one thing I absolutely adore about tgwdlm is how completely and irrevocably a stage musical it is. it HAS to be a stage musical - the medium is so deeply baked into the story that it truly would not translate to another medium.
some reasons why:
the musical style is old-fashioned in a way that screams classic broadway. you can't get away from it, especially in songs like "lah dee dah dah day" and "show stoppin number". and it's not just the music, it's the dancing too - have you ever seen a kickline in a movie musical, once, ever? or jazz hands? gimme a break
along similar lines - all the broadway references! hamilton of course, but also wicked and mamma mia and jekyll & hyde
all the attention deliberately brought to the lighting and set! the performers in "la dee dah dah day" loudly saying "lights down!" when it's over; ted, paul, and emma striking the stage after "show stoppin number"; the lighting panels used as sirens, TVs, showcasing hudgins' alexa, and more; ted wheeling the big meteor prop off the stage after "let it out". they don't let you forget that we're in a theater.
all the hokey ass miming and special effects???? charlotte and hudgins having their guts ripped out is flashy and fun onstage because of the intestine props. emma and ted having blood capsules in their mouths. paul, emma, and zoey violently shaking when pantomiming being in a helicopter. ted running in place, moving forward or back to suggest movement across the road. it's all so fun and consistently reminds you that this is a stage
double-casting as intentional obstruction of the truth. we're used to seeing one actor play several roles in a musical, so when a familiar face shows up in a new costume we assume it's a new character. but it was zoey flying the helicopter to clivesdale, and I think it was zoey in the hospital at the end as well. you couldn't pull that shit in a movie because movies don't double-cast.
the role of the audience, the laughter and gasps and reactions and applause, especially the applause at the end when emma is begging the audience members to let her use their phone and demanding to know why they're clapping; sure movies have audiences too but the presence of the audience as part of the story makes a point about societal ideals as something we all have a part in that a movie just couldn't make in the same way
on a related note - emma's sudden awareness of the stage and the audience as the horror trope where the person realizes they're trapped and will imminently die. she knows she can't escape because it's just a fuckin loop. she knows no one will save her because they're all clapping. you couldn't do that in a movie because in a movie there is a fourth wall, whereas on a stage there's nowhere for the characters to run away. on a stage the characters can look you, the audience, directly in the eye, with no camera or screen between you
I will literally never shut up about that curtain call
god damn what I wouldn't give to watch this show performed live
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This line is actually funny when you realize that the Darkling is the one that should say it to her.
Baghra talks about disappointment, rejection and giving up.
But isn't the Darkling the one who despite all the love he used to show to his mother she only rejected him? Whenever he called her "madraya" she didn't share the sentiment. Whenever she was training him, she kept demanding more and more from him. When he gained the power Baghra had encouraged him to have, she didn't feel proud. When he had pride, she chastised him for that even though she raised him to be prideful. When he offered to take her home, she only decided to commit suicide in front of his eyes.
It was the Darkling that should say that line. No matter what he did, it wasn't enough. Loving her was hard and without true reciprocation.
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I love compilations like "Starkid breaking the fourth wall" because you always know what's coming:
. That one moment in Twisted (Subliminal messaging)
. That one moment in Starship (Damn that G.L.E.E)
. That one moment in AVPSY (The same Hermione you know and love)
. The end of TGWDLM (WHY ARE YOU CLAPPING)
. A few moments in AVPM (Voldemort threatening A.J when he starts playing the piano, when Voldemort just walks around the stage door, etc)
. About half of Firebringer (The fourth wall hadn't been invented yet)
. All of Trail To Oregon (The fourth wall still hadn't been invented yet)
. Red Vines (what the hell can't they do?)
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Martyn sits on the edge of a stage. He’s poked himself out between the closed curtains, their weight pressing against his shoulders, so that he can reach the outside again and stare out.
The lights in the theater are off. Someone’s here, though.
Martyn nods and then, as loudly and obnoxiously as possible, drinks out of a can of soda. “We’ve still got a few more weeks, right?” he says cheerfully. “You don’t gotta sit here waiting. Uh, shoot. What was the thing Tango said? Go home? It’s done? What are you doing here? I think I did that wrong, it’s a reference…”
The things sitting in the back of the theater say nothing. Martyn gestures with his soda can at them. “Hey, you try remembering your movie references when you weren’t even the one who made ‘em! It’s harder than it looks, you know.”
Many eyes slowly blink across the members of the audience who have never left. Martyn leans back. He lets the curtains dig into his shoulders. They’re heavy, is the thing. The curtain, when it’s closed between the stage and audience, it’s heavy. He’s not meant to be hanging out of it.
He’s not meant to know it’s there either. Typically, characters in a stage play don’t know they’re being Watched.
Some of them do, though.
Sometimes, the audience is even the one who fucks that up for them. Funny, that.
He sips obnoxiously from his can of soda again. “You know, staring at me won’t make it happen faster. I’m not even the one who sets, you know…” He waves his hands around. “I just show up where I’m told! Hang out! Kill people! Die.”
If he’s bitter about that—and he’s not in the business of lying to himself, so sure, he’s bitter about that—he doesn’t let it show.
“I’m not even supposed to be out here. I’m supposed to be backstage,” he says. “Take what you can get, yeah? If you start talking to the characters, you don’t get to complain when they come out here and taunt you for Watching when there isn’t a bloody life game to Watch.”
The things in the back of the theater say nothing. Martyn tries to drink from his can of soda again, but it’s out. He crushes it between his hands and throws it out into the crowd in a moment of rash defiance. It’s not really fair, though—he doesn’t mind half the audience, really. One of the nice ones might be in the seat that’s slightly sticky now. Bit rude of him.
Of course, he can’t get off the stage to fix it. That’s not how this works. Just because they felt the need to make it so Martyn could move the curtains—
He sighs.
“One of you want to go out to the vending machines and get me another? There’s nothing backstage, you know. Nothing back there at all.”
Something moves.
“Thanks,” he mutters. “Thanks. Few more weeks to go, right? Few more weeks to go.”
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