#this guy has so much potential man

[flixiastar]

Hello everyone!

As you can see I love Brian a lot and also happy (early) anniversary to his uhhh demise? 😀

[waitineedaname]

I know everyone has talked about this but I really do love how much reigen cares about the kids around him. In general, he seems to want what's best for people (even if he lies through his teeth to them or scolds them and tells them to grow up) but it's especially striking with the kids, particularly within the context of the series' genre. So often you see kids in shows and books and movies expected to bear the weight of the world, but then there's reigen going "you're just a kid, this is not your responsibility, you should just be worried about normal kid things." Over and over he throws himself into danger to protect kids who have been failed by all other adults around them. And he looks out for them outside of life or death situations too -- he hears teru talk about being alone during summer vacation and he immediately takes teru on a bunch of summer excursions and invites ritsu along too even though he knows ritsu doesn't like him, he gets a trip to a hot springs and invites both of them even though they're not his employees, he drives mob and his friends up a mountain to summon aliens on new years. He just constantly proves himself to be a reliable, caring adult to these kids, and it's no wonder so many of them ending up latching onto him

[mymarifae]

does anyone want to join me on the aventurine/argenti train. it's got all the perks of being as funny as any other argenti ship - especially given the random absurdity of their first meeting. what the hell was argenti doing in the depths of the nihility? who even knows anymore man. but like also i think it has the potential to be really sweet?

aventurine hasn't let anyone In since his sister died. he's long since forgotten how to Trust, and Love, and how to BE Loved. and this, combined with enormous amounts of survivor's guilt and trauma and being treated as an object, has really done a number on his self-esteem. he doesn't act like it (because he's learned that it's dangerous to be vulnerable; it's the one gamble he's not willing to take), but 2.1 gave us that glimpse into his inner dialogue and it is Bad in there

between his conversation with acheron, the note veritas left for him, and finding a sense of closure in the apparition of his younger self, he's on track to becoming better. we can see it in the way he pretty much immediately reaches out to the trailblazer to get some things off his chest once he gets his phone working again. and the way he's accepting what is basically a form of therapy from the doctors of chaos. but his self-hatred has been building up for years, and it's going to take a long time to unpack and unlearn all of that

so like, in comes argenti, right? he's a loud show-off, but he is SO earnest. he sees the beauty in everything and everyone. he's kind, and gentle, and so full of love. he also comes off as a bit... lonely to me? he's spent so much of his life chasing after idrila's shadow, and only catching a glimpse of them in his many near-death experiences (and isn't that something to think about...........). he's not like, secretly miserable or faking or anything - i think his exuberance is 1000% genuine. but humans are social creatures; everyone wants and requires at least some form of closeness and intimacy. to have a love to pursue in This realm... someone he can see and hold without needing to have one foot in an early grave . i think that would be good for him. that's all

anyway, it's clear that argenti was pretty enchanted by aventurine

like yeah that's kind of just how he talks normally but !?@,%&#& that's a lot of awfully romantic things to say about one specific person out of the several you apparently rescued (??????? god i love this guy he makes no sense. literally why are you even here bud). it seems that aventurine's more subdued state left an impression on him too, and well wouldn't it be pretty in character for him to start popping in randomly... as he does, because he can apparently just go wherever the fuck he wants. to check on this sad yet oh so beautiful peacock.. to try to bring a true smile to his face... to show him how kind and beautiful the universe can be......

i think aventurine might have a hard time laughing off offers of comfort and company and the beginnings of a courtship if it comes from someone like argenti. this man couldn't be disingenuous if he tried. he doesn't wear his heart on his sleeve as much as he rips it out of his chest to show you. it'll be a learning curve regardless - aventurine is too used to needing to constantly prove his worth to keep anyone around and to keep them from hurting him

but do you see it. do you see the vision. do you see how Sweet this could be. aventurine is about to receive more roses than he'll know what to do with

[cringelordofchaos]

I'm all for analyzing character parallels, especially w these two bc i believe there are things to be taken out (yes, I am delusional, yes, I will make a whole essay if needed) but this feels really oversimplifying

Edit (13/4/2024): I used the word delusional incorrectly. Being delusional is NOT about overanalyzing character parallels, it is so much more serious than that. I'll make sure not to use the word like that in the future

[kalcifers-blog]

A lot of you really like when I go into my deep dives with the Egos and talk about them under a horror lens

But I've mostly only focused on Chase or Anti whenever I've done this so today I'm focusing on Jackie >:))

(Please keep in mind I haven't read the comic yet and I would like to keep this spoiler free of it as of now!!!!!!

I am in love with the idea that Jackie is a silent sufferer. He's someone who will hurt and keep hurting until it's unbearable and he still won't show that he's suffering. It's just his nature to not let anyone see how much he's in pain, whether that be physical or emotional or otherwise.

If or when Jackie starts to get targeted by Anti- he wouldn't ask for help. He wouldn't even admit to himself how wrong it is- I genuinely think he'd brush it off, creating excuse after excuse to himself to avoid ever admitting anything was wrong.

It'd only be until he physically couldn't keep it up anymore that he'd finally crack under the pressure. And I can only imagine how much Anti would absolutely relish in his pain breaking out.

I feel like the likes of Marvin would recognise it immediately, Marvin's an observer and would notice the little things most people would probably overlook- like just how fake Jackie can be when it comes to his politeness and overly nice demeanor.

It's not to say Jackie isn't a nice person- but Marvin can see just how much Jackie plays pretend, how even without the superhero schtick he is constantly hiding behind a mask. Never truly speaking his mind or showing how he ever really feels about anything, and I think there's a genuine fear in Jackie that even he doesn't fully know who his true self is anymore because of how much he hides.

Anti would absolutely feast on Jackie not knowing who he really is- completely isolating him in his own misery, trapping him in a maze of mirrors with false perceptions on who he is- only showing the worst aspects of Jackie that only Jackie knows about- because of course only Jackie knows about any of it, he refuses to let anyone else see it.

I think Jackie wants more than anything to be able to let people in- but that felt near impossible before he even got his powers or to be a hero. Every time Jackie looks for a genuine human connection all he's faced with is this inescapable feeling of him never being able to ever fully open up, there's just too much to lose and he'd much rather him take the brunt of absolutely everything than risk anyone getting hurt.

So of course Jackie would eventually break, there is so much for Anti to feed off of him that it is only a matter of time before he would completely crack under everything going on behind closed doors, doors that he locked, bolted and nailed shut before even he couldn't open them anymore.

[ohfugecannada]

I think the comics should synergise a tiny little bit with the movies in regard to High Evoloutionary and Rocket being enemies. Not that I think it should be exactly like the messed up abusive creator/creation dynamic of the film (lord knows Rocket’s comic backstory is enough of an inconsistent mess already), but instead more like “this powerful, 1000+ IQ smug intellectual man who basically sees himself as/is pretty much a god-like being, gets shaken to his core/royalty pissed off when he’s out done intellectually by a fucking 3-ft tall furry abomination”

[quietwingsinthesky]

1 or 34 for the master pls thank u :333!!!!!!!

extremely funny to me how quickly this got away from me alsjfjfkskkdj. i started thinking too hard about okay but Who could bring the master to his knees. the doctor? hey wait remember that time ten had a god complex for a little bit. what if he got worse about that, actually. and then it just kept going-

This is not the Doctor whose arms he died in.

Oh, the face is the same, but the eyes are all wrong. Still ancient, as old as the Master is, but they’ve gone hard like bone. He doesn’t spare a glance around the room at the cowering scientists or the politician that wanted to use the Master, who gave him such easy access to a perfect plan before the Doctor landed his TARDIS on top of the machine and crushed it. Only to one human, the one assigned to hold the Master’s leash.

“Give him to me,” he says. The Master curls his fingers. A step closer, and he’ll let the Doctor taste lightning again.

His assigned guard all but throws the leash at the Doctor. (They’re all terrified. Something’s… wrong, there. Not a misplaced sympathy of his own — let them fear their betters — but it’s the Doctor, it’s how he ignores them, how he holds himself like. He looks every bit a Time Lord.) The Doctor catches it, turns it in his hand, and yanks. The Master feigns a stumble, energy surging through his skin and bones, rattling up dangerously until-

The Doctor pulls harder, knocking him off-balance and to his knees. He twists, but there’s a hand in his hair, painfully dragging his head back until his neck screams in pain. The pinprick of a needle is barely a whisper above it, but the sluggish cold that spreads from the injection spreads no matter how he struggles. The Doctor grips his hair tighter.

“There. You’re stabilized,” the Doctor notes. The Master pants, his limbs growing heavier. “And sedated. You have to be so difficult.” For the first time, the Doctor’s voice falters from the detached tone he’s taken so far. It’s harsh, as thick with accusation as with self-reproach, “I asked you to come with me.” The Master is having a hard time ordering his thoughts. They stretch too far for him to see the whole of them, his sense of time and of himself going numb.

“How?” he lands on, more important than any other question. The Doctor’s grip begins to loosen, letting his head sag forward. His body wants to follow. His vision of the floor he’s kneeling on blurs.

“You were living on borrowed time,” the Doctor says. “I have all of it to work with at my fingertips. When I saw you again…” There’s the absent trail of fingers through his hair. The Master recoils from it instinctively, though that sends him further down, barely holding himself up on his hands. The collar draws tight around his throat when he falls, forcing out a gasp, but it loosens again. “It only took a few decades. I’d have given more to you.” The Master lifts his hand, slowly, and forces it out in front of him. It’s humiliating to crawl, but his limbs can barely keep his weight. He barely moves himself forward a few inches before the collar is a hard barrier against his breath again, and this time, he doesn’t receive any slack. He has to scoot back towards the Doctor.

“You’re going to live,” the Doctor says, without mercy. He steps around the Master, the leash dragging along the floor with a mocking hiss.

“And the rest of you,” the Doctor’s voice grows louder. It becomes a proclamation, a warning. “I won’t hurt you. It’s a stupid and dangerous thing you were doing, but that’s… that’s what you love most, humans. Stupid, dangerous things.” Where’s the sickening fondness, the Master wonders. Where’s the disappointment, even, in his favorite pet species? All he can hear in the Doctor’s voice is carefully controlled anger. “I’m not going to hurt you for putting the whole world in danger,” he repeats, as though he’s reminding himself of that fact, and then, the Master can hear him smile. Regeneration after regeneration, and the Doctor always talks different when he’s smiling. “I don’t have to. If you ever try anything like this again, you won’t have existed in the first place to come up with the idea. I will take you out of this timeline.” He pauses. “Or maybe I’ll just make you kinder. Buy you a coffee on a bad day and change your life forever. You can exist, just not like this.”

He sounds powerful, and worse, he doesn’t sound scared of it. The Master uses the last of his strength to drag himself back up to his knees. The Doctor is surveying the room, memorizing faces, lost in thought about time to tamper with. The Master puts a hand around his own leash. He tries to pull.

All that does is get the Doctor’s attention.

His eyes. The Master is afraid of his eyes.

“Sorry,” the Doctor says, “I’m not going to carry you. You’ll have to crawl.” The Master is searching for anything familiar in him. And what there is, what little there is that he recognizes, is only because of how easily he could have seen it in a mirror instead. “If you pass out, I’ll drag you,” the Doctor offers like a compromise. He turns away from the Master, snaps his fingers, and the doors to the TARDIS burst open.

He takes the Master prisoner. He saves the world. They are both, after all, the Doctor’s alone to decide what to do with.

[whump prompt]

[merlinmerlot]

I could play one of the most beautiful well crafted video games on the planet and it will never be as appealing to me as one that kind of sucks shit but has soooo much potential

[girlmadeofclockwork]

I think the potential hilarity of Durge/Karlach is not capitalized on enough, cause imagine being Gortash, the subordinate you sold to the devil ten years ago is back foiling your methodically laid out plans and out to kill you in vengeance for what you did, and then just to add insult to injury she stole your murder-girlfriend as well. L’s up on L’s for this man.

[ultraviolet-cello]

warmdown doodle from last night :]

[devotedlystrangewizard]

totk really is one of those games that make me go "ok thanks for the characters, setting, and general plot, but ill take it from here <3" because the entire historical timeline had so much potential for interesting and nuanced story telling but they just went with the old zelda story formula and YES thats how theyve always done it but botw was such a reset in terms of gameplay that they couldve overhauled how they handle story in totk. but they didnt

[serpentinespider]

My (maybe controversial?) Spideyflash opinion is that Flash has an unbelievably intense crush on Spider-Man but has no feelings for Peter Parker whatsoever

[mumpsetc]

You do not have to elaborate if you wouldn't like to but i'll admit i am very curious to hear your thoughts on balloon and nickel

My Favorite ii Character is Suitcase So You KNOW I Have an Opinion on Balloon and Nickel. In Fact, I Kind of Hate Them!

In S2 I Actually Do Really Like Nickel, I Think His Pure Horribleness is Pretty Entertaining and He's an Effective Antagonist. I Get a Kick Outta the Lil Fucker. Balloon in S2 is More Blah for Me, I'm Not Too Interested in His Own Pain When Suitcase is Infinitely More Interesting But He's Not Offensive, Just Kind of a Lackluster Prop to Someone Else.

When S3 Started and I Saw They Were Goin In for Nickel and Balloon Drama Again I Was Lil Interested. Unlike Other Returning Characters There Was Still Mineable Tension There Cuz the Conclusion of That Arc Was More Suitcase's Than Anyone Else's. and Also I Just Like Nickel.

They Have Since Become One of the Things I Dislike the Most About S3. I'd Go as Far as to Say Balloon Is the Most Thorough Character Assassination That Season's Produced. Granted It Is the Most Interesting He's Ever Been, But Him Constantly Turning a Blind Eye to Nickel Not Changing is so Frustrating. Further Still, When He Eliminates TK and Says That "I Don't Want to Play the Game With Backstabbing and Betrayal" Spiel While Allying With Nickel is an Active Insult to Suitcase. Him Calling Her Putting Her Entire Time on the Line for Him "Backstabbing and Betrayal"? Man I Can't Stand You!

Nickel I Still Think is Entertaining But Now Its Less Because I Like Him and More Getting a Kick Out of How the Writers Seem Unaware How Much He Hasn't Changed and How He's Still Just Blindly Horrible to Most People (Usually Women Honestly. His Pattern of Being Unrelentingly Horrible to Suitcase, TK, and Clover While Mostly Just Being a Bit of a Dick to Everyone Else is Like. Ok). Clover Giving Him Her Luck Powers After He Screamed At Her Till She Cried Was Very Much a "Lol Lmao" Moment for Me.

Also the Fact the Show is Definitely Doing Some Weird Shipbait With Them is Like. Whatever. Fine. Ok. Sure. I Don't Care Anymore.

[barefootcosplayer]

I have had the nicest people commenting on all my old bioshock fics recently and it is just so heartwarming and affirming like thank you and ily ily ily, I’m just feeling the love 😭💛🥰

[frozenambiguity]

Fontaine hype — REAL!

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")