Tom lead into commercial, saying the iconic line,

“We have a great show for you tonight! Y/n Y/l/n is here! So stick around we’ll be right back!”

With that the camera panned out and cut, and chaos began as the crew moved everyone to set the first live sketch. In the meantime, a prefilmed sketch played, the one you had participated in.

The audience cheered and laughed at your surprise appearance in the sketch, which made you feel really good. You had moved now to a place where you could see the stage in person.

The camera panned in as the audience applauded and the next sketch began. Even after having seen it multiple times that week, you couldn’t help but laugh as the ridiculous character Tom played so well. 

When they cut to another commercial break, it was your time to get ready to sing the first song. 

Your stomach fluttered like it always did before a show, but Tom shot you a thumbs up before the break ended and boosted your confidence. A camera was pointed in his face as he calmly said,

“Ladies and gentlemen, y/n y/l/n,” as he gestured towards you.

The lights came up and you began playing, and you became lost in the music like always. It came and ended quickly, and suddenly you were listening to the cheers of the audience. You waved and bowed in thanks as the cameras panned again.

Up came the weekend update, your favorite part of any Saturday Night Live. The jokes for the segment were typically written on Saturday, so many of them were new to you. 

Tom came and stood next to you during the update with a bowl-cut red wig dressed in khakis and a sweater vest over a button up. You looked him up and down amused.

“Your performance was amazing,” he whispered.

“Thanks. You’re doing great out there. They love you,” you whispered back.

“I sure hope so. Hey I’ve been trying to ask if-” he started, but then was cut off by someone grabbing him and leading him towards stage for the next sketch. Your stomach fluttered again.

What could he possibly want to ask me?

The live sketch transitioned into a prefilm and then you were up again, this song was more energetic and included some choreography, and you felt confident in the shimmering gold bodysuit and boots you were wearing. 

You happily danced and sung after Tom reintroduced you to the crowd and got a large round of applause. There was only one sketch left of the show and you were in it, so the team rushed you into a quickchange booth offstage to put on your costume and a quick wig.

The sketch began and you stood to the side nervously. When your cue came, you burst onto the stage clumsily, as directed by the script. Your character made some inappropriate comments to Tom’s which garnered you many laughs again.

It was satisfying.

Once the sketch ended, all that was left were the goodnights, so you were again rushed off to change into a cute jumpsuit and reaffix your hair. Tom came out in a blue suit with the jacket unbuttoned, a black tee underneath. 

You rushed to take your place next to him as other cast members filed in around you, Lorne standing in the middle of the room watching to make sure everyone came out. The audience applauded as the music played and camera panned.

After they gave the final countdown, Tom began giving thanks to many people, from cast and crew, to family, and to you.

“I want to give a huge thanks to tonight’s musical guest, y/n y/l/n,” he exclaimed, gesturing to you. The crowd cheered and you laughed and waved, giving him a joking elbow. 

“I love you all! Goodnight!” he finally exclaimed. 

With that, the music was brought up and everyone began hugging as the credits rolled. You immediately turned to Tom and he to you, both of you throwing arms wide. 

You wanted to hug him forever, but realized that it would look fishy and there were many people you still wanted to hug and thank.

Both of you pulled back, giving each other a quick “good job!” before turning to others.

***

You were finally offstage and had said quick goodbyes to your family, who wouldn’t be staying for the afterparty. As you headed towards the greenroom for the last time that night, you were stopped by Tom.

“Hey! Y/n,” he said, putting a hand on your shoulder.

“Oh my gosh there you are!” you said, turning to give him another hug, this one more emotional and less performative.

“I’m serious y/n, you were incredible. I know I’ve said it a million times but you have a real gift. Not to mention your acting skills,” he said into the crook of your neck.

You pulled away to look at him, arms still loosely wrapped around him.

“Well thank you, but you were great too. Everyone loved you. I loved you out there.” You paused for a moment, arms sliding from his shoulders as you continued to walk down the hall. “You know I had a lot of fun this week. Doing this and just hanging out. I was really nervous to meet you.” 

“I did too, and yeah, we were all super nervous to meet you, too. Like I told you before, we listen to your music a lot. But, uh, that being said. All night I’ve been trying to ask if you’d like to go to the afterparty with me?”

“Oh yeah that’s perfect! Are the guys coming too?” you asked enthusiastically, not detecting the nervousness in his voice.

“No, no. I mean, yeah they’ll be there but...” he stopped and you followed suit. “I’d like you to go with me with me. And ideally leave with me... alone.” 

Your eyes widened and breath hitched. Now it clicked. He was asking you out.

“Oh! Well then... I’d like that very much.” You smiled.

“Yeah?” he asked, incredulous.

“Yeah,” you answered.

Let’s just say you were singing a different kind of tune that night once you left to your empty hotel room “with him.”

***

A/N: omg omg omg I started this story forever ago but finally got around to finishing it! No new marriage project chapter this week, I thought I’d just post this to hold y’all over ;) Thanks for reading!

Permanent tag list: @jackiehollanderr, @one-big-fangirl

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[bemoreincorrect]

I’m so happy that you got to see the show live!! <3

would love to hear your thoughts on it because I’m extremely jealous haha. did they change things from the off west end version? how were the performances? I’m very curious

(hope it’s fine that this isn’t an incorrect quote!!!)

i’m probably not the best person to go to since i couldn’t take a lot in because i was so mesmerised by stewart clarke whenever he was onstage 💙 (i say, like i’m not in love with every single one of them)

anyways, i didn’t notice any changes that were too significant? it felt like it was the same as the off west end production, maybe with a rewritten line or two thrown in somewhere. however, i was kind of swept up in the magic of being in an actual theatre again that i wasn’t being hyper vigilant about these things. i’ll hopefully be seeing it again next month so i’ll try and keep a closer eye out for these things. i noticed they were tighter with their comedic presence - millie, renée and blake in particular have really added to their humour.

performance wise - they were incredible!! you could get a sense of some of the cast’s nerves, but it was a lot of their west end debuts so i feel like that was a major factor. everyone’s vocals have improved so much since the other palace. special shoutout to blake who i feel his michael in the bathroom somehow got even better, and renée who just blew me away with how effortless her belting sounding. as always, miracle, eloise, stewart and james also need a shoutout for their phenomenal vocals too.

something that really got to me was chris fry’s mr heere. during two player game, when mr heere comes onstage to talk to jeremy, his acting blew me away. when jeremy tells him to put his pants on, chris looked like a father who could tell his son was starting to slip through his fingers and there was an understated devastation in his eyes and when he walked away you could feel everything. i’m talking it up because all i could muster during the interval was repeating SAD DAD over and over again.

stewart’s squip is phenomenal and if you’re on the fence about whether or not you enjoy the london productions, watch it for him alone. i don’t think any of my rambling could do what he brings to the squip justice. his pitiful children is always SO good? i love how evil he makes the squip, and how into the choreography he gets! he dances his little heart out during halloween, and he truly is living his best life.

i think scott is my favourite jeremy yet, because he captures the awkwardness so well. and i feel like there’s such a smooth transition from his nerdy self, to the cold squipped version of jeremy which deserves a lot of credit. renée’s “i would do anything to feel like i belong” hits me so hard, and i love that you can really feel how lost jake feels about himself in miles’ portrayal. eloise and miracle both add a lot of texture to brooke and christine too. eloise is my favourite and i think she deserves so much credit for what she brings to brooke. i think the reason why i love the london cast so much is because they’re all so young, and they really show the insecurities and the nuisances that each character has. if you couldn’t tell already, i have a lot of love for the london bmc cast.

it was such a good night, if you have the opportunity to see it i would highly recommend! ❤️

[taylizmasterpost]

The Speak Now Tour Begins (February 2011 - May 2011)

Now while the Speak Now tour technically doesn’t start until February, it kicks off in January on the Allure of Seas Cruise Ship, where Taylor, Liz, and Caitlin perform Better Than Revenge for the first time:

As you can see, there’s not much choreography, making me think that the choreography there ends up being is partially created by these three, and making it far more interesting due to the amount of TayLiz interactions in the final product.

1 February 2011  - Taylor releases the music video for Back to December. The secret message for Back to December was TAY, which is one of Liz’s favorite nicknames for Taylor. 

In the music video, Taylor sits alone, fully clothed, in a bathtub, reminiscing on past times. Could this perhaps be a reference to this picture from the Gay Australia Trip? (Maybe... or maybe it’s just a reach).

In the music video, Taylor also puts a note she’s been writing throughout the MV into the pocket of her ex’s jacket. This is really intriguing to me, since Sad Beautiful Tragic has a lyric that goes “long handwritten note, deep in your pocket.” Is Taylor perhaps trying to signal that these songs are related and/or about the same muse?

During the Speak Now tour, Taylor mashes up Back to December with Apologize and You’re Not Sorry. Together, these songs tell the story of Taylor going to her ex to apologize, and them telling her it’s too late and they’ve moved on. Now, maybe it’s just me, but this sounds an awful lot like where TayLiz are in their relationship right now:

February 2011 - Emily gets engaged. Taylor goes to Liz Rose for help with All Too Well and the first draft of the All Too Well lyrics are written in the Lover diaries. Many people have theorized this means All Too Well is about Emily. But, once again, I think Liz makes more sense based on the timing of the writing and my very strong belief Taylor wouldn’t have written a song this romantic about Emily in a post-Dear John world.

6 February 2011 -  Liz tweets the lyrics to Ragged Company by Grace Potter and The Nocturnals. If you remember, Liz went to see Grace Potter with Jason the summer before:

What I find interesting about her tweeting this is that the lyrics reference a fear of getting old, something that you might remember she tweeted about in that weird vague tweet back when Taylor was dating Jake:

Oh, lord it’s lonely, lord it’s mighty cold And I don’t want to live this way Afraid of growing old

9 February 2011 - Speak Now tour kicks off in Singapore. TayLiz take photos with fans in Chinatown:

16 February 2011 - Speak Now in Tokyo. TayLiz play around and make changes to the BTR choreography:

19 February 2011 - Speak Now in Manila:

27 February 2011 - Taylor attends the Vanity Fair Oscar party and is spotted by a Washington Post reporter talking with Jake. Here’s what they had to say about what was overheard:

Taylor Swift and Jake Gyllenhaal, recently broken up, huddle in a nook by the bathrooms, under the forlorn gaze of a portrait of Greta Garbo. Gyllenhaal is using words like "care" and "feel." It is not a good spot to linger.

Considering this is an anecdote in an article full of celebrity anecdotes and did not so much as make a headline, this does not feel like something planted by a publicist to me -- further indication that there was something real to Jake that is now over. 

March 2011 - All Too Well is finished in the Lover Diaries:

6 March 2011 - Taylor posts this picture that, according to the Swift Agency website, was taken by Liz:

15 March 2011 - Speak Now in Milan, Italy. Some choreography is starting to form, but it’s mostly still just TayLiz playing around and getting all up in each other’s faces:

16 March 2011 - Taylor diaries about concerns involving her career and the Mean MV. She was possibly worried about including a gay storyline, considering we know from Miss Americana the pushback she gets whenever she wants to do something political. It was likely worse at this point, since she was still heavily attached to country:

19 March 2011 - Taylor cuts Liz’s hair. Liz tweets about it.

TayLiz then go to a Katy Perry concert with Grant and Caitlin.

21 March 2011 - TayLiz are papped in London getting dinner at Benihana and looking cozy:

25 March 2011 - Speak Now in Belfast, Ireland. TayLiz get CLOSE during BTR:

28 March 2011 -  Liz tweets that her favorite Katy Perry song is Thinking of You (probably thinking about the concert the other week).

Just look at the lyrics:

Comparisons are easily done Once you’ve had a taste of perfection I guess second-best is all I will know ‘Cause when I’m with him, I’m thinking of you Thinking of you, what you would do if You were the one who was spending the night I wish that I was looking into your eyes

ISN’T THAT APPROPRIATE? Again, could just be because she likes the song and heard it at the concert the week before, but I don’t know… It seems pretty loud…

1 April 2011 - Taylor tweets a joke about Liz:

4 April 2011 - Taylor wins Best Entertainer at the ACMAs. Liz tweets about it:

5 April 2011 - Taylor goes on Jay Leno and talks about cutting Liz’s hair. Interestingly enough, she calls her a “hipster.” (Indie record that’s much cooler than mine tease?)

7 April 2011 - Taylor covers White Blank Page by Mumford and Sons:

This is a really interesting choice given Liz’s recent recommendation of Thinking of You. It almost reads as the opposite perspective of that song. Let’s look at the lyrics:

Can you lie next to her and give her your heart? Your heart, as well as your body? And can you lie next to her and confess your love? Your love, as well as your folly? But tell me now, where was my fault In loving you with my whole heart? You desired my attention but denied my affections

To me, this totally sums up the story of TayLiz up to this point. The flirting, the attention, things never really seeming serious between them until Liz got a boyfriend, and then after that still toying with the idea of being with each other. But maybe Taylor just liked the song. Or was trying to get Dianna Agron’s attention by wearing the same dress she wore on Glee and singing a song by a band she likes. Who knows?

23 April 2011 - TayLiz get coffee:

25 April 2011 - Taylor sends Liz an Easter card:

Now, with all of this TayLiz going on, you would think Liz had quietly broken up with Jason. But nope, he’s still around. 

CONCLUSION:  This is going to be a problem, since things are staring to heat up in TayLiz land (especially during Better Than Revenge). If the songs they’re into are any indication, Taylor and Liz both want to get back together. The only thing standing in the way is Jason... And he won’t be around for very much longer.

The End of Liz’s Relationship (May 2011 - August 2011)

[screechingkingdomhottub]

Black people I am amazingly thankful for

This is supposed to be like a list of black people that helped make my childhood and adulthood awesome. This is not supposed to take away from any situation that is happening, that’s not my intention. I just wanna celebrate some people.  Now, in no particular order.  1. Phill Lewis aka Mr Moseby, this man is amazing. He was of course in Suite Life of Zack and Cody and Suite Life On Deck. He played the manager of the hotel, could have easily been written as a throwaway character, token black guy but no. They made this man have the finest suits, have a feminine side that he is very in touch with and smooth about(the baseball game scene where he says “I was the only guy in a room filled with girls” or something along those lines is awesome), on that note a wonderful dancer and singer. But most importantly, he was like a father figure to so many characters, most notably London and Nia but also to Zack, Cody, Maddie sometimes. That was a series I could gush about all day, especially the episode about Hugh Mulzac and how the education system suppresses black stories in history, like if that came out today people would call it “sjw bullshit” but I loved that growing up and I still love it, I’m rewatching it right now. So I’m beyond thankful for Phill Lewis, also he was in Heathers which no one credits enough and I like Heathers.  2. Corey Dorris from Team Starkid, I love starkid and there’s memes on my blog about them. They are all so incredibly talented and make musical theatre accessible and just wow I love them so much. My favourite performance of Corey Dorris is in their most recent production Black Friday, whilst his role isn’t amazingly huge, his performance is. Please listen to Our Doors Are Open from Black Friday, that song feels like your listening to how honey tastes.  3. James Tolbert from Team Starkid, so here’s the thing bout James, he’s rather new to Starkid but he’s somehow able to do choreography, acting, singing and dancing(I know it comes under choreography but this man can DANCE). Absolutely incredible. Please watch Black Friday to understand what I’m talking about.  4. Britney Coleman from Starkid honestly okay she can sing amazingly, like she plays Bellatrix in the AVPM series and oh wow she’s incredible. Like listen to When you have to go all the way home from a very potter senior year. Her voice is the most powerful I’ve ever heard. It’s so beautiful and would not be the same without her.  I’m beginning to think this might go into a different theme if I just consistently mention starkid actors but I do love all of starkid and I could gush about all of them but I feel like a video someone else made sums it up better:  https://www.youtube.com/watch?v=9jzfngJ7AnU here you go, please watch that, show them all some love.  5. Will Smith, James Avery, Janet Hubert, Alfonso Ribeiro, Karyn Parsons, Tatyana M. Ali, Joseph Marcell, Daphne Maxwell Reid, Ross Bagley aka the cast of the fresh prince of bel-air. Excellent show, I loved it growing up and still love it now. I remember seeing Will play basketball when I was a kid and just feeling a sorta calling to it and that actually helped me with my depression during high school. The fact that the star of the show, someone who I looked up to when I was little, now has a family that defends each other as strongly as they are right now makes me so happy and proud? almost? But of course the show itself was amazing, brought up important issues and there’s more than just Will involved so I’m thankful for them all.  6. Living Colour - they did the song Cult of Personality which is an amazing anthem of a song with both an epic guitar solo and badass political statement. Whilst it’s only really that song I like by them, they’re the ones to thank for it. So I’m thankful for them. Lowkey think that song should get the same amount of praise as stuff like American Idiot by Green Day or The Anthem by Good Charlotte just a thought.  7. Snoop Dogg...which yes I know sounds weird considering how anti drugs and anti marijuana I am but he did a song with Big Time Rush and a whole christmas special with them. It’s takes a really awesome guy to simultaneously be a well established rapper and to go collab with a nickelodeon boyband so his daughter thinks he’s cool. Like that man is excellent for that.  8. Mercedes Justine Kaestner-Varnado aka Sasha Banks, so I used to be really into wrestling. Really really into WWE and it will always hold a special place in my heart. But this woman has truly revolutionised the company for so many reasons. Most of the time women’s wrestling was eh not for the wrestling and it was sad. There’s also not a lot of black wrestlers that make it very far, so much so that I struggle to remember who they are a lot of the time. But Sasha Banks somehow managed to become and remain a successful wrestler who is taking seriously and earns championships and has amazing matches. She’s also related to Snoop Dogg but that’s not the only thing about her which makes her even more iconic like please stan her and support her she’s incredible.  9. Itzkeisha on youtube which is a much more recent one but I respect someone who can build herself up with genuine talent and passion and use the platform to help people and speak out against stuff and actually researches things that not a lot of people are talking about that also need help.  10. George Floyd. Tragically, police brutality and racism isn’t new. I was in denial about it in the past and I’m sure many were as well. He should not have died and please do not take this as me saying that. However, he is a martyr and more people are listening now, there’s more being done now. His death has lead to a lot and will lead to even more. We’ll get justice for him and all the other victims of murder. Police brutality is murder.  Hopefully obviously these names aren’t the only black people that I admire or respect but these are names that I want people to recognise more. I want to celebrate black people right now, so if there’s a black kid or teenager or adult even reading this please know that although things are scary, and you should be careful, it’s not your destiny to be killed by a cop. You can do great things, here’s a list of people that are also black that have done great things to prove it to you. And even if you’re not successful or your talents aren’t recognised, I still think you’re worth something. I’m white, may have said some wrong things here, if anyone wants me to change anything or correct myself of some stuff please let me know!

[itsmyregularcat]

Influenced by @white-cat-of-doom, and his Cats dream cast (please check it out), I have made my own.

This is going to be a tough one to figure out, but here is my Cats dream team, as of today.

I wish to see more productions to be better informed in my choices, so I need to get on some bootlegs I guess! (Some choices are actually going to be based off of assumptions of how the actors portray them).

I already know a bunch of my choices are going to be from the Broadway Revival (because I really like that production), and almost all are going to be from newer productions because I am way more familiar with them.

In alphabetical order:

Admetus / Macavity: Thomas Inge (Asia Tour 2017/2020 and UK International Tour 2018/9)

I quite like the Macavity redesign for Vienna 2019 and Asia 2020, so he gets the nod just for this. Otherwise, he is an established Admetus and seems to have fun with it.

Alonzo / Rumpus Cat: Fletcher Dobinson (Asia Tour 2020)

I have never seen him perform as Alonzo, but he has this energy about him I cannot really describe. From short videos I have seen, he seems to have a 'snarky' side, and just has a hell of a time flirting about with everyone during curtain calls. He has the moves.

Bill Bailey / Tumblebrutus: Kolton Krouse (Broadway Revival 2016 / Cats 2019)

They can fly with the best of them. Their flip in with the ball during the end of the Old Gumbie Cat is a cool addition. No strong feelings for this character though.

Bombalurina: Rosemarie Ford (Cats 1998)

If anyone exemplifies what it means to be Bombalurina, I think Rosemarie wins. The duality of caring attitude and scornful nature, combined with her moves and her voice all make her a top pick. Also, slightly older Bombas I feel are better?

Honourable mentions: Christine Cornish Smith (Broadway Revival 2016) for sure, Suzie Melloy (Asia 2017/2020), and Tanya Valenzuela (Mexico 2018).

Carbucketty / Pouncival: Joel Morris (South Africa 2008 / UK Tour 2013 / Palladium 2014 / International Tour 2016)

He does a relatively good job being juvenile, but not annoying in his role. Him screwing around during Tugger's song, Moments Of Happiness, and Skimbleshanks is actually endearing to a point. No strong feelings for this character though.

Cassandra: Mariah Reives (US Tour 6)

Another pick I have never seen during performances, but she looks like a good Cassandra. She is really pretty and appropriately tall, so ¯\_( ツ)_/¯. Bonus points for her lighting up during Misto's song.

Honourable mentions: Jessica Buckby (2013 UK Tour), Danielle Cato (International Tour 2019), and Emily Pynenberg (2016 Broadway Revival)

Coricopat: Corey John Snide (2016 Broadway Revival)

He pairs up very well with my top Tantomile pick, and cannot realistically be separated. This legend was also a dance captain, involved with Cats 2019, and did a split track cover of Coricopat and Jennyanydots during his run.

Demeter: Zizi Strallen (London Revival / Palladium 2014)

Real talk, I love her as Tantomile in Cats 2019, and her singing voice is beautiful and distinct. Her as Demeter is a good bet, and she gives off a happy vibe during less serious points of the show. That happiness she puts in 2019 Tanto is what she did with 2014 Demeter.

Honourable mention: Lisette Pagler (Gothenburg 2006 / Stockholm 2009). The OG grey Demeter. She is absolutely beautiful, and her non-rep portrayal design is neat. She is also an actual singer in Sweden, so her voice is top notch. I really like her as Demeter. Also, Ella Nonini (International Tour / Asia 2020).

Electra: Leah Sue Morland (Cats 1998) or Lili Froehlich (2016 Broadway Revival)

I cannot reasonably pick one over the other, I have disproportionately strong feelings for both. Lili made me fall in love with Electra as a character (and I mean, look who my icon is!), and Leah cemented it before and after me seeing the Broadway Revival. They both make a modest ensemble cat seem so much more important. One of my favourite Cats across any production.

Etcetera: Jo Bingham (Cats 1998)

Boundless energy and happiness rolled into one bouncy cat. No one had a better time during Cats 1998, and for a cat that does not appear in many production afterwards, Jo just said f*ck it and did whatever seemingly came to mind to forge a legacy. Biting Coricopat’s ass remains a landmark moment in cinema. One of my favourite cats in the film without a doubt.

George: Frank Thompson (Cats 1998)

He is sort of always there, enjoying himself. If I would cut a cast member, George would be it. Sorry George.

Gus / Bustopher Jones / Growltiger: Rory Campbell (UK Tour / Zurich / London)

Dignified Busto. A good Gus that does not play off too much about being old and decrepit. If done properly, Growltiger (for the sake of Griddlebone) should make a return to more productions. Remove the total racism and the open misogyny inherent to many portrayals of Growltiger, and make it strictly about the lovers.

Grizabella: Jennifer Hudson (for real) (Cats 2019)

I know this one will ruffle feathers, but her sad sap performance is quite unrivaled in Cats. She brought the gloom and the dejection of being casted out to life. Her singing Memory is powerful as all hell, and filled with emotion. She wins the screaming match.

Jellylorum / Griddlebone: Freya Rowley (Cats 2019)

At this point you are probably thinking, ‘my lord, what the hell is this person on about?’. Freya does not sing in the movie, and is just a background cat, but my god is she the best cat there! During her time with actual stage productions, she was a principle Tantomile, and covered Demeter, Jelly, Jenny, and Cassandra as swing. I know she can sing (even though I have never heard it), and I want to hear / see her as the most novel Griddlebone around. Big orange energy - get with it.

Honourable mention: Sarah Jean Ford (2016 Broadway Revival)

Jemima: Veerle Casteleyn (Cats 1998 / London / Dutch Tour)

The most vanilla choice, but she was the face of Jemima / Sillabub and the Cats ‘franchise’ when the 98 film first came out, and rocketed her character to great importance and notoriety. They used her for promo shots after the movie came out realizing how popular her character had become. Veerle is the innocence of youth personified. By the way, I am taking her without the overdub.

Honourable mention: Arianna Rosario (2016 Broadway Revival / US Tour 6) and Dawn Williams (UK Tour 2013)

Jennyanydots: Eloise Kropp (2016 Broadway Revival)

A younger Jenny still as wild as any other. Her greater involvement during the show is also cool to see. The changes they made to the Broadway Revival may irk some, but the Gumbie Cat scene with the choreography change is my favourite I have seen so far. Eloise does a really good job, and has a chaotic energy that draws me to her.

Mistoffelees: Laurie Davidson (Cats 2019)

On my pursuit of pissing off the purists, here is another controversial choice. He provides a character development that I think would work out well on stage. Imagine it for a second, with Tugger or Munk hyping him up. No Mistoria though.

Honourable mention: Joseph Poulton (UK Tour 2013 / Palladium 2014)

Munkustrap: Jack Rebaldi (London / Madrid / Paris / Dusseldorf / German Tours)

The man is a serious Munk, who is versatile with his portrayals. He gets so into playing the character, and seems to be having a great time doing it. Plus, how the hell can someone do Munk in English, Spanish, French, and German in the course of three years? Madness.

Honourable mentions: Robbie Fairchild (Cats 2019) and friend-shaped Michael Gruber (Broadway / Cats 1998)

Mungojerrie: Drew Varley (Australia 1993 / London / Cats 1998)

One half of the chaotic duo present in Cats 1998, with an oustanding level of dumbassery and foolishness that encompasses Jerrie. He encapsulates that attitude very well, and pairs perfectly with my top Rumpleteazer.

Honourable mention: Dante Hernandez (Mexico 2013 / 2018)

Old Deuteronomy: Nicholas Pound (London / UK Tours / Palladium 2014 / International Tour)

A bit of a different choice, considering most people would likely pick Ken Page (and for good reason). Mr. Pound has a great voice, and welcoming vibe. Behind the scenes, he is a chaotic Old D. Plus, his name is Dick Pound.

Rum Tum Tugger: John Partridge (UK Tour / London / Cats 1998 / Berlin / Dusseldorf)

Velvety smooth voice, swagger coming out the hip thrust, and a playfulness suitable for the rockstar cat. No contest with this choice. He also does not play of RTT as being childish or over the top (*cough 2016 Broadway Revival / US Tour 6*), which is appreciated. Sorry Tyler Hanes, your vlogs were delightful, but your Tugger was a bit too much.

Rumpleteazer: Jo Gibb (London / Cats 1998)

Jo Gibb is the reason I became super obsessed with Cats, and probably why my favourite character is Rumple. Having initially seen the 2019 movie before the 1998 film, seeing her smiling face and adorable portrayal made me sort of fall in love with her. She is a perfectly mischievous Rumple, and I feel is the benchmark for most others. Her engagements with other characters is awesome, and she is just the ideal actor. Also, Cockney accent Rumple is best Rumple I do not make the rules.

Honourable mentions: Every other Teazer. All of them. There is no bad one. They all have my heart.

Skimbleshanks: Steven McCrae (Cats 2019)

Big daddy Skimble, with the red pants and the moustache. Tap dancing and ballet powerhouse. WOO WOO. Enough said.

Tantomile: Emily Tate (2016 Broadway Revival)

Given all Tantos do not really have an opportunity to set themselves apart because they are more of an ensemble Cat, I liked Emily from the beginning I saw her, and I think she is really cute. Her, paired with CJS, make a pretty ideal Cori and Tanto. Maybe I am swayed by the amount of lifts and spins they do together during the show? They have a beautiful synchronization and grace with their movements. 

Weaponize your Tantomiles, helicopter her above your Coricopats and take over. Kill Macavity. Become the Everlasting Cat.

Honourable mention: Kaye Brown (London / UK Tour / Cats 1998), Melody Rose (US Tour 6), Helen Gulston (RCCL Cruise). Realistically, all Tantos are good. I like Tantomile.

Victoria: Georgina Pazcogiun (2016 Broadway Revival)

A prominent soloist with the New York ballet, renowned for her distinctive style, and you can appreciate that if you watched a 2016 bootleg show. She has also pushed out against ballet norms by being "The Rogue Ballerina" as a means of embracing the qualities that make her unique as a dancer, such as her 'bigger' (in terms of ballet) body type. Her unique style as Victoria makes her my choice. Plus, she be sneaky.

Honourable mentions: Hannah Kenna Thomas (UK Tour 2013 / Palladium 2014 / International Tour / Vienna Revival), Tyler Lotzof (Asia Tour 2020), Alicia Beck (UK Tour 2013), Phyllida Crowley Smith (London / Cats 1998). Realistically, all Vics are good.

Any way, there is my shitshow of a production.

[sillybub]

those shiki siblings though 👀👀👀

Hhhh...okay...I've had these controversial thoughts for a while now but you're really egging me on to confess.

Outside of Shiki Cats...I really wish it wasn't practically canon that Tugger and Munk were brothers.

HEAR ME OUT!!!

LOOK I DON’T KNOW MUCH ABOUT WHAT’S CANON IN SHIKI PRODUCTIONS SO THAT’S WHY I HC MUNK MISTO AND VIC AS SIBLINGS THERE BUT LIKE...

Even in London/Broadway based productions holy shit I love the three of them WAY more than Tugger and Munk.  For all the reasons I stated in this ask about my Shiki headcanons!

And I KNOW Tugger and Munk are (pretty much) canonically brothers so let’s just call these an AU.

Like Munk Victoria and Misto almost always do the invitation to the Jellicle Ball together with Victoria doing the opening dance, Misto singing the start and Munkustrap picking up, and inviting the cats to the Ball seems like it would be the responsibility of Old D’s kids.

Munk is a no-brainer.  He assumes leadership, all the cats respect him, and he clearly has a lot of reverence and respect for Old D, and he protects the tribe from danger.  He’s the oldest sibling!!  

And like I said before Misto DEFINITELY gives me middle child vibes.  He’s trying to show off all the time bc he gets overshadowed by his siblings!!!  So it means a lot to him that Tugger, who is an attention magnet, helps him sing his song!!  He’s like “I see you misto, you funky homosexual!” and Misto is like “!!!!! :D”

It also makes the stakes a lot more personal when he has to bring Old D back when Mac gets kidnapped.  Like, a lot of the time after he brings Old D back Misto just LEAPS into his arms!!!!!  He’s so happy and excited to have his dad back!!!!!!

AND MISTO IS OFTEN THE ONE TO GO RETRIEVE OLD D IN THE SONG!!  LIke alkjdslakjdladsjk Misto is so involved with everything it makes SENSE that he’s one of the leader’s kids!!  And PLUS if he’s Old D’s kid then that kind of makes sense as to where he got his magic from!!

And Victoria????  She’s a GODDAMN PRECIOUS PRETTY LITTLE PRINCESS!!!!!!  She’s so prominent in the choreography because SHE IS PRACTICALLY TRIBE ROYALTY.  She’s the darling of the Junkyard, everyone loves her.  She’s sweet and elegant and such a talented dancer.

AND AND AND!!  Okay I normally like to hc Griz as Old D’s daughter but for this AU???  No Griz is their mom!!!!  Vic goes to touch her mama!!!!!!!  And it’s so SWEET AND TENDER bc Griz remembers VIc from when she was a tiny lil baby but Vic doesn’t really remember her, that’s why she’s curious about her, but she kinda realizes who she is by the end of the show and!!!  goes to her!!!

Like Misto and Vic and Munk kinda hang out together a lot??  Munk often lifts Victoria in Jellicle Songs and in a few other times, Misto and Vic hang out together a lot, not to mention their dance together in The Invitation, and Misto is always trying to help Munk out!!!!!!!  Munk is such a good big brother who looks after his little siblings,,, and Misto is a god damn show off but he REALLY looks up to Munk and he’s so close to Vic, they’re so playful with eachother, and Victoria admires both of them so much and alksjdajdalksdkas they’re such a GOOD trio!!!!!!  Misto and Vic would gang up on Munk to mess with him and I can totally see Munk teaching Vic how to dance when she’s just learning, and hhngnnngnnngnngngngng!!!!!!!!!!  I have strong feelings!!

BUT WHAT ABOUT TUGGER???  WHAT’S HE DOING IF HE’S NOT OLD D’S SON?

First of all this makes my Jennyanydots Is Tugger’s Mom headcanon work a LOT better now that I don’t have to worry about Jenny and D’s co-parenting relationship.  So Jenny is Tugger’s mom, but she is ALSO Demeter’s mom!!  That’s RIGHT, Tugger and Demeter are siblings!  And this is @tuggoffelees ‘s idea but we were talking about it together and it fits in perfectly!!  Tugger is Deme’s annoying little brother.  He’s a loud brat child and Deme was shocked when he grew up into an actually cool adult.  But god when they were kids, Tugger had this embarrassing crush on her hot friend Bomba, and Deme gave him a lot of shit about it, but when they grew up they all thought it was funny as FUCK.  Also, Tugger is the coolest fucking uncle ever to Jemima!!

Anyways, Tugger singing Old D with Munk?  What’s that all about??  Well, he doesn’t need to be the guy’s son to respect him.  He is simply a Cool Old Dude that Tugger thinks has great vibes.  He doesn’t respect Old D cause That’s His Dad, he respect him because he is a Good and King Leader Who Deserves Respect!!!

So uh yeah those are my thoughts.................

[demigodsanswer]

Once Upon a Pointe

Summery: 

"Annabeth, you’re with Percy,' Chiron said. Annabeth. She looked like the figurine in a little girl’s music box had come to life to dance in City Ballet. Percy felt like every opportunity to dance with her was a privilege. Just don’t forget the choreography, Percy thought as he got into the right starting spot for the wedding pas de deux. Don’t forget the choreography, and don’t drop her."

Percy, a soloist with the ballet company, and he is offered one chance to dance with Annabeth, one of their star principals. If he nails the choreography, he might just earn a chance to dance with her. And, if he's really lucky, he might get a date out of it as well. 

Chapter 1/?: Once Upon a Dream 

Read on AO3

“Alright Percy, you’re up,”

Percy looked at his artistic director, Chiron Bruner, who was looking back at him with a deadly seriousness.

He had been standing in the back of the rehearsal room, not dancing, for days as Chiron tried to cast their company’s upcoming production of Tchaikovsky’s The Sleeping Beauty.

Percy knew from the minute he has been brought into the room that he wasn’t a favorite for the Prince, the male principal role. As a first soloist, he had had opportunities to play principal roles (a few times even in the first cast), but big classical ballets like The Sleeping Beauty were long, intense pieces that drew in big crowed and, more importantly, big donors. Big name stars like Charles Beckendorf were always shoo-ins for principal roles and first cast spots.

In fact, Beckendorf had pretty much been guaranteed the spot until his knee popped when he landed a jump last week. He was out for the season at least.

Percy was the fifth man they brought into the room to start learning the choreography. Of the five of them, four would lead a cast (first cast would open their run of the show), and the fifth would likely be an understudy.

It wasn’t a good sign that it had taken four days for Percy to be offered the opportunity to dance at all. If he was getting the chance now, it was his only shot.

He had been watching the choreography for days and practicing it alone in his apartment at night (a challenge without a partner, but he made do). He hoped that was enough to get it into his body. He did a few small jumps and rolled his shoulders to make sure his muscles were warm before stepping into the center of the room.

“Annabeth, you’re with Percy,” Chiron said.

Annabeth. She looked like the figurine in a little girl’s music box had come to life to dance in City Ballet. She was stunning – long arms, legs, and neck, beautiful blonde hair, and sharp features. Percy couldn’t even think of a time she had so much as fallen out of a turn.

Nothing was ever set with ballet casting – Chiron could like a pair better than another, or a dancer could get hurt – but if Percy was betting man, he’d bet that Annabeth was already set (in Chiron’s mind at least) as first cast Aurora.

Being able to dance with her was a privilege. She was only a year older than him, but she had been in the company for a decade already, getting her apprenticeship at sixteen. He’d only been there for seven years, earning his apprenticeship at eighteen. She was made soloist the next year – the same year he entered the corps.

Last year, they had been slotted to dance Balanchine’s Diamonds pas de deux in Jewels. But she dropped out a week before the performance. All he got out of Chiron was that she was dealing with a personal loss and would be taking a short leave from the company.

Silena, the woman who ran the costume shop, seemed to know everything, though. “Dancers like to talk to me or around me,” she told him.

“So, what happened?” He didn’t want to pry, but he wanted to know if she was okay. He hadn’t had may opportunities to dance with her, but everyone was close in a company. They had talked, they had shared barre space. She’d even used his foam roller once.

Silena pinned some fabric on his doublet into place, “She broke off her engagement,” she said.

“What?” He asked, turning so quickly that Silena accidentally poked him with the pin.

“Stand still,” She said, adjusting her measurements again.

“What happened?” He asked, being sure to stand still and composed.

“That I can’t tell you,”

“You don’t know?” He asked.

“No,” she said, “I know. It’s just … really not great,”

“And it’s not your place,” Percy said, finishing the sentence for her. Silena nodded and finished her alterations.

It had been nine months since Jewels, and Annabeth had been back for months and dancing better than Percy had ever seen. Her ex-fiancé, Luke, had retired just before her comeback and had moved out west. It was a young retirement – he was only thirty-three – but Percy had never liked him. (“Yeah, and your dislike of him has nothing to do with your major crush on her,” his best friend, Grover, said after Percy admitted his schadenfreude at hearing about their breakup and Luke’s retirement. Percy tried to deny it, but Grover knew him too well for that. “Crush on her or not,” he said, “I still think he was a dick,”)

Nine months later and Annabeth was walking towards him the rehearsal room, already looking like a young and beautiful princess. Just don’t forget the choreography, he thought as he got into the right starting spot for the wedding pas de deux, don’t forget the choreography, and don’t drop her.

Throughout his life, people had critiqued Percy for acting without thinking – jumping to action without considering all the options or the consequences. That had gotten him into trouble when he was younger, but in dance it proved to be his strength. He was able to turn his brain off when he danced. He didn’t have to think step-by-step; his brain heard the music and his body knew what to do. He let his body move on its own and used the extra mind space to focus on his artistry.

This is your wedding day, he told himself as they began. You met her in a dream and saved her from a curse. This is fairytale love. Show Chiron how much you love Aurora.

 He was lucky. It wasn’t hard to pretend to love Annabeth Chase.

Most days, he loved being in a Balanchine company – the arrangements, even for classical ballets, were faster and more exciting. Typically, this suited his ADHD. But as he supported her in the final signature fish dive, he wished they were dancing in London or Moscow just so he could enjoy a slower arrangement and let this moment last longer.

But, of course, that couldn’t happen. All he could do was wait for the music to end, before gently lifting her out of the dive and back on to her feet.

She was smiling at him. That has to be good, right? He thought. Annabeth, of course, had no say over casting, but she knew good ballet when she saw it.

Chiron was a master of the poker face, though. He just nodded at them and said “Good,” before calling an end to the day.

Percy went to the side of the room where his dance bag was to grab his water.

“Good job today,”

He looked up and saw Annabeth sitting down next to him to take off her pointe shoes.

“Thanks. You make it easy. You’re a great partner,” he said. He moved a little back towards the center of the room, looking for a place to stretch.

She joined him soon after, pointe shoes replaced with warm-ups.  

“I don’t think I ever apologized for leaving you high and dry with Diamonds last year,” she said.

Percy shrugged casually. “Don’t worry about it. Piper’s a great partner. I think we managed to pull it off,”

Annabeth nodded, sliding into her split and bending forward over her front leg. “You guys did a great job,” she told him.

Percy looked at her. “You came to see it?”

Annabeth nodded before bending backwards towards her other leg. “I didn’t stop loving dance just because I wasn’t doing it,”

Percy smiled, “Well, I’m glad you're back. Things weren’t the same around here without you,”

“I’m glad to be back,” she said, coming out of her split. “I hope we get to work together again soon,”

Percy tried to think of something funny or kind to say in response, but after hearing Annabeth express a genuine desire to work with him, he could really only manage to pull of something articulate: “Me too,”

~*~*~

Percy found himself humming along to The Sleeping Beauty score as he made dinner that night, dancing around his kitchen like he used to when he was a child. He still wasn’t confident that he’d be chosen as a prince for any of the casts, but he couldn’t help but daydream about dancing the ballet with Annabeth. If, for nothing else, the opportunity to dance with such an artful and technically skilled dancer. Sure, all the women in the company had good artistry and technicality – they’d mad it into the company for a reason – but Annabeth was something else.

The next day, Chiron had Percy and Annabeth run the pas de deux one more time, and then he had him run it with Reyna. Three chances, he thought, maybe that will be good enough for Chiron.

Annabeth didn’t say anything to him afterwards, choosing instead to stretch near some of the other women on the other side of the room. He didn’t take it personally; it wasn’t like they were close friends.  

As he left the studio to head home, he passed a room with just Chiron, Annabeth, and one of their ballet mistresses. Percy recognized the dance already – Aurora's act one variation. That’s it then, he thought, she’s going to be first cast for sure.  

He wanted her to succeed. Of course he did. But there was a small part of him that hoped that, if he didn’t get first cast, maybe she wouldn’t either. First cast didn’t really mean anything, anyway. It was more for reviews and promo photos. Every cast danced the ballet. The only thing that changed was who you danced it with. With only his three chances next to all the other men’s four, five, six, or seven chances, he was not going to land any higher than third cast.

That was if he got a cast at all.

Percy tried not to worry about it too much as he walked to the subway. If they were both lucky, he and Annabeth both had at least another decade of dancing left. There would be plenty of time for partnering.

But she’s going to be a beautiful Aurora, he though.

~*~*~

Percy sipped his coffee as he walked into the studio the next morning. He headed towards the office where he knew the cast list would be posted.

It was old fashioned to post the cast lists on a bulletin board outside Chiron’s office like they were in some high school theater not a world-class ballet company, but Chiron had always been old fashioned.

He started reading from the bottom and made his way to the top, never the optimist about his own chances. He made his way through the third cast without seeing his name at all.

His heart rate started to rise as he became more and more sure that he hadn’t been cast at all.

Not in the second cast. That was it then. Nothing.

He looked at the first cast to confirm his suspicions about Annabeth.

There she was, at the top of the list:

           Aurora: Annabeth Chase.

He almost dropped his coffee when he looked at the line below:

           Prince Désiré: Percy Jackson.

[the-metaphorical-jellicle-cat]

A Scene in Cats 2019 Where the Music Makes the Scene Better

Last time I spoke about Skimbleshanks the Railway Cat and mostly talked about how I think Steven McRae’s talent as a dancer influenced how the song was basically choreographed and how it seemed as though all the energy went into this performance.This time, it’s Mungojerrie and Rumpleteazer’s turn. I actually really liked this both as a song and performance. Like with Skimbleshanks, I will be going over my initial thoughts with the music and then the scene itself. I also think the same can be said here when those cast for Mungojerrie and Rumpleteazer make the scene better than it needed to be. Alright here we go!

When I first listened to the soundtrack recording, I was very puzzled. I was already familiar with the version from 1998 which is upbeat and fun. This version was jazzy and slow. I was definitely surprised but in a good way. When I did some research to see if this version was actually from the show’s history. And it was (and is) used in the original London production. If you want a good idea of how it was performed you can see it here as it is in the 1993 London production. Anyway, the opening instrumentals really gave an immediate different feel from what I was used to. Just from that opening, I know that these cats are sneaky and they know it.

I also get a Pink Panther type of feeling with the instrumentals. Where Pink Panther sets the mood of the music to be mysterious and shows how it’s a detective film, Jerrie and Teazer give off a mood of sneakiness and danger. And that only in the first 16 second of the track. The use of the cymbals and the horns also lends towards tension. We don't know what these cats are going to do. Because I am listening to it first, I don’t know if they have an audience or not. Who are they singing to and why? The use of piano is also hesitant yet inviting. We want to know. We have a need. The same can be said with the clarinet, strings, and some of the piano. It is a hint of what’s to come.

Then we hear the characters singing. I needed to remember that this was recorded as a ‘live performance’ in the Tom Hooper style. (If you don’t know what I am referring to, watch this video. I also made a post about it. Just search the tag #sideways and you’ll find it.) Anyway, so far in the movie, as according to the soundtrack, we have heard 3 solos. 2 of which were terrible and 1 that was actually pretty good. The reason being that it was sung live just like Les Mis was. I thought they were going to butcher Mungo and Teazer but was surprised when I heard the singing capabilities of the actors (Naoimh Morgan and Danny Collins) who are from the world of musical theater. Of course I didn't know that when listening to the track at first but one can tell they had experience with this type of music. Their voices pull you into their story almost as if they are talking to the audience very much like in the stage show. I also want to point out the instrumentation once more since, unlike the other songs,it almost becomes a character in itself by contributing to the version that is being performed. 

After that we come to the midpoint where we hear big brass and percussion. There is something happening but we don’t know what it is. We can infer by the use of these instruments that something chaotic is happening in the scene. It builds and builds and we hear Rumpletazer come in once more but quieter as she is hiding something. It’s 72 seconds of instrumental music which takes us to a different location musically with the instruments. As Teazer sings her part, we hear more piano but with Mungo, we hear a dynamic change with the horn and the instruments that follow. The music becomes more playful and more like the characters we know from the stage version. 

What I really love about this track is the playfulness we hear when they are at the dining room section of the song. Mungo breaks the song by speaking instead of singing and it works. It works because it helps us understand how the cats view humans. To them, we are their source of fun. These two cats like to trick humans for food and essentially cause as much chaos as they can. Then we hear an entirely new voice. It’s Victoria and we realize these two actually do have an audience. It's this new voice who sounds taken in by their story. They have her wrapped around their paw. You can especially tell this because Victoria finished the line “it’s that horrible cat”.

Afterwards we get another big band moment but it lasts longer than the last. There’s more bombastic horns and saxophones and percussion while their voices reach above them. This combination pushes that chaotic sneaky narrative we heard at the very beginning. We even hear a guitar that uses the same musical theme as the horns/saxophones.

Then we get towards the end of the track and I hear something I have no idea how to take. We hear them creating the chaos we have only heard through the music. We hear the smash. We hear the crash. However, it sounds very rushed and the actors sound out of breath. I can barely tell what the lyrics are and if I wasn't so familiar with this song I would probably never know. 

Then the music quiets while keeping that mischievous tone. I also love Victoria’s high note for the word “and” and how it matches with one of the instruments. But Mungojerrie and Rumpleteazer whisper “and there’s nothing at all to be done about that” like it's a conspiracy and they can get away with pretty much anything. The end of the song also has a sense of finality. This is who they are and they managed to get Victoria to follow what they want. The fact that the music does this also suggests that something is going to happen. Nothing stays final and their chaos doesn't end there. All of which we see later in the film but not the music. We just get a taste. 

Overall, I like what they did with this song musically and vocally. This version is different and not used as often as the one we know which is smart. They also had to choose a version that matched the film’s aesthetic, was different in mood from Bustopher Jones, and gave a different interpretation of the characters. It needed to stand out against what we had heard so far and I think it accomplished that task.

Now onto the scene itself. I had to backtrack a bit after Bustopher Jones and really listen to the dialogue that happens during the track itself. The first 16 seconds of the song is instrumental yet the dialogue within that section is important. Victoria had to leave her new friends because of Macavity. Mungojerrie and Rumpleteazer literally pick her up which transports her into their world of chaos and shenanigans. I’m going to be pointing this out a lot in this section but the tail animation is used perfectly throughout the sequence. Their tails are used to make sure Victoria is looking at them when each of them is speaking. It’s a great detail which then causes us to pay attention to the two cats’ relationship. Their facial expressions are also great! We get a moment where Rumpleteazer is speaking to Victoria and the look on Mungojerrie’s face gives us a hint of what’s in store. The music itself helps with this set up of mischievous fun.

You can also see how Victoria is very uncomfortable with the two cats at the very beginning of the song. Her face and posture is uptight and uncomfortable. She is kind of forced to be there since none of the other cats are there with her. She doesn't want to be there but Rumpleteazer ‘encourages’ her to have some fun. Teazer steals the spotlight in the beginning of the song as it shows Victoria this is what they do. She even does this thing with her hand as if she is hypnotizing the other queen. Teazer even nods to Jerrie to continue with the job. It’s almost as if Teazer is technically used as a reassurance device to show that this is okay and they’ve done this before. 

Then Teazer puts the pearls around Victoria’s neck. Of course this is done with the line “suddenly missing her Woolworth pearls” and it is effective. This is when Victoria begins to trust these two cats. To her they are different. They don't take the world seriously. The fact they are having fun basically destroying every room in the house makes everything right.

The camera work from when they are on the bed to when Mungojerrie puts the drawers on Victoria is very well done. The circular motion of the camera creates movement with the choreography without it becoming nauseating. 

I don’t have much else to say about the sequence other than once the music picks up near the end, we see why they become so out of breath. They are literally destroying the kitchen and the bedroom with very little care. And, again, Victoria is fully invested which also contributes to her part in the actual song. In the version we know, the only vocals come from Mungo and Teazer. This version has Victoria, who represents the audience. At the beginning we only hear the two trouble makers. Then Victoria has bits and pieces. She, like us, wants to be part of this new type of fun. And destroying property can be fun. 

Overall this is a version that deserves to be seen and heard. I think if we got the other version, we might have a different movie all together and these characters might be different. This is definitely one of the many highlights of the film. The others being the ones I’ve already written about. But what I love most about this sequence is the acting, tail animations and the use of practical props. 

I will say this now, if it wasn't for Naoimh Morgan and Danny Collins, this could have been a lot different. The acting, especially the facial expressions throughout the scene, are perfect for these characters. They give a sense of mischievousness and like they can get away with anything. Their facial expressions give more to this idea that these characters like to have some relatively harmless fun. If it wasn't for those facial expressions, I don’t think I would have enjoyed this version as much as I did. 

There is also the use of dialogue that I didn't expect to like but it works. In between some of the phrases, dialogue is said by the two cats which help with their character. My favorite bit is from Mungojerrie on the stairs. He says something to a ‘police officer’ which is in character for the purpose of the film. 

This is also probably one of the best scenes to watch if you want to see how they used the tail animations for the characters. My notes for this scene were mostly just how they animated those tails. I wrote examples above, but another one is when Victoria is singing ‘And’ at the end of the song. If you pay close attention, her tail rattles because of the high note. Mungojerrie and Rumpleteazer also constantly use their tails to communicate with each other and Victoria. 

There are also two things I want to commend in this sequence. The use of practical props and the scale of the set. I really like how the cast used the practical props in a way that not only showed quirks of the characters but also development (in Victoria’s case.) My favorite set of props they used were during the dining room scene. There were parts where it did feel a bit faked and plastic but I ignored it in favor of the performance. There were several points I did have to remind myself that this world is different from reality. Other than that, this sequence used props that pushed the story rather than hinder it. They weren't there to be there, the props were there for a reason. One can say they are a character in themselves because this world takes human objects and transforms them into how a Jellicle may see them. 

They didn't need the theatrics of the stage version. What I mean to say is they didn't need the double cartwheels because they were not necessary. Instead we got the over the top music, wonderful acting, dialogue that made sense, and a version of the characters that make sense within the world of the film. While I know a lot of people wanted the double cartwheel (myself included), it felt fine the way it was. If you want to watch a version of this with the double cartwheel, I highly suggest watching this video. It’s a dress rehearsal from the 1994 West End production with Jason Parmenter & Vikki Coote.

Overall, I love this version of the song and scene. It fits the characters of Mungojerrie and Rumpleteazer while also continuing Victoria’s journey through the Jellicle tribe. This is also one of the few songs where there aren't any interruptions from other cats or mice. The other one being Skimbleshanks (there was one but that’s it). The only ‘interruptions’ are dialogue between Mungojerrie and Rumpleteazer which never break the song. It doesn't take away from the flow of the song like in Rum Tum Tugger where the interruption disrupts the scene and performance. Here, it was done in a way that was smart. 

I would definitely suggest this to others who want to know some of the good parts of this film. It is definitely up there with one of the best sequences of the film. Right along with Skimbleshanks the Railway Cat and the Magical Mr. Mistoffelees.