#this is specifically about hadestown at the West End

[the-promise-has-been-made]

Still thinking about Hadestown

How Eurydice's candle burned until she went to the Underworld, and then she lit it again in the end during Road To Hell (Reprise) and when the show closes with Hermes's final 'we're going to sing it again' and the lights in the whole theatre go out and it's just that little candle, that little light of hope left in the darkness and the silence followed by roaring applause and the cast bows.

How everyone knew what was going to happen and STILL at the end of Doubt Comes In when Orpheus turns, there were audible gasps and sobs in the audience because the tension was OFF THE CHARTS. And then there is just the silence of their final farewell and no one on the audience seemed to breathe.

Thinking about the little tremble in Hermes' voice when they ask Orpheus 'how far would you go for her?' Because this version of Hermes REALLY DEEPLY cares about Orpheus and Eurydice, and they have told this story many times and it still hurts them to see these two have their hearts broken.

Thinking about the audience not just being spectators, but actually there. Hermes acknowledges our presence before the show even starts by getting the same 'Alright!' from us as from the cast. The fact all characters introduce themselves to the audience. And again, before Wait For Me (Reprise), they tell Orpheus and Eurydice that he have to prove before Gods and men that they trust each other and their love, and that includes us, the audience. There are moments throughout the show where characters make active eye contact with people in the audience (usually inthe front row because those are visible, but I never once had the impression that the characters were unaware of our presence. We were part of the wall, part of the workers, part of the people. And that makes this show so immersive that you can't help but feel with these characters.

[gncrezan]

born to be a wealthy patron of the arts forced to be working class

[thedvilsinthedetails]

What each marauder’s fav musical would be (in my opinion):

James - beetlejuice (chaotic af, funny and happy ending…)

Regulus - Jekyll and Hyde (thought provoking, sad ending also he’d find ‘bitch bitch bitch’ funny bc that’s lowkey exactly what the ppl at functions he has to attend are like. Also he loves ‘bring on the men’ and I won’t accept questions and if ur confused about the name, it’s exactly what it sounds like.)

Remus - Hamilton (he just…would love it.)

Sirius - Six (no question. And he would sing ‘Don’t lose ur head’ at the drop of a hat. He defo learnt the dance to ex-wives and six finale)

Peter - Dear Evan Hansen (he just gives me those vibes like he genuinely would love it and I love that 4 him)

Barty - Heathers (pretty sure this was in like one of my first posts too but he would LOVE heathers.)

Evan - Moulin Rouge! (OMG this one was actually hard icl I couldn’t think of one for ages but I actually think this is perfect for Evan. He definitely prefers like plainer style of stuff and shit and pretends not to like musicals but he goes excited like a puppy dog with proper heart eyes if you show him the absolutely over decorated stage they perform moulin rouge on. And you best believe he knows all the lyrics of ‘Firework’ by Katy Perry but no no my friend it’s not because he listens to her, in fact he’d probably be confused about the annoying pop song arrangement of ‘the song from moulin rouge’ also he loves the song mashup bit in ‘backstage romance’ that they dance to (if you don’t know what I mean then play this song but skip to 2:30 bc the start of the song won’t make sense without the entire plot detailed to you) because I say so because everyone does because it’s impossible not to.)

Mary - Anastasia (look I will not be accepting slander of this musical and neither would Mary. It is a masterpiece.)

Lily - Jesus Christ Superstar (fucking love this musical and only the best for Lily Evans. She would love it because I said so.)

Pandora - Hadestown (thought provoking, gorgeous music, based off a Greek myth. Just yes. Also I can picture her humming Orpheus’ tune but especially the extended bit in ‘wait for me’ )

Marlene - Les Misérables (ok so I know this might seem like an odd option for her but hear me out hear me out…Marlene attempting to perform all the parts in ‘one day more’ and blasting ‘Do you hear the people sing?’ from her phone as an attempt to scare people.)

Dorcas - Phantom of the Opera (the absolute dramatic theme is definitely her jam and she absolutely knows how to play it on every instrument. Like she doesn’t necessarily know how to play an instrument but you can bet she at least knows the phantom’s theme on it.)

my theatre kid side is rlly coming thru in this oops

also if anyone wants to know the specific albums (bc a lot of them have more than one recording) of the musical that I prefer and am thinking of as I write this then check below ‘keep reading’

beetlejuice/hamilton/anastasia all only have one - the original bway cast

Jekyll and Hyde - ‘Jekyll and Hyde: The Gothic Musical Thriller’ (the 1995 one with Anthony Warlow as J/H)

Six - ‘Six: the musical (studio cast recording)’ sorry to the Broadway cast lovers, I prefer the og Brit one bc it feels weird to hear them with American accents to me

Dear Evan Hansen - the original Broadway cast recording, not the movie one

Heathers - Original West end cast. Again sorry to all the ppl that prefer the off broadway one, west end heathers ver till I die, it’s just better like ‘never shut up again’? I say no? I’m sorry it’s just better, no matter how much u say ‘blue’ is better than ‘your welcome’

Moulin Rouge - original Broadway cast, as much as I love Nicole Kidman I just prefer the bway cast recording to the movie recs

Jesus Christ Superstar - ‘Jesus Christ Superstar (Remastered 2005)’ the one with the 1996 London cast, it’s just my favourite album of it because of the song arrangement

Hadestown - original Broadway cast recording (I feel like ppl don’t rlly listen to the concept album anymore bc it’s just so wildly different from how the actual show music ended up sounding, I do actually quite like it but the musical ver is better in my opinion)

Les Mis - holy shit there’s a lot of albums for this one, tbh I’m not thinking of a specific one but maybe the 2010 London recording - the live one(?) I just quite like it but tbh I listen to a diff album each time I swear 😭

Phantom of the Opera - the original 1986 London cast one bc I just prefer it to the movie

[lotrmusical]

HI! i saw u reblogged the West end hadestown and said you've seen it so i have to ask, thoughts on hades? the character switch when he goes very camp on chant (reprise) threw me for a fucking LOOP. i had been crying beforehand but I was just like desperately holding in my laughter after that. the "young man" up against the door frame? I almost pissed myself. and his legs....

OH MY GOD. OKAY. YES

i'm the wrong person to ask about this because whenever a stage performer turns up the camp to 100, worthwhile questions such as 'is this the best considered acting choice for the character' don't stand a chance. they are completely overshadowed by the gay part of my brain emitting whirring noises. i enjoy it too much to care

but anyway my actual thoughts on zachary's hades are as follows:

i like when hades sucks. i enjoy when he gets to be a melodramatic loser and a villain-y villain, because it makes orpheus managing to get through to him hit much harder for me. so zachary hades with his sleazy attitude and the kind of warped enjoyment he's getting out of playing at being powerful and manipulative fulfilled my every wish. tailored to me specifically

i especially enjoyed his acting when he starts to break down a bit for epic 3, his scared/angry/shaken/lashing out was all delicious

direct quote from the messages i was sending people about the show after i saw it: i will say that he was not very.. idk.. plausible?? in chant 2 convo with orpheus specifically bc he was having too much gay fun strutting around the revolve to sell the lines about keeping a woman lmaooo

also i'm extra sad that we don't have the 'now it thickens on my tongue / now it quickens in my lung / now i'm stricken now i'm stung / it's done already' lines in his kiss the riot any more because they're some of my favourites and i want his gay take on them

[six-costume-refs]

more of a opinion question, but do you think six will ever bring back old cast members for the long term productions (like west end, broadway, uk/na tours)? i'm not talking about back to back contracts (like jen caldwell) or the short term replacements (like natalie paris and courtney mack), but people who left coming back for a full contract. like the odds of anna uzele coming back as parr for the 2023-24 broadway cast (just a random example)

I think it realllllllyyyy depends on the scenario. Here's a few scenarios where that could happen:

1. Short term replacements. I know you said you're specifically not asking about this, but it feels remiss to not at least mention given that 90% of returns will probably go into this category. For anyone not familiar, this is mostly when they just need someone to bridge the gap between different contracts or cover for a longer-term injury. That's because it's typically more logistically convenient to bring someone who has already been with the show back in. Examples: Khaila Wilcoxon with Broadway, Natalie May Paris and Courtney Mack with the Aragon Tour, Madeline Fansler with the Australian Tour, Jessica Niles and Rebecca Wickes with the UK Tour (this is a non-exhaustive list with just the most recent examples)

2. Promotion. This is someone who re-joins the production full-time for a full contract that is considered a step up the ladder from their prior one. That might be promo from touring cast to Broadway (often preferred because of higher pay and ability to live in one spot) or cruise to mainland, or it might be from alt to principal. Logistical factors can also play a part in this, like Caitlin Tipping and Vicki Manser both joining the UKT post-lockdown when they needed new principals and couldn't hold full auditions. Examples: Caitlin Tipping, Vicki Manser, and Natalie Pilkington joining the UK Tour, Abigail Sparrow with the Canadian production (others exist). Wicked and Moulin Rouge are both examples of other Broadway shows that nearly always do this.

2.5. Universal swings. This is really a combo of 1 + 2. Being a universal swing is incredibly demanding, even moreso than regular swalt contracts. It's much easier to hire actors who already know the show extensively and who they know can reliably learn and perform all those tracks. In the case of Six, every single universal swing has been returning from another contract. Examples: Liv Alexander, Bryony Duncan, and Harriet Watson in the UK, Marilyn Caserta and Cassie Silva in the US. Kelly Denice Taylor also functioned in a similar capacity temporarily, and both the US and UK have had a number of alts on standby/learning covers for other productions in case they're needed (but not on official universal contracts)

C. Promotion of the show/"starcast" or "stuntcast." This is when a major “name” joins a show. It’s often in an attempt to sell more tickets, usually (although not always) when a show might be starting to struggle with ticket sales but may not be at a crisis point, and is trying to figure out a way to revitalize the show enough that it could continue running. There's two versions of this: 1. Someone who has no prior association with the show. In this scenario, the star-cast/stunt-cast actor is often a significant celebrity, particularly if the intent is to bring in ticket revenue. Examples of this from other shows would include Jojo in Moulin Rouge or Lillias White/Betty Who in Hadestown 2. Someone who has a prior connection to the show, usually meaning a former cast member who would be a significant draw if brought back in now. When bringing back a former actor to sell tickets is the intent, it's most often a member of an original cast who has significant enough popularity/notoriety to hopefully pull in more audiences (ie - Lin Manuel Miranda briefly joining the casts of both the In the Heights and Hamilton tours in Puerto Rico). That scenario is incredibly likely with at least some of the original West End cast members; Natalie May Paris would be a seemingly obvious possibility for another West End contract if they ever needed her (the Broadway cast is similarly popular in the US). On rarer occasion shows might bring in someone who was originally a replacement (not original cast), but who has also gained significant popularity/notoriety since their initial run in a show. Six commonly casts actors who are fairly young and/or early in their career, so many actors will use it as a jumping off point. That means that they've already seen, and are likely to continue seeing actors, actors who perform in Six and then go on to other significant roles that help grow their name. For instance, Adrianna Hicks and Anna Uzele both just led Broadway shows this season while Joy Woods led a major off-Broadway and is expected to be in a shared lead role next season. If those three actors are able to continue getting cast in lead roles and becoming even more well known, there might be draw for Six to bring them back in the future. Bringing back the original West End cast for Hampton Court/proshot is a similar idea. However, with HC they were bringing back the original cast to promote and film a pro-shot, not a specific production, so it's not quite the same scenario. Examples: none from Six...yet! Again, these rules of thumb mostly apply to principals. For alternates there's also the possibility that some might be asked to come back in the future as a vacation cover/universal swings (which I mentioned above), and they also have the increased chance of re-joining as emergency cover for a temporary period. It is also possible for principals to emergency cover, but is generally less likely since they only provide coverage for one role and in those scenarios it’s usually more helpful for them to bring in an alt with more role flexibility.

[vulgrados-best]

// Required reading for hit blog @vulgrados-best (in no particular order)

- The Bible

- The Last Days of Judas Iscariot by Stephen Adly Guirgis

- A book of Greek Mythology

- All of Percy Jackson by Rick Riordan

- Revolutionary Girl Utena + Adolescence of Utena

- The Palace Perspective (an analysis of Revolutionary Girl Utena)

- Arcs 1-5 of Warrior Cats by Erin Hunter

- Hadestown (Musical by Anaïs Mitchell)

- Love of the Wolf by Hélène Cixous (trans. Keith Cohen)

- This post about werewolves

- Undertale (created by Toby Fox)

- Legend of Zelda: Twilight Princess

- Puella Magi Madoka Magica (dir. Akiyuki Shinbo & Yukihiro Miyamoto)

- A Single Moment by Umbriex & ShadowWolfSky

- clearandsweet's Madoka Magica analysis series

- Amphibia (dir. Matt Braly) [can be supplemented with my 21 hour explanation of the entire plot that was split over the course of 3 days. The downside is this is available only in a now defunct pokemon irl server]

- The Good Place

- All of RWBY

- ThusKindlySheScatters' The Killing Kind RWBY AMV

- The Minecraft End Poem

- Fire Emblem: Three Houses, Crimson Flower Route

- The Bible again but this time just the parts about Jesus

- Flicka (movie adaptation, dir. Michael Mayer)

- Frozen 2 [Frozen 1 is not required]

- Homestuck + Hiveswap Friendsim + Pesterquest

- Doki Doki Literature Club

- All of Fairy Tail (including 100 Year Quest)

- Persona 5 + Persona 5 Tactica

- Plato's Allegory of the Cave

- Danganronpa: Ultra Despair Girls (while not required SDR2 is also helpful).

- Mistborn: Well of Ascension by Brandon Sanderson

- The story of King Lindworm as explained by @/villafordefeatedvillains

- The Magnus Archives but specifically through a GertrudeAgnes lens

- Wolf Children (dir. Mamoru Hosoda)

- Wolfwalkers (dir. Tomm Moore, Ross Stewart)

- Your Name (dir. Makoto Shinkai)

- Stories told to me by various family members [impossible to find]

- Every episode of the Pokemon anime released in the West until X & Y

- Love Live Sunshine!! Season 1

- Sword Art Online Abridged by SWE Abridged

- Brittle Bones Nicky by the Rare Americans

- The Locked Tomb by Tamsyn Muir

[rumpunch]

HIIII so… i finally got to see hadestown this weekend (the national tour production) w two of my best friends 🥹🥹🥹🥹🥹🥹 i knew we were gonna see it for months but i didnt want to post abt it beforehand / acknowledge it in any way after making plans bc i was scared i would jinx it like what happened when i posted / talked abt seeing shows on the west end and then covid hit and sent me home lol. but i can’t believe i finally saw it!! it doesn’t feel real and honestly didn’t until right now as im writing this….. being in the theater was truly an out of body (and mind lol) experience for better or for worse. this was my first time seeing a show since covid and im soooo glad it was this one given how much it’s meant to me for all these years 🥹💗

i have a lot of thoughts on the production and also the plot / story so here they are lol:

production thoughts

for context ive never seen a hadestown 👢 before, i told myself that i wanted my first experience of seeing it to be actually seeing it in person. but ive listened to the obcr 5798673594 times over the last 3 years and the songs have become thoroughly woven into my life... so that made for a really weird experience where i knew every word but was watching it unfold for the first time and yet i knew what was coming for the most part. that also could be chalked up to the fact that ive seen so many gifsets and have read so many posts about other ppl seeing the show so i did know about some visual things.. but yeah it was just weird what i knew / expected and what i didnt lol

my friends and i sat in the back right corner of the mezzanine (like the LITERAL corner. no chairs behind us or next to us and the exit right next to us) and sadly the balcony in the set was cut off for us so we had to keep leaning across each other or scrunching our heads down to see the action up there :~/ but it was ok

i think bc of the above two bullet points + the fact that i really did not let myself believe that i was going to see the show bc i was scared of jinxing it + me having depression / possible derealization issues that i did not have when i first got into this show... i was kinda numb the entire time which sucks a little. i cried a couple times (happy / disbelieving tears in road to hell (persephone's entrance specifically for some reason, idk why it wasnt the "aight"s LOL) and any way the wind blows, sad tears in doubt comes in) but i didnt really... process anything in the moment or really experience the epic highs and lows of it while watching it. i just generally wasnt very moved! and im processing the show right now for the first time. and that kinda sucks and is unlike me and unlike what i thought seeing it was gonna be like. in a similar vein i found myself really focused on whoever was in the spotlight and im kinda mad at myself for that bc this is a show where SO many little details / context clues are communicated when ppl are in the background. but its fine i guess, i may be in a weird place mentally but i got to see it and maybe i'll see it again someday and be more moved

the cast was PHENOMENALLLLLL. j antonio rodriguez was our orpheus and he was the standout for me, his singing and acting as were breathtaking! i was frustrated about hannah whitley (eurydice) though bc like (and i feel bad for saying all of this)... nobody can be eva noblezada but hannah was missing a lot of notes / singing off key and kept like.. idk what the technical term for it is but she was kinda singing on her own beat and adding in a lot of pauses or rushing into things instead of staying on pace with the music and also she kept kinda revving up into the high notes and all of it grated on me. but i grew warmer to her singing in act 2 and i really appreciated her acting throughout! i didnt rly have many thoughts about hades (matthew patrick quinn), persephone (maria christina oliveras), or hermes (nathan lee graham) aside from ADORING all of their performances and what they brought to the roles compared to the obc! and the fates (dominique kempf, belén moyano, courtney lauster) / ensemble (kc dela cruz, colin lemoine, sean watkinson, shavey brown, raquel williams) / musicians were INCREDIBLE and had such amazing chemistry with and between each other :~D

antonio made for a bolder more charming orpheus and hannah made for a darker moodier more tortured eurydice which was interesting. but (and maybe this was just me dealing with the whole numbness / already knowing what to expect thing) i wasnt really convinced about their love story (specifically the early parts of it in act i as they were falling in love) or that orpheus in particular was insecure and vulnerable to the fates. but they did have some good chemistry in act ii especially and i was rooting for them so hard despite knowing wht was to come :~(

i knew that on broadway they have that little elevator in the center of the stage so i was curious about how it would work in the tour and... they had this giant oven box thing with moving doors! i actually really liked that, it made the whole idea of traveling to / from hadestown seem more sinister. that said i was kinda bothered by it during doubt comes in because orpheus and eurydice had to walk around the entire stage to make sure eurydice was positioned in front / inside of the oven and it kinda spoiled the ending in a way (even though we all know how that ends)... im guessing that on broadway its less exaggerated and you dont see it coming bc all eurydice has to do is just move over to the side a little. but idk i'll finally let myself watch a 👢 and see what the difference is

i couldnt take my eyes off of hades and persephone during promises. they started the song with hades kneeling with his head against persephone's stomach and then he stood up and they just hugged.... for a LONG time. like at least 3-5 minutes. and i was like god i wish that were me and i was thinking about what that mustve been like for the actors playing them.. like if thats a moment that they share and look forward to or whatever bc i know i would. it made me think about jenna's dear baby monologue in you matter to me LOLLLL

i saw from another post i read on here (as i was pregaming for the show by scrolling thru my hadestown tag LMAO) that orpheus runs through the audience at one point? and he didnt do that for us that i saw which i was bummed about. maybe thats just a broadway thing

i had no idea the set splits open during wait for me!!! it was so cool

i also didnt know / fully realize that hades produces a flower for persephone during epic iii 😭 the tears in my eyes... also speaking of epic iii hades singing the lalalalalalalaaaa got a LAUGH and i was so MAD!!!!! i get that its kinda funny because it just sounds so weird in his voice and its a startling moment... but that pissed me off bc the moment is supposed to be so tender and heartbreaking and the audience didnt appreciate that.. augh.

since its pride month the set was initially lit up with rainbow lights and in act ii hermes had little rainbow tassles on the ends of his sleeves!! :~D

plot / story thoughts

another context bullet point to kick us off: i discovered hadestown in the spring / summer of 2019 which was an INCREDIBLY formative time for me and so many aspects of the show (creative expression as a tool / forum for bringing about the world as it could be (and illuminating the possibilities in the world as it is), discovering that you have agency, love / loyalty / betrayal / sustenance, finding your purpose, etc.) were profoundly relevant to things that i was awakening to at that exact place and time in my own life. so i went into this experience hoping to have more insights like the kind i had when i first listened to the obcr... and i didnt really. i mean i had some but they didnt feel as profound i guess? and again that may just be me having mental health issues now that i didnt have then.. but that was a thing that i was aware of and kinda sad about. so yeah

that said... the main thing along those lines that i did take away (which really only hit me while watching epic iii / promises) is like... love is agency is love is agency is love.... or something like that. at least that they coexist and happen together. the oppressive conditions in hadestown and the poverty in the overworld strip the gods and humans alike of... their humanity (which is weird to apply to the gods but still)! their sense of self, and their love for each other and the world. the moment that became clear for me was in epic iii when the workers took off their goggles one by one and it was like.. they could See again! they could see themselves and each other, they were holding hands with each other and singing together. and they saw a future that they could create together. and hades was letting persephone dance and she kept spinning away from him with her arms outstretched like a bird but then coming back... idk. im not articulating this well and i need to think about it more and let it simmer for a bit and maybe watch a 👢 to get all the details. but it was like yeah... the opposite of capitalism imperialism etc etc is love and agency and they go together and they are the same thing.

another thing i need to think about more: orpheus went to hadestown all by himself to get eurydice! how come he was so confident then? he was LITERALLY alone. he didnt know where she went or if she would come back with him. and he didnt have the workers following him (though they were there in wait for me swinging the lamps, but i interpreted them as being like... part of the scenery i guess). he was completely alone and operating off of hope AND THE FATES TAUNTED HIM TOO and he was like... fine! so then in doubt comes in.. when he has all these people including eurydice following him... like idk. maybe its just because he'd confronted hades who couldnt fully be trusted and he knew that eurydice had turned her back on him and stuff... like maybe its just because on the journey back he'd experienced things that caused him to doubt / mistrust the people he was journeying with / from and that's what made him vulnerable, not so much the physical loneliness but the emotional loneliness that comes with a betrayal. which is something i just realized typing it out lol. but that kinda agitated me bc its like... he was FINE the way up so why did he crumble on the way back :~(

doubt comes in is such a fucking GUT PUNCH btw. i wanted to cry harder but didnt let myself bc i didnt want to be too loud or soil my mask. but i was so so scared to see it and it devastated me. its just so... SAD. and its so... like i relate to / identify with orpheus SO much yes in part because of the creative expression / seeing the two worlds thing but also because of doubt comes in specifically. its just so so so sad. he had all of these people including the person he loved most cheering him on and echoing to him. and he couldnt hear them. and he couldnt internalize how much they loved and believed and trusted in him. and he turned. that is so wrenchingly real. and it hurt so bad to see it playing out on the stage knowing what was about to happen and then WATCHING it in all the brilliant horror. like thats another insane thing the way the lights get so wildly bright. actually now that i mention that i think the lights are brighter in hadestown when bad things are happening. like hades saying I CONDUCT THE ELECTRIC CITY etc etc. that could be a whole post. someone should make that

im thinking a lot about The Song and whose song it is and actually WHICH song it is. bc if you think about it... so we're introduced to the lalalalalalalaaaa and whatever song that is which builds in the epics. and that song incites a lot of action like orpheus (quite literally!) tuning out eurydice which causes her to choose to go to hadestown, and hades realizing what love is and whatever. but another song that is equally if not more catalytic is.... IF IT'S TRUE!!!! bc thats the song that sparks the revolution among the workers and gives orpheus hope that he almost lost after learning about eurydice's betrayal and inspires eurydice to fight for something instead of succumbing to her fate. and in wait for me reprise when eurydice is singing "echoing OUR song" "the falling of OUR feet" ... like they're not alone as just the two of them, the workers are coming too!! so which song is she referring to! what if it's actually "if it's true" and the hopes that orpheus has stirred up about what the world could be?

btw speaking of orpheus tuning out eurydice... im sure this point has been made 5476463979 times but its rly interesting to think about how love languages (for lack of a better way to put it, ik that can be kinda reductive) work in this show. eurydice and orpheus both attempt to address the storm but the ways they choose to do it are different / dont align: eurydice tries to manage the short term by searching for food and firewood, while orpheus works on the song that will bring spring back and stop this kind of disaster from happening again. but iirc they dont talk about how they're going to take these two different but equally important strategies — eurydice at least interprets the song as being unimportant and orpheus just... straight up seems unaware of the food / firewood thing also being important. so theres a communication failure and eurydice interprets the silence as abandonment (for good reason, also relatable) and turns her back (ha!) on orpheus. and then with hades and persephone... hades does all these big flashy power gestures to show his love for persephone but it's the exact opposite of what she wants and they dont see eye to eye about how to express their love for each other either. yeah

speaking of eurydice making that choice... like yeah. sigh. betrayal is such a huge thing in this show. trust and betrayal. eurydice was (kind of) leading orpheus through the immediate short term danger of the storm and she turned on him. and the fact that she did was part of the reason orpheus turned on her. they made their vows in promises that they would walk side by side but he couldnt get over it (partially bc they literally weren’t allowed to physically walk as they planned but still). and eurydice said "im right behind you and i have been all along" and its like no you havent been thats the entire plot of the show lol (again for understandable reasons but still!)

another thing im sure has been analyzed 456456984 times but its interesting to think about hermes watching everything playing out while knowing how it will end and not choosing to intervene. idk what that means and my laptop is running out of battery so im not going to dig into it but im just thinking on it. BUT ALSO THAT GOES FOR US AS THE AUDIENCE like so many ppl probably know how it ends and maybe some ppl are seeing it multiple times and its like... anyone could intervene and change the story (within reason ofc). also goes for the other ppl on stage too like the musicians etc. its just interesting to think about the implications of that and what would happen if someone tried it both "in character" and "out of character" i guess

its interesting to think about the role walls play in the show too. like the wall hades is making the workers build to keep out the "enemy" and keep them (him) powerful and prosperous in their (his) isolation vs the walls repeating the falling of feet, echoing songs... letting people know theyre not alone. and the fact that that doesnt happen in doubt comes in even though orpheus is being followed by a whole crowd basically. idk. fascinating

ok those are all of my thoughts i think! i also saw some interesting posts / takes that im going to rb again bc theyre on my mind as i interpret the show but i dont want to put them in this post bc theyre not my original thoughts. ty for reading if you did :~D this is a glorious new era in rumpunch nation im so glad and grateful that i can finally say ive seen this beautiful show!

[dinosaurtsukki]

haikyuu!! characters and their fave musicals

pretty much an hc’s for funsies type of thing. which characters are absolute nerds for musicals and which ones couldn’t care less? i know not everyone likes musicals but if this is your thing, feel free to read! 

Hinata: he’s one of those people who watched Shrek the Musical unironically and ended up getting really hooked on it but no way is he going to tell anyone

Kageyama: thinks that the Shrek trilogy are counted as movie musicals because ‘the characters sing and everything’. will fall asleep in a theatre so don’t bring him you’ll be disappointed

Tsukishima: loves Avenue Q and The Producers because the humor is right up his alley. also has tASTE and his fave is probs something like Hadestown because it is the best musical. loves to break down the lyrics and listens to an album non-stop when he’s obsessed

Yamaguchi: he tried to watch Grease but ended up throwing popcorn at the tv-screen because of the blatant sexism. yams is not About That. gets his recommendations from Tsukki and has never looked back

Tanaka: likes anything with awesome choreography and really cool special-effects like Hamilton or Be More Chill. when you ask him about the story though he’s like ???

Noya: doesn’t get the concept of musicals. ‘she’s singing about the guy but he’s right there??? doesn’t he hear everything????’ ‘WHY ARE THEY SINGING JUST FIGHT ALREADY’

Ennoshita: also has Taste. watches pretty much anything and loves to keep track of new productions and new casting. if you ask him about his favorite musical he’ll probably specifically mention the cast and where it was performed

Asahi: y’all are gonna hate me y’all are gonna hate me but JESUS CHRIST SUPERSTAR haha jk. one hundred percent a Dear Evan Hansen kinda guy because he relates to the main guy’s personality. has waving through a window on repeat

Sugawara: LOVES the classics: Les Miserables, Phantom of the Opera, Miss Saigon. knows every song and movement by heart. sings them everywhere. would not listen to anything else. also Moulin Rouge because he’s one Classy Bitch

Daichi: appreciates any good musical recommended to him but the kind of person who presses ‘shuffle’ when listening to the recording and all the fans around him die inside. does this more than once just for that reaction

Kiyoko: loves anything with awesome female roles, particularly Legally Blonde and Six the Musical. raises an eyebrow at you if you say you like Grease and you land on her list of people she would barely talk to

 Yachi: practically raised on disney movie musicals. loves to watch and re-watch videos from Broadway Princess Party a lot. is basically a disney princess herself and loves to put some songs on when she cleans the house. 

Kuroo: one of those people who got really into Hamilton back in the day. would sing the vocals, the back-up vocals, the chorus parts, and hum the intros. says he’s a musical fan but that’s the only one he’s watched/listened to.

Kenma: someone recommended Be More Chill to him (probably tsukki) and he ended up actually liking it. once in a while you’ll hear him humming ‘christiiiiIIiine’ under his breath. likes to listen to michael in the bathroom at 2 am

Yaku:  hates musicals ever since Nekoma had a movie night and then decided to watch Lion King and lev dead-ass lifted him up over his head like what rafiki did to simba in That Scene. 

Lev: another one who likes disney musicals but like, the basic ones (frozen, tangled, beauty and the beast). mostly because they’re his sister’s favorites tho. has more than once did the whole ‘do you want to build a snowman’ thing with alisa and probably his teammates

Oikawa: thinks that liking Heathers makes him edgy it doesn’t. practically paid hanamaki and matsukawa to sing Candy Store with him and using iwa as veronica. absolutely vibes to the Mean Girls musical

Iwaizumi: a hard High School Musical stan, now and forever. thinks that Ryan and Chad are definitely gay. one time oikawa was giving them a pep talk and said ‘what team?’ and iwa yelled ‘WILDCATS’ and then everybody looked at him because they KNEW they KNEW HE NEVER GOT OVER THAT PHASE-- 

Matsukawa: Cats. The Movie.* wrote a long-ass thread on twitter about why the female cats should be given six boob and tagged Tom Hooper. was blocked.

Hanamaki: *see above. probably had his sexual awakening when he saw Idris Elba as a sexy cat. there’s nothing gendered about a sexy cat

Kyoutani: likes the leather jacket aesthetic in Grease. looked up the lyrics to ‘Greased Lightning’ once and shut off his laptop when he saw the innuendos. may have tried to replicate the choreography at one point but fell off a table

Yahaba: a romantic at heart. has a copy of the West Side Story DvD and loves to sing ‘Maria’ and ‘One Hand, One Heart.’ he and Oikawa love to duet ‘I Feel Pretty.’ also tried to copy the choreography and sUCCEEDED

Ushijima: you’ve taken him to see an array of musicals, from the much-loved classics to the inventive modern musicals. every time, you glance at him hoping for any reaction. he always leaves the theater saying ‘it was good.’ only one musical has managed to make him crack a smile: The Muppets (the movie ver.)

Tendou: another boy with Quality Taste. is a hardcore stan of any musical by Team Starkid (also loves that they’re all on Youtube). makes so many references to them but nobody else understands. will yell ‘TIGERFUCKER TIGERFUCKER’ out of the blue

Shirabu: thinks that La La Land is Peak Taste. got angry when tendou showed him a video of ryan gosling scenes in the movie but it’s all replaced by barry, the bee from Bee Movie. now La La Land is ruined because he keeps on remembering ‘you like jazz?’ in barry’s voice 

Semi: tells you that he just doesn’t watch musicals but he secretly had such a Les Miz phase. writes enjolras x reader fanfics and his longest one was 200k words. if he hears anything that vaguely sounds like ‘do you hear the people sing’, a tear will fall out of the corner of his eye

Goshiki: was looking for slime tutorials one and stumbled on ‘not hamilton just a 2 hr slime tutorial’ y’all kno what i’m talking about and watched the whole thing. was disappointed that there weren’t any slimes but is now into hamilton

Akaashi: knows and understands the peak performance quality and biblical philosophy of Jesus Christ Superstar. doesn’t tell anyone about it though because they all assume its all church music. ‘it’s not’, he sobs. ‘it’s more.’

Bokuto: akaashi recommended Jesus Christ Superstar to him and he watched it, thinking that he’d see jesus playing an electric guitar. he was very disappointed and sulked about it for a week. LOVES disney musicals though

Atsumu: was one of those kids who would look up the Harry Potter Puppet Pals videos on youtube and stumbled in to A Very Potter Musical. ever since jk rowling’s snake side came out he began accepting that fan musical as canon. likes to piss rowling off by posting screenshots of the musical and saying its from the movie

Osamu: the Disney fan but with Quality Taste. loves Hunchback of Notre Dame, Princess and the Frog, Prince of Egypt, and Anastasia (the last two aren’t disney but animated musicals). cries at the sound of Phil Collins’ sultry voice. 

Kita: is in love with Phantom of the Opera because his grandmother loves listening to it. he’d sing THE ENTIRE SOUNDTRACK pretty much every day until his teammates catch him singing in the locker rooms while they were changing AND NAILING ALL OF CHRISTINE’S HIGH NOTES LIKE ITS NOTHING

Terushima: doesn’t like musicals so his friend recommended that he watch The Guy Who Didn’t Like Musicals by Team Starkid because of the crackhead humor. watched Robert Manion perform and ending up going on google and searching ‘does watching men move their hips real nice make me bi?’

Koganegawa:  y’all are gonna be surprised but this one’s a hardcore Wicked fan. has watched all of the different castings of it. he loves to imitate Elphaba’s iconic ‘FIEEEEROOOOOOO’ line in the showers and records it, just to see if he’s close to how it sounds onstage. has Idina Menzel’s autograph

Futakuchi: bitch does nothing but roast everyone else’s musical tastes. hamilton? ‘wow, mainstream much?’ dear evan hansen? ‘psshh, basic.’ be more chill? ‘think you’re edgy or something?’ the greatest show? ‘what are you? five?’ his favorite musical is actually Cats

[thewhizzyhead]

HELLO SOME OF YOU GUYS LIKED MISFITS AND SOME OF YOU GUYS LIKED GRADE 11 (i posted about that musical draft thingy back in march and um yea there have been a lot of changes fjxjf) AND GUESS WHAT DUDES I HAVE MORE MUSICAL CONCEPT SHITS TO RAMBLE ABOUT BECAUSE MY BRAIN IS WAY TOO HYPERACTIVE FOR MY OWN GOOD SO SIT BACK, RELAX AND ENJOY THIS CLUSTERFUCK

@ari-is-anxious have fun with this and i wish you the best of luck in trying to comprehend this-

+ Kasaysayan (which means History) - this is the 2nd musical concept thingy i made (the first one being Misfits) and yea i started thinking of this went I was 14. I kinda wanted it to tell a story of like the entirety of philippine history as narrated by students and i wanted to kinda emphasize how history has many faces and how many different factors essentially blur our perspective of what we view as the past. I also wanted to like draw parallels between what our ancestors have experienced and what we currently experience esp when it comes to sociopolitical and economic stuffs and I wanted to like correct a lot of misconceptions about ph history and provide more insight and info about ph's past (i.e how centuries of colonialism have affected our current culture and overall social mindset esp in regards to our want for validation from foreigners aka the whole #PinoyPride thing; how even though activism and revolution is like the main reason on as to why the Philippines even exists, it continues to be demonized here; the ideologies of some of our revolutionary heroes and presidents and why some of them are dicks; etc etc). Also I wanted to showcase like um PH music, art, and dance and how that has progressed and also regressed throughout the years (*shakes fist at colonizers*) and um YEA YOU CAN SEE WHY I EVENTUALLY AND RATHER QUICKLY DISCONTINUED THIS TJCJSJF THIS IS *NOT* DOABLE AT ALL THSJFHF it could work as a concept album and a one-time performance BUT NOT LIKE A LEGIT PRODUCTION SO YEA FOR NOW IT WILL STAY IN THE DRAFT FOLDER FJXNSJF but yea this idea then led to the next two ideas woo

+ Noli/Fili - started wanting to make this at the start of quarantine so like um march 2020 heck i even made a wholeass word doc for this fjdjdv so it's basically a ph-rock-rap-based musical adaptation of Jose Rizal's Noli Me Tangere (Touch Me Not) and El Filibusterismo (The Filibuster) (yes these two novels are like tne national novels here since rizal is our national here and yea these were originally written in Spanish) but the protagonist of El Fili (Simoun) takes charge of telling Noli's story in Act 1 while Noli's protag (Crisostomo Ibarra) takes charge of telling Fili's story in Act 2. Those two books have very different tones and those two characters have um VERY DIFFERENT world views so i thought it would be interesting to tell one's story through the eyes of someone different and yet also the same to provide a lot more insight on how the events in the novels affected these two protags (there is a Good Reason for this and um Filipinos who studied this in 9th and 10th grade know what i'm talking about fhshf if u wanna um know what i'm talking about and don't wanna read the novels (they are very long) i suggest looking up El Filibusterismo and um yea check out Simoun fjsjf). Like for example, there would be times that Noli's narrator (Simoun) (whose general demeanor is like um a lot more cunning and cynical and a lot more resentful of the events that have happened compared to Fili's narrator) would directly question the Noli protag's (Ibarra) actions while Fili's narrator (Ibarra) (he is a lot more um hopeful and peaceful compared to Simoun) often questions how Fili's protag (Simoun) turned into well um a very cynical and cunning person with a taste for revenge (I am trying my hardest to NOT spoil the novels here gjdjf) and yea because the story is set in Spanish Colonial times here, i wanna focus more on the sociopolitical aspects and problems in the novels and how those still remain relevant here, hence the ph-rock-rap-based music. Also I would like to point out that the curriculum here barely like goes into depth about the subject matter of the novels (esp the sociopolitcal parts) and how said subject matter shaped the characters here and HOW EVERY SINGLE THING IN THIS DAMN NOVEL IS STILL RELEVANT,,,so um basically the curriculum is currently missing the entire point of the novels since Rizal wrote these two with the intent to provide socioecononic and political commentary on the pure shit that many of the Filipinos experienced under Spanish colonial rule,,,SO THIS THINGY IS BASICALLY MY MIDDLE FINGER TO THE CURRICULUM AND ESSENTIALLY MY ATTEMPT TO SHOW MORE OF THE NOVELS COMPARED TO WHAT HAS BEEN TAUGHT TO US FJJSJFV this is gonna be a nightmare to write tho cause wow those novels are jampacked

+ Patron - if this ever becomes a thing, I will consider it the greatest thing i'll ever write gjcjdbc I REALLY WANT THIS TO BE A THINGY AAAA so the plot is barebones atm but it's basically about journalism and activism here in the Philippines (and how both can get you killed fjjsjf i'm not kidding these two can legit get you killed wah redtagging sucks shit and the anti terror law can suck even more shit) and how the youth are expected to be purveyors of the country's advancement and improvement despite the fact that our voices are oftentimes dismissed and even permanently silenced when what we say goes against what those in power want us to say,,,those this is basically Misfit's spiritual successor fjxjdjf both of those musicals share similar themes fjxns so yea expect me ranting about a lot of political stuff here and a lot of talking about the ideologies of past and present politics and revolutions and how those affect the masses and how the masses can shape them in return. There will also be talk on how journalism's role in shaping society and how proper dissemination of information and lack thereof can affect people's mindsets aND HOW JOURNALISM IS OFTENTIMES MANIPULATED TO MANIPULATE PEOPLE'S MINDSETS (STUDENT JOURNALIST AND ASPIRING PROFESSIONAL JOURNALIST'S RANTS GO BRRRRR YEA I HAVE A LOT TO RANT ABOUT).

Oh and also this musical is heavily inspired by both the noli and el fili novels and by spring awakening (Everything I Write Will Be Inspired By Spring Awakening dbjxd) in a sense that Act 1's active protagonist (who then becomes Act 2's passive protag) is named Elias and is based on both Elias from Rizal's novels and on Melchior Gabor (which is funny cause rizal's elias is NOTHING LIKE MELCHIOR GABOR SO UM LOOK IT'S GONNA BE HARD TO EXPLAIN JUST UM YEA IT'S MESSY) while the passive protagonist (who becomes the active protag by the end of act 1 and throughout the entire 2nd act) is named Cris Ibarra and is based on Moritz Stiefel and Rizal's Ibarra (more specifically um Rizal's Ibarra's growth into a very different character throughout the events of the two novels).

ALSOOO there is this one concept that made me really REAALLY want to make Patron an actual thingy and that is the existence of um Shadows in the show. Inspired by the voices in Deaf West Speing Awakening, these Shadows can always be found lurking on stage alongside their respective characters like um if Elias is in a scene, his shadow can also be found on stage somewhere. I kinda want them to like represent the characters' innermost thoughts and the other parts of themselves the characters' would like to hide through how the Shadows act on stage and um yea choreography gjsjf Patron is porbably gonna be very dance heavy so um yea it's a bit hard to explain so i'll just point to Alex Boniello and Daniel Durant's Moritz fjxjjf i kinda want it to be like that. The Shadows would be part of the show's ensemble and um yea lots of dancing and prop moving woo also at times they would be singing for the character they are assigned to like um while Elias would be in the middle of doing something on stage, his Shadow would be the one singing in his stead and when his Shadow sings, that's when the character becomes the most vulnerable to the audience because the Shadows often expose their characters' thoughts and worries to the audience that the characters themselves wouldn't really express. So like um the Shadows address the audience a lot gjxjsjd except for one aka Ibarra's Shadow. Instead of addressing the audience, Ibarra's shadow addresses IBARRA directly, often questioning Ibarra's actions (especially their hesitance in Act 1). ig ibarra's shadow is rather representative of what Ibarra would turn into in Act 2 when they take over as the Active protag. But um Ibarra's shadow still questions Ibarra frequently esp in regards to their risky actions so um yea Ibarra's shadow is kinda like the Fates the hadestown wherein they serve to sow doubt but over here Ibarra's shadow is meant to symbolize how insecure they feel in regards to their decisions which well, as the protag, make and break the show. Also um yea the rest of the characters' shadows also start addressing their characters more while the characters themselves start addressing the audience more so woo switcheroo! Also the dynamic that the characters have with each other is similar to the dynamics between the kids in Spring Awakening wherein they are just kids (well in this cause young adults aged 18-20) trying to figure out life in general and all that so woo

(also I would like to note that I really want Ibarra's role to be open to all genders in order to like make a statement that anyone can grow into the character Ibarra becomes throughout Patron but rn hmm i'm still thinking about how that will play out especially given that I kinda wanted Patron's Ibarra to have two love interests here aka Elias and Clara (kiiiiinda based on Maria Clara aka Ibarra's actual love interest from Rizal's novels but um YEA THERE ARE A LOT OF DEVIATIONS GJXSF) but tbh i'm still figuring out a way to make Clara have a much larger role here in terms of pushing the plot cause rn the Elias and Ibarra dynamic have an advantage since um active-passive protagonist switcheroo so I'm kinda thinking of a way to make Clara a secret 3rd protag that is both an active and a passive one? I dunno fjsjd honestly i'm still trying to figure out what Maria Clara represents in the novels cause I know for certain that Rizal did not write her to be a mere demure love interest so um yea WORK IN PROGRESS AND UM ALL IN ALL IBARRA CAN BE PLAYED BY ANY AND ALL GENDERS AND IBARRA IS PANSEXUAL BECAUSE I FUCKING WANT THEM TO BE GJSJJF)

+ Grade 12 - OKI SO LIKE I'VE POSTED ABOUT THIS BEFORE BACK IN MARCH BUT UM I'VE CHANGED SOME STUFF GJXJJD so anyways Grade 12 is well um designed to be a campy-please-don't-take-this-seriously-this-is-just-for-laughs-and-gags musical about 12th graders (i changed the grade to raise the stakes) that makes fun of Filipino TV tropes esp when related to teenagers while also providing a lit more insight on ad to what teenagers go through on a daily basis in terms of trying to grow into the person they want themselves to be while also trying to change to adapt to a world that more often that not goes against them. So yea it's not as heavy as the other musicals, heck I designed this after Preston Max Allen's Carrie 2 musical (dude check it out it has jenny rose baker and it's gold) so woo funsies but i also like this to mean something. Oh and also this is basically me ranting about Everything Wrong In The Philippine Education System (how it more often than not is really detrimental to the students' personal wellbeings through constant overwork and disregard of physical, mental and emotional health issues, its accessibility issues esp the issues experiences by those of the poorer sectors, the um very outdated info at times, how the system perpetuates classism and a shit ton of very detrimental social hierarchy bullshits esp through the implementation of the star sections (speaking as someone who's been in the "lower" sections and has also been in the star sections, I HAVE A LOT TO RANT ABOUT THIS ONE OH BOY FUN FACT I WANTED TO MAKE AN ACADEMIC PAPER ON THIS BUT MY 10TH GRADE TEACHER WOULDN'T LET ME) etc etc) plot is mainly barebones atm but um yea here are some of the updates to the characters: Kyla (formerly named Kate), Noel and Ella haven't changed that much but um I've decided to give the Halos Lagi Nalang number to Kyla and Max (nonbinary student that serves as a foil to Kyla in which Max is constantly being denied opportunities that they want while Kyla constantly refuses opportunities that Max wants; also yea i'll be talking about stories that trans and nonbinary students have experienced in both of my high schools through Max cause i really wanna bring attention to how the trans and nonbinary community is really being shat on despite the um sliiight improvement in the way schools treat the (cisgender) members of the lgbtq+ community; also they are just as ambitious as Ella (i envision her to be like um Draft Eva + Riley jfhdf) um yea major plot pusher woo I'd compare them to Draft Eva + Reese but um I Sincerely And Solemnly Promise To Not Screw Them Over In Act 2 fjjxfj) instead because they will be the ones with queerness being a much bigger factor to their individual plotlines compared to Noel and Ella.

The other main characters are um Marco (typical jock dude who's actually one of the more philosophical and introspective characters in the show; i want to like um highlight the whole sports scholarships debacle, how stereotypes can affect how people are treated in real life and also touch on the machismo culture that's um really being enforced here esp with him being an athlete and all; also he's really good friends with Max and through that friendship he learns that him slightly questioning his sexuality is a good thing so yea), Ruben & Lexi (i don't have that much planned for them atm because woo barebones plot but i do imagine them to be initially framed as the more antagonistic characters and have that like stereotype be taken apart as the show goes on esp considering that both are in the "lower sections" and are um more prone to stereotyping) aND A NARRATOR CHARACTER HMMM WHERE HAVE WE SEEN THIS BEFORE GJXJD oki but this Narrator (can be played by any gender as long as the actor IS VERY FUNNY LIKE COMEDIC TIMING IS A *MUST*) is based on the Narrator in PMA's Carrie 2 but I also want the narrator to be like um more crucial to the plot as the story progresses esp as they interact with both the audience and the characters a lot more so like um it's a bit hard to describe their exact role here because um BAREBONES PLOT FJXJD but altho they can't directly affect the story they are telling (cause so far my plan for them is like um they were a former classmate of 7/8 of the characters here but unfortunately they died due to a car accident), they can and do indeed influence the characters in it and all of the characters (except Kyla) know who they are (especially Ruben) so um yea. Also the solo I have planned for them is called Live On (which is um yea a spin off of Move On fjxjd) and through them, I plan to explore the tragedy of unexpected deaths and what happens to those left behind (this will be based on observations and accounts from many of my former schoolmates) and how many have yet to move on and how they choose to live on despite of that because they know that's what their former classmate, schoolmate, and loved on would've wanted.

SO OBVIOUSLY I OWE GRADE 12 TO SIR PRESTON MAX ALLEN GJXJFJD THANK YOU PMA FOR ONCE AGAIN INFLUENCING MY WORK WOO

+ Concepts - oki so this is the only musical so far that i wanna write solely in English nfjsj so this is inspired by Fun Home in which there are like versions of characters in different ages right? Over here there are 2 versions of 6 characters: the 17-18 year old ones, and the 27-28 year old ones. Through them, this musical will explore two main things: (1) the sad and depressing reality of having to give up one's artistic dreams and passions for the sake of practicality and (2) choosing to take a leap of faith and try to grasp on to whatever chances one may have left to live a life that means more than just making ends meet. Act 1 has the teenagers focus on Point 2 while the adults focus on Point 1; Act 2 has the teenagers focus on Point 1 while the adults end up focusing on Act 2. Once again, um barebones plot with even more barebones characters (heck i dont even have NAMES for them gnxnd) but i think it'll be pretty cool to elaborate upon the shitty circumstances here in the ph when it comes to artistic pursuits and how most of the kids I know are terrified of growing up because they don't want to give up dreaming even though that they know that they have to wake up. I also think it'll be cool to point out thay even though that yea situations like these suck, it'll never ever be too late to pick up the pieces and try again cause at the end of the day, life only ends when you say it will end: there will always be chances, you just need to be gutsy enough to grasp them. Also um yea I originally planned to post like a shit ton of poems this month that would basically be the lyrics of the songs that would go into this musical bUT I'M LAZY SO I'M THROWING AWAY THE POSTING SCHEDULE FJXJSJD anyways here r 2 of the poems/songs that i wanna make for this:

+ In 10 Years - a duet between one of the teenagers and their adult counterpart which is um basically the teen singing their optimistic yet really in-depth and mature perspective on chasing Point 2 while the adult sings about Point 1, wishing that they could tell their teen self about how disappointed they will be; i imagine this to be um kinda like the first version of Dear Theodosia but um more intense maybe fjdjf

+ Run - a duet between two teens who are best friends where one girl tries to convince the other to run and play with her in the nearby playground AND YES THIS DUET IS VERY FUCKING GAY JDJSJDF this was um originally part of Grade 12 tbh and it was supposed to be sung by Lexi and it was supposed to be about a 9th grade event that i personally was a part of where um 9th grade student researchers at a research seminar at a different freaking university took over the elementary students' playground when the seminar finished (I SHALL TREASURE THAT MEMORY FOREVER) and um yea it was basically about holding on to your childhood while you still can...aND THEN I UNINTENTIONALLY MADE IT GAY JFJSJSF Lexi is still getting that song about the research seminar event tho but um it won't be Run cause Run basically turned into a song that's not only about holding on to what's left of your childhood but also to the people you treasure that you know you have to leave behind sooner or later and um yea the girl that the one girl tries to convince to go to the playground agrees to that and then boom go duet stylized after 21 and Alone Now + I Don't Care by freaking preston max allen once again woo (i promise that this won't be plagiarism gndnd) (also altho the two girls have to go their separate ways by their graduation, they eventually meet again at the end of act 2 so woo hopeful ending for the sapphics

OKI THAT'S ALL FOR TODAY FHXHSHD THIS IS WAY TOO FUCKING LONG OF A RAMBLE GOOD GOD AAAAA SO UM IF ANYONE ELSE MADE IT TO THE END, I ONCE AGAIN WILL SEND YOU A SHIT TON OF CARBONARA-

[youremysputnik]

5 , 10 , 15 , 20 , 25 for the mt asks!

5 characters from musicals?

ok first ones that come to mind:

katharine from newsies, sonya from great comet, anya and dimitry from anastasia, jamie from everyone’s talking about jamie, peter from bare a pop opera, whizzer from falsettos, orpheus from hadestown, dawn from waitress, etc etc etc

10 songs from musicals?

this is so open ended ahhhh

it all fades away from bridges of madison county, prologue: ragtime, till we reach that day (also ragtime), once upon a december and we’ll go from there from anastasia, the i love you song from spelling bee, crazier than you from addams family, we own the night from finding neverland, it won’t be long now from in the heights, you matter to me and she used to be mine from waitress, still and those long eyes from alice by heart, everything’s talking about jamie and you don’t even know it from etaj, one from bare a pop opera, all i ask of you from poto, waiting for life and some girls from ooti, and goodbye from catch me if you can and i’m going to cap myself there otherwise i will keep going forever

15 writers/composers?

i have found myself really drawn to ahrens flaherty musicals. i also like a lot of jason robert brown shows (even though i have problems with a lot of them), and of course love a good sondheim show!

20 fanfictions?

i don’t read much fan fiction anymore but i used to really love newsies fanfics! if there are any (for any show) you recommend please drop them!

25 production(s) of a show?

ok obviously i’m going to say deaf west spring awakening. i also love a site specific show or an outdoor theater! i saw a production of as you like it at an outdoor theater a few years ago and i loved it! also the recent production of sitpwg owns my heart

[supercalime]

What musicals do you like? I'm new to them so if you have any suggestions for me that would be really cool, thanks🙈🤗

Hi there, love! You opened Pandora’s box with your question! I hope you’re prepared 😙

I tend to watch a lot of west end and off broadway stuff, and my love for musicals is very specific (I have some unpopular opinions about Hadestown and Spring Awakening for example), but this is a positive thread.

Here are my favorite Musicals in no particular order:

Heathers

It’s very dated, but the songs are fucking bops and the dark humor and 80’s aesthetic are great!

Beetlejuice

I think it’s way better than the movie, with a lot more heart and better developed characters while bringing the message about grieving. It’s a show about death, afterall

Six

Six has no right to be this good but it’s also looked down upon for being short and “have no plot”, but if you want to hear the six wives of Henry the VIII forming a band and competing with song to know who had the worst time with him, this is the musical for you!

& Juliet

I’ll never shut up about & Juliet. It’s new but it’s also very underrated. Y’all theatre kids should be ashamed of yourselves for not be freaking out about this musical. It’s about Shakespeare and his wife rewriting the ending of Romeo and Juliet to give Juliet some agency, with, of course, songs from artists like Backstreet Boys, Britney Spears, Katy Perry, etc. The costumes bring me life! Also, casual queer rep!

A Very Potter Musical (and AVPS and AVPSY)

Another musical with a few dated things here and there, but it’s the only Harry Potter related thing that I consider canon now. It’s such a joy to watch fans make fun of stuff they love! Btw, available on YouTube by the creators for you to watch!

The Guy Who Didn’t Like Musicals

Here I am with another Starkid Musical but this one is one of their latest. I prefer it over Black Friday (I know, blasphemy!) but it’s such a step up for them and I love the concept overall!

Honorable Mentions: (Because I’m too lazy to write about every single one I wanted to talk about, hehe)

Something Rotten!

Spies are Forever (TinCan Bros)

Firebringer (Starkid)

Twisted (Starkid)

Mean Girls

Everybody is talking about Jamie

Hamilton

The Wiz

Head Over Heels

Be More Chill

Kinky Boots

I think I talked for way too long. I hope you find at least one of my suggestions useful! These are of course my personal faves, tell me what ya think! 😉

[ghostlypawn]

Have I made you do Hadestown with Six actresses? Do Hadestown with Six actresses. (Just the four lovers, Hermes, and the fates are fine, no need to break out the full ensemble.)

you specifically havent asked me but ive spoken about it before except i used eloise as orpheus tho she doesnt count in this instinct (also since they did a bit of wedding song i realised that they would actually swap and court would be orpheus but whatever anyway)

orpheus: besides stapes,, can i say cmack without everyone thinking its me being bias bc im saying cmack 

eurydice: its a universal maiya for eurydice west end 2021

persephone: nicole

hades: danielle duh

hermes: lexi pls

clotho: lauren drew

lachesis: miss grace mouuuaaaat

atropos: renee

(basically this is my west end cast sorry non-ukians except cmack and nicole)

(also ik the fates are basically one entity but  the seperation matters to Me)

(also also feel like emily harrigan could be hades,, idk much about her but she looks like she could kill me with a look so she can be u/s)

[enthusiasticmusicalquotes]

QUESTION OF THE DAY #6: Send me your most unpopular theatre opinion. Something that might make someone want to fight you. Please don’t be offensive (racist, misogynistic, etc.), but other than that…go as hard as you want. Spill all the tea.

MY ANSWERS: 1) The Pretty Woman score fucking slaps idek, 2) Come From Away (or even Bandstand...) should’ve won the 2017 Best Musical Tony, 3) I prefer the West End Heathers cast album to Off Broadway, 4) Shows shouldn’t sweep the Tonys just because they’re Best Musical worthy...shows that aren’t too critically acclaimed but have really impressive elements should get recognition too.

SUMMARY: Out of 37 responses: 5 were about Dear Evan Hansen, 3 were about Hamilton specifically, 2 were about: Rent, ALW, Wicked, In The Heights, Be More Chill, etc. etc....if your favorite musical is one of these and you get easily offended i wouldn’t read these.

NOTE: I agree with some of these, I highly disagree with others. I do not endorse any of the things that were said, I am simply sharing them with you all. These were what was sent to me. I’m going to number them so if you want to complain about or agree with one you can send me an ask with the number you’re referring to. 

1. howmuchchildrens said: unpopular opinion: i really liked the 2012 version of les mis. i liked russel crowe as javert.

2. Anonymous said: Unpopular opinion: Bootlegs harm to local theatre communities, though I do not believe anyone intends for that to be the case. While it's possible to bootleg responsibly (and I might even say it's beneficial to do so), those who may not know the intricacies of theatrical copyright law or who haven't heard the horror stories from a theatre that's been hit with legal action DUE to a bootleg may record or watch a show irresponsibly, which can greatly harm other routes of theatre accessibility.

3. Anonymous said: Andrew Lloyd Webber musicals are mostly terrible. He only got and stayed popular because a lot of other musical creators and taste makers died in the AIDS epidemic

4. Anonymous said: Almost all musicals using the songs of one artist are cash grabs with no plot or point.

5. Anonymous said: If your musical only has 1 woman OR the women only get sad/romantic songs you need to do something else with your life.

6. nerdshrimp said: Unpopular opinion: Next To Normal does a better job of portraying the effects of mental illness than Dear Evan Hansen does. N2N also doesn't romanticise mental illness & excuse shitty behavior like DEH tries to

7. Anonymous said: Hadestown is a lesser show on Broadway. I fell in love with the live album, and I was so excited for it to come to Broadway. I was so disappointed to see the changes they made. Orpheus and Eurydice's relationship is less interesting and more generic. The changed lyrics are often sloppy and not as good as the original. They fucking wrecked Epic III. Also, no hate to R/ee/ve, but he's just not a good enough singer to convince me that he could soften the heart of Hades. His high notes are awful.

8. Anonymous said: opinion: we are the tigers deserves a broadway run or at least a proshot

9. bimystique said: e/c is NOT A GOOD FUCKING SHIP. the ENTIRE PLOT OF PHANTOM OF THE OPERA is christine trying to escape erik's abuse. WHAT FUCKING PART OF THAT IS ROMANTIC TO YOU PEOPLE.

10. Anonymous said: unpopular theatre opinion(s): Dear Evan Hansen is Very Bad for its handling of mental illness, Hamilton is overrated and praised too much, and high school/college musical theatre programs can be just as good as Broadway. (also, musical movies would be better if they hired broadway actors, but that's not an unpopular opinion)

11. Anonymous said: I don’t like Lin Manuel Miranda and Hamilton is overrated

12. Anonymous said: I don’t like dear Evan Hansen..... at all. I think it’s kind of boring and really overhyped.

13. Anonymous said: unpopular opinion: in the heights is far better than Hamilton. both are good but ith hits different yknow

14. Anonymous said: The bring it on and legally blonde musicals are BAD! The movies are 100 times better

15. Anonymous said: unpopular opinion? wicked is the epitome of white feminism. it's preached as super great for representation but we literally got the first black glinda in 2019?!?!?!? and before that woc could only play elphaba who's villainized and deemed evil by the whole city

16. Anonymous said: Not so much an opinion as a reaction, but of all Lin's works (ITH, Bring it On, 21 Chump Street, Hamilton), 21 Chump Street gets the biggest emotional reaction of all the cast recordings. The second Justin is like "I don't want your money" (And then later on with the "...what the heck did you.... dooooo", I am a complete goner. Worse than Abuela Claudia and Philip Hamilton's deaths combined

17. Anonymous said: Whenever Je.ssie Mu.eller hits certain notes, she sounds like Tommy Pickles from Rugrats.

18. Anonymous said: aotd6: not everyone knows what im talking about, but the cats 2016 broadway revival choreography was WAYYYY better than the original. the original had a lot of creepy uncomfortable moments and the new one looks way cleaner and up to date

19. Anonymous said: raoul is better than the phantom in every conceivable way

20. Anonymous said: I hate Anastasia so much. it's such a boring show and the music is uninteresting. I wanted to like it so bad but GOD is it boring.

21. Anonymous said: In the Heights.... Overrated.

22. Anonymous said: I do not know if this is an unpopular opinion or not, but here is my opinion: Musicals that are entirely or nearly entirely songs (Hamilton, Hadestown, In The Heights, etc) are the most valid bc I can understand the plot without using wikipedia (I'm looking at you, Jagged Little Pill, I love you but what is your plot????)

23. Anonymous said: I'd rather have a bad film adaptation than no film adaptation

24. Anonymous said: Rent sucks and while it was a stepping stone for more ""controversial"" topics to appear on Broadway it's actually biphobic and features several generally terrible people doing generally terrible things and doesn't actually address the real crisis at all; it's all performative wokeness. The only real good it did was cast a bunch of "nobodies" for the time and make theater somewhat more accessible.

25. stardust-and-seas said: Dear Evan Hansen doesn't properly address mental health despite being about mental health and resolves nobodies character arcs satisfactorily. It's another show that reaches its hands around the throats of marginalized teenagers saying "look I'm relatable!!" The songs taken out of context are significantly more powerful than when placed in the context of the show, which gives us exactly zero evidence of Evan's work to improve and also never resolves Evan's u healthy goals in the first place.

26. stardust-and-seas said: Be More Chill is a raging dumpster fire and the only decent song from it, Michael in the Bathroom, reads as a whiny rich white boy whose potential social anxiety and depression is left ambiguous, which is exactly what it is. When taken out of context it better exemplifies the othering that happens to marginalized groups but lets be real here: bullying/cliques don't happen to "just anyone"; it's the marginalized groups that are othered and abandoned for not being "normal"

27. stardust-and-seas said: There's a difference between shows that don't take themselves seriously because they're meant to be fun and light and shows that pretend not to take themselves too seriously but want to be taken seriously by the audience and the latter always ends up mediocre at best

28. redueka said: i think that dear evan hansen handles every issue it presents badly. i also think that beetlejuice was badly directed

29. Anonymous said: Well I don’t EVER condone cheating, I’m team Jamie in the last five years. He tried so hard to make their relationship and life good, and Cathy gave him nothing in return

30. youcanlolyoucansayohwell said: The answer of the day- I don't get the BMC hype. I'm out of the age bracket it's meant for that might it be. I enjoy it but I don't think it's the greatest thing in the world like some theatre fans do.

31. Anonymous said: i like the rent 2005 recording better than the obcr

32. Anonymous said: unpopular opinion ? : the music of wicked just like isn’t that good. like it’s good but it’s not like, Good, yknow. it’s pretty standard it doesn’t stand out to me. kinda boring

33. Anonymous said: mari.ah r.ose fa.ith is not a good regina george. everything she says sounds monotonous and while i understand she's trying to play off the ""whatever"" teenager (she does this a lot with her teenage characters), 90% of the time she sounds and looks like she doesn't want to be there; her voice is great but most songs feel unnatural and forced and she changes them too much. she's just not selling regina to me as a believable character (this is all from a technical point of view)

34. Anonymous said: Unpopular Opinion: as much as i like musicals based on movies (like waitress), i think not every movie needs to be a musical.

35. Anonymous said: Unpopular opinion (?) the emojiland musical Kinda Slaps

36. Anonymous said: as one of my high school tech theatre teachers once said: "Andrew Lloyd Webber is overrated"

37. Anonymous said: sorry to whoever likes it but Seussical is an absolutely nonsense crackpot plot disguised with okay-to-good music, like I don't even know where to start. I was in the show and didn't even know there was an entire secondary plot line featuring sending children to war until we were halfway through rehearsals

[carinasfm]

*  mona  lisa  saperstein  vc  *  i’m  so  friggin  excited  right  now  ,  i  could  crap  my  pants  !  hi  y’all  ya  girl  mae  (  21+  +  she  /  her  +  est  )  is  here  with  her  dramatic  daughter  carina  !  she’s  the  broadway  actress  you  didn’t  ask  for  ,  yet  here  she  fucking  is  !  i’m  so  excited  to  play  her  ,  i’ve  never  gotten  to  play  her  before  +  my  muse  is  Inspired™  !  you  can  hit  me  up  for  plots  here  or  on  discord  !  my  discord  is  𝑑𝑜𝑛'𝑡  𝑏𝑒  𝖘𝖚𝖘𝖕𝖎𝖈𝖎𝖔𝖚𝖘#4904  (  can  u  tell  i  love  mona  lisa  +  parks  and  recs  ?  cause  i  do  )  hit  that  little  heart  button  so  i  can  annoy  your  cute  ass  ,  okie  ?  thankssssssss !!

new  york’s  very  own  𝒄𝒂𝒓𝒊𝒏𝒂  𝒋𝒂𝒄𝒊𝒏𝒕𝒐  was  spotted  on  broadway  street  in  𝒸𝒽𝓁𝑜𝑒́  𝓈𝓊𝓈𝒶𝓃𝒶  𝒷𝑜𝑜𝓉𝓈  .  your  resemblance  to  𝒔𝒆𝒍𝒆𝒏𝒂  𝒈𝒐𝒎𝒆𝒛  is  unreal  .  according  to  tmz  ,  you  just  had  your  𝟸𝟺ᵗʰ  birthday  bash  .  while  living  in  nyc  ,  you’ve  been  labeled  as  being  𝒽𝒾𝓈𝓉𝓇𝒾𝑜𝓃𝒾𝒸  ,  but  also  𝓅𝒶𝓈𝓈𝒾𝑜𝓃𝒶𝓉𝑒  .  i  guess  being  a  𝒍𝒆𝒐  explains  that  .  3  things  that  would  paint  a  better  picture  of  you  would  be  𝓈𝓉𝒶𝓃𝒹𝒾𝓃𝑔  𝒸𝑒𝓃𝓉𝑒𝓇  𝓈𝓉𝒶𝑔𝑒  𝒾𝓃  𝓉𝒽𝑒  𝓈𝓅𝑜𝓉𝓁𝒾𝑔𝒽𝓉  ,  𝑒𝓂𝓅𝓉𝓎  𝒷𝑜𝓉𝓉𝓁𝑒𝓈  𝑜𝒻  𝑒𝓍𝓅𝑒𝓃𝓈𝒾𝓋𝑒  𝓇𝑒𝒹  𝓌𝒾𝓃𝑒  &  𝓉𝒶𝒸𝑜  𝓉𝓊𝑒𝓈𝒹𝒶𝓎𝓈  𝑜𝓃  𝓉𝓊𝑒𝓈𝒹𝒶𝓎𝓈  𝒶𝓃𝒹  𝓉𝒽𝓊𝓇𝓈𝒹𝒶𝓎𝓈  .  (  i  was  sexually  assaulted  when  i  was  thirteen  by  my  teacher  )  +  (  cisfemale  +  she  /  her  ) 

𝒕𝒓𝒊𝒈𝒈𝒆𝒓  𝒘𝒂𝒓𝒏𝒊𝒏𝒈  :  pedophilia  +  sexual  assault  

𝒷𝒶𝓈𝒾𝒸𝓈

𝑓𝑢𝑙𝑙  𝑛𝑎𝑚𝑒  :  carina  dulce  jacinto 𝑛𝑖𝑐𝑘𝑛𝑎𝑚𝑒𝑠  :  cari  ,  rinny  ,  cj  ,  jace  (  ha  -  say  ) 𝑑𝑎𝑡𝑒  𝑜𝑓  𝑏𝑖𝑟𝑡𝘩  +  𝑎𝑔𝑒  :  august  12th  ,  1996  +  24 𝑎𝑠𝑡𝑟𝑜𝑙𝑜𝑔𝑖𝑐𝑎𝑙  𝑠𝑖𝑔𝑛  :  leo 𝑔𝑒𝑛𝑑𝑒𝑟  +  ��𝑟𝑜𝑛𝑜𝑢𝑛𝑠  :  cisgender  female  +  she  /  her 𝑠𝑒𝑥𝑢𝑎𝑙  +  𝑟𝑜𝑚𝑎𝑛𝑡𝑖𝑐  𝑜𝑟𝑖𝑒𝑛𝑡𝑎𝑡𝑖𝑜𝑛  :  pansexual  +  panromantic 𝑒𝑡𝘩𝑛𝑖𝑐𝑖𝑡𝑦  :  mexican 𝑛𝑎𝑡𝑖𝑜𝑛𝑎𝑙𝑖𝑡𝑦  :  american 𝑚𝑜𝑡𝘩𝑒𝑟  +  𝑓𝑎𝑡𝘩𝑒𝑟  :  claudia  jacinto  +  mateo  trevino 𝑝𝑙𝑎𝑐𝑒  𝑜𝑓  𝑏𝑖𝑟𝑡𝘩  :  phoenix  ,  arizona 𝑝𝑙𝑎𝑐𝑒  𝑜𝑓  𝑟𝑒𝑠𝑖𝑑𝑒𝑛𝑐𝑒  :  manhattan  ,  new  york 𝑜𝑐𝑐𝑢𝑝𝑎𝑡𝑖𝑜𝑛  :  eurydice  in  hadestown  on  broadway 𝑎𝑐𝑡𝑖𝑛𝑔  /  𝑠𝑖𝑛𝑔𝑖𝑛𝑔  𝑖𝑛𝑠𝑝𝑜  :  phillipa  soo  ,  taylor  louderman  ,  eva  noblezada  +  anna  kendrick 𝑙𝑎𝑛𝑔𝑢𝑎𝑔𝑒𝑠  𝑠𝑝𝑜𝑘𝑒𝑛  :  english  (  primary  )  ,  spanish  (  secondary  )  ,  italian  +  french  𝑓𝑙𝑎𝑡𝑡𝑒𝑟𝑖𝑛𝑔  :  passionate  ,  eloquent  ,  captivating  ,  focused  ,  observant  ,  confident  ,  intuitive  +  witty 𝑢𝑛𝑓𝑙𝑎𝑡𝑡𝑒𝑟𝑖𝑛𝑔  :  historic  ,  critical  ,  indulgent  ,  opinionated  ,  mercurial  ,  candid  ,  pretentious  +  realistic 𝑑𝑟𝑒𝑎𝑚  :  to  win  a  tony  for  best  performance  by  a  leading  actress  in  a  musical  

𝒷𝒶𝒸𝓀𝑔𝓇𝑜𝓊𝓃𝒹

carina  was  born  to  a  young  single  mother  in  phoenix  ,  az  

her  father  high  tailed  it  out  of  the  picture  once  he  found  out  carina  was  on  the  way

carina’s  mother  had  big  dreams  of  becoming  a  hollywood  actress ,  wanting  to  

carina’s  mother  was  the  one  that  pushed  her  daughter  into  acting  ,  signing  her  up  for  local  commercials  +  the  likes  until  she  gained  some  traction  as  a  popular  baby/toddler  in  commercials

after  a  few  years  of  continuing  on  with  commercials  carina  finally  took  a  break  when  it  was  interfering  with  school  ,  much  to  her  mother’s  dismay

but  still  carina  had  the  acting  bug  +  wanted  to  do  community  theater  in  her  free  time

when  she  wasn’t  preparing  for  play  ,  she’d  make  one  up  herself  +  act  it  out  for  her  mother  if  she’d  let  her  ,  if  not  she’d  just  rehearse  by  herself  until  she  memorized  all  the  lines  she  wrote

this  continued  into  middle  school  ,  where  she  became  “  that  girl  ”  the  theater  girl

she  didn’t  mind  the  label  ,  in  fact  she  took  advantage  of  it  +  became  THE  theater  girl  of  her  school

the  english  teacher  that  was  also  the  theater  teacher  praised  her  for  her  work  +  they  grew  to  have  a  very  close  relationship

he  was  a  father  figure  that  she  never  had

until  he  wasn’t

𝒕𝒓𝒊𝒈𝒈𝒆𝒓  𝒘𝒂𝒓𝒏𝒊𝒏𝒈

mr. guzman  saw  how  alone  carina  was  +  while  for  a  time  he  was  an  authority  figure  that  helped  her  ,  he  soon  became  so  much  more

it  started  with  a  ride  home  after  theater  practice  ,  the  young  tween  had  called  her  mother  to  no  avail  ,  but  she  hadn’t  picked  up  +  home  was  a  two  mile  walk  .  doable  ,  but  mr.  guzman  saw  she  was  in  need  +  offered  her  a  ride

in  the  car  it  was  really  the  first  time  that  carina  had  been  alone  with  mr.  guzman  in  an  enclosed  space  ,  if  they  were  alone  it  was  usually  on  the  stage

the  drive  was  pleasant  ,  they  made  small  talk  +  he  asked  her  how  eighth  grade  was  going  ,  she  was  in  seventh  when  she  had  him  as  her  teacher

when  they  finally  pulled  into  her  driveway  she  thanked  him  +  started  to  get  out  but  his  hand  grabbed  a  little  above  her  knee  +  soon  it  was  moving  its  way  up  her  thigh

only  13  +  dubbed  as  “  the  theater  girl  ”  by  her  peers  she  never  had  any  romantic  or  sexual experience  ,  so  she  froze  unsure  of  what  to  do  or  say

that  first  night  it  ended  with  a  soft  pat  on  the  thigh  before  she  was  able  to  run  out  the  door

but  soon  the  rides  were  a  regular  occurrence  +  his  hand  didn’t  stop  at  her  thigh

after  months  of  this  continuing  on  carina  lost  her  love  +  passion  for  theater

𝒆𝒏𝒅  𝒐𝒇  𝒕𝒓𝒊𝒈𝒈𝒆𝒓  𝒘𝒂𝒓𝒏𝒊𝒏𝒈

she  quit  theater  +  became  a  recluse  all  the  way  up  until  junior  year  of  high  school

she  again  grew  close  to  a  teacher  ,  this  time  a  female  teacher  ,  her  us  government  teacher  that  often  brought  up  difficult  subjects  for  the  students  to  discuss

after  hearing  +  reading  about  different  hard  topics  ,  carina  finally  told  mrs.  reyes  what  had  happened  to  her back  in  middle  school

it  was  the  first  time  that  she  had  ever  told  anyone  what  had  happened  to  her  +  though  mrs.  reyes  pushed  ,  carina  didn’t  report  or  tell  anyone  else

but  with  mrs.  reyes  by  her  side  her  senior  year  she  got  back  into  theater  .  falling  back  in  love  with  the  thing  that  held  a  lot  of  emotions  for  her

after  graduation  carina  was  all  set  to  attend  nyu  with  a  double  major  in  performing  arts  as  well  as  film  +  media  production

she  moved  to  new  york  early  ,  wanting  to  get  a  head  start  on  moving  in  +  earning  some  cash  before  classes  started

while  she  was  working  as  a  barista  she  overheard  director  talking  about  auditions  for  an  off  broadway  play  +  this  grabbed  carina’s  attention

she  quickly  introduced  herself  +  snagged  an  audition  ,  she  landed  a  feature  role 

this  was  the  beginning  of  her  broadway  career  at  the  mere  age  of  17  ,  something  she  had  always  dreamed  of  

her  role  in  the  off  broadway  play  took  her  into  the  middle  of  october  +  in  september  she  was  already  auditioning  for  roles  in  a  broadway  play  while  she  attended  nyu

she  soon  gained  traction  ,  directors  were  discussing  her  performances  ,  even  minor  roles  ,  on  broadway

carina  still  continued  to  take  classes  at  nyu  but  her  focus  had  shifted  from  getting  a  degree  to  landing  a  leading  role  on  broadway

when  she  was  nineteen  her  dreams  came  true  ,  she  got  the  lead  role  as  eliza  in  hamilton  

from  that  role  she  sky  rocketed  to  fame  ,  she  performed  for  the  president  ,  beyonce  ,  oprah  ,  kristin  chenoweth  ,  meryl  streep  +  many  more

carina  was  barely  able  to  handle  how  fast  her  fame  came  ,  she  still  thought  of  herself  as  the  small  town  girl  from  a  working  class  home  with  a  young  single  mom

because  of  how  much  attention  hamilton  was  receiving  ,  carina  had  to  take  a  step  back  from  school 

she  took  a  leave  of  absence  ,  vowing  that  she  would  be  back  +  while  she’s  taken  some  classes  here  +  there  she  still hasn’t  gone  back  fully  due   to  her  continued  success  on  broadway

from  2016  -  2017  she  was  cast  as  sonya rostova  in  natasha  ,  pierre  +  the  great  comet  of  1812

in  2018  carina  became  regina  george  in  mean  girls

and  in  2019  she  claimed  the  role  of  eurydice  in  hadestown

new  york  ,  specifically  the  upper  west  side  ,  has  become  carina’s  home

𝒸𝑜𝓃𝓃𝑒𝒸𝓉𝒾𝑜𝓃𝓈

(  𝒓𝒊𝒅𝒆  𝒐𝒓  𝒅𝒊𝒆  )  once  the  two  met  they  were  inseparable  .  without  siblings  carina  thinks  of  them  as  her  own  family  .  she’ll  do  anything  for  them  +  hopefully  vice  versa  ! 

(  𝒓𝒐𝒐𝒎𝒎𝒂𝒕𝒆  )  the  person  carina  moved  in  with  when  she  started  out  in  new  york  .  they  could  still  be  close  or  they  could  not  talk  at  all  .

(  𝒕𝒉𝒆  𝒄𝒐𝒓𝒓𝒖𝒑𝒕𝒐𝒓  )  they  see  carina  +  they  see  gullible  ,  gullible  ,  gullible  .  they’ll  do  anything  to  manipulate  carina  to  get  something  for  themselves  .

(  𝒕𝒉𝒆𝒂𝒕𝒆𝒓  𝒃𝒖𝒅𝒅𝒊𝒆𝒔  )  anyone  that  carina  has  worked  with  on  broadway  .

(  𝒅𝒊𝒓𝒆𝒄𝒕𝒐𝒓  )  someone  that  carina  has  worked  closely  with  to  ensure  an  honest  +  authentic  performance  . 

[the-city-at-nyctophilia]

(Photo: “People Dancing Inside Building” Mauricio Mascaro. Photo Source)

By: Jasmine Mrenica

Within my group’s project theme; performance, I decided to focus specifically on theatre. In this playlist I focused mostly on the musical theatre genre, which was born out of theatre. Included are songs from Broadway musicals, or movies that were adapted from those musicals. There are a few songs from Disney musicals, and two honorable mentions from Mitski, an artist who I feel captures the beauty within the loneliness people tend to feel at night perfectly. I tried to recreate the ‘ups and downs’ of a night out in the city. Beginning with a need for escape, we are then travelling out to the city and excitement builds. We are dazzled by all the beauty that the city at night has to offer. This beauty is created mostly by the performers, the entertainers, and those who work within the nighttime economy. During our night, we might get into trouble, we might find romance or we might romanticize, and finally towards the end of the night we return home. The duration of the playlist is one hour and thirteen minutes.

Below, are the songs that are included in the playlist. We begin with “Music of the Night” from Phantom of the Opera, one of the most popular and longest running musicals in the history of Broadway. This song is entirely about discovering how splendid night can be. We can see this in many of the lyrics, for example, “Night time sharpens, heightens each sensation / Darkness wakes and stirs imagination / Silently, the senses abandon their defenses.” (Weber, 1987) , and it is a perfect opener for our playlist.

The next four songs give us the feeling of making the decision to venture out into the night. “Wig in a Box” from Hedwig and the Angry Inch is the story of a drag queen as they get into drag. One of the many performative subcultures that thrives in nighttime, before the popularity of RuPaul’s Drag Race propelled many drag queens to major celebrity status. “Out Tonight” from Rent tells of the danger and excitement, the transgressions one is more likely to commit once darkness falls; “I wanna commit a crime / Wanna be the cause of a fight / I wanna put on a tight skirt / and flirt with a stranger” (Larson, 1996).

Once we figuratively arrive in the city, we enjoy some songs highlighting the work of performers, labourers, and entertainers. Burlesque performers and sex workers from “Welcome to Burlesque” sung by Cher, to “Lady Marmalade” sung by Christina Aguilera. “Our Lady of the Underground” from Hadestown features the goddess Persephone as she deals illegal substances, like sunlight or rainfall, to members of the underworld. Dr. Facilier, played by Keith David, in “I Got Friends on the Other Side” plays a similar role. Both of which profit heavily on the nighttime economy where the trade of illegal substances or occult happenings are more popular.

From “Tonight” in the musical West Side Story to “Touch-a, Touch-a, Touch Me” in The Rocky Horror Picture Show we focus on songs that tell of a certain romance. These songs don’t necessarily feature performers and labourers of the nighttime economy, but fleeting romances may take place at night nonetheless, and I felt that songs that perform such a feeling were important to include. Socializing and attempting to find love is a large reason why people go out at night.

The remaining four songs in the playlist are slower. The energy winds down as the hours start to dwindle into the early morning. They are songs that reminisce and that try to capture a memory. Night is ephemeral, and once it is over we have our splendid memories to ruminate on until we have the chance to experience it again.

Songs on this Playlist

Castle on a Cloud by Isabelle Allen (Les Miserables)

The Music of the Night by Andrew Lloyd Webber (The Phantom of the Opera)

Wig in a Box by John Cameron Mitchell (Hedwig and the Angry Inch)

Road to Hell by Andre De Shields, Hadestown Original Broadway Company, Anais Mitchell (Hadestown)

Out Tonight by Daphne Rubin-Vega (Rent)

Townie by Mitski (Bury Me at Makeout Creek)

Welcome to Burlesque by Cher (Burlesque)

Sweet Charity: Big Spender by Cy Coleman (Sweet Charity)

Lady Marmalade by Christina Aguilera (Moulin Rouge)

Our Lady of the Underground by Amber Gray, Anais Mitchell, Hadestown Original Broadway Company (Hadestown)

Don’t Tell Mama by Natasha Richardson, Alan Cumming, Cabaret Ensemble (Cabaret)

Friends on the Other Side by Keith David (Princess and the Frog)

Time Warp by Little Nell, Patricia Quinn, Richard O’Brien (The Rocky Horror Picture Show)

We Built This City / We’re Not Gonna Take It by Russel Brand, Catherine Zeta-Jones (Rock of Ages)

Tonight by Matt Cavenaugh, Josefina Scaglione (West Side Story)

A Whole New World by Adam Jacobs, Courtney Reed (Aladdin)

Touch-a, Touch-a, Touch Me by Susan Sarandon (The Rocky Horror Picture Show)

Shadows of the Night / Harden my Heart by Mary J. Blige, Julianne Hough (Rock of Ages)

Complainte de la Butte by Rufus Wainwright (Moulin Rouge)

Two Slow Dancers by Mitski (Be The Cowboy)

[letstalkaboutentertainment]

Hello, i need help... so i kinda started to get interested in musical theatre because i’ve found quite a lot of songs i enjoy there and i want to get into the fandom. The problem is i don’t know where or even how to start.. i hope you can help me 😇✨

✨ 🌹 Welcome to the fandom, hon! 🌹 ✨

Alright so first thing to know about the musical fandom on tumblr is that in comparison to tv shows, books and movies, it’s a lot smaller for the obvious mass appeal reasons. I like that about the musical fandom though, makes it feel a lot homier. The second thing to know is that just like other fandoms there’s a lot of ebb and flow with what’s popular at the moment.

Here’s tumblr’s top 15 musicals of 2019 based on sheer number of posts tagged, from @fandom :

Hadestown

Hamilton: An American Musical −1

Be More Chill −1

Six

The Guy Who Didn’t Like Musicals

Les Misérables +2

Phantom of the Opera

Newsies −4

Dear Evan Hansen −6

Beetlejuice

Falsettos −5

Cats

Wicked −8

The Prom

A Very Potter Musical

The number in italics indicates how many spots a title moved up or down from the previous year. Bolded titles weren’t on the list last year.

So I’d say that’s these are a good place to start, because the tags will be nice and full of content.

Something that I’ve personally noticed with tumblr’s musical community is that most good audio and video b**tlegs are found by complete accident and are from smaller blogs, but the bigger blogs known for making gifs or graphics/edits usually get things circulating by reblogging those b**tlegs. If you want to watch a b**tleg of something, they easiest way to find a youtube video or google drive download is just searching “show name b**tleg” (without the asterisks,obviously) on tumblr and seeing what pops up that week.

Youtube is gonna be a similar situation, all the good stuff is gonna be unlisted so it doesn’t get taken down and it’s gonna have a weird cheeky name or be called a slime tutorial or something, basically the only way to find anything is to keep clicking through the recommended videos to lead you to more b**tlegs. It’s not a perfect system but it works. Also, DO NOT like youtube b**tlegs, if you like them they become more likely to be found and taken down. If you find something good I HIGHLY recommend using a youtube downloader to save it, because it probably won’t be there in a week.

https://www.youtube.com/playlist?list=PLxSCCw9R-urxC2gHfC8oTZiP6IUTXMQRT

Here’s some people I like and follow, some make graphics, some are fan artists, some are currently focused on one specific musical, some post about costumes, some just like to scream about musicals, but they all post with a heavy emphasis on musicals, even if they aren’t specifically a musical blog. See who you like:

@musicalgifs 

@theatresourced  

@blackonbroadway

@operafantomet 

@musicalsaregreat 

@asiantheatre

@musicals-art 

@historemix 

@slutforbroadway 

@glassprism  

@patina-millers-biceps

@west-end-dreamer​

@theater-full-of-pineapples

@orpheusmyth

@broadwayreprise

@broadwaygalore

MOST popular musicals are on Spotify, but if like downloading the music onto your phone instead this is a good resource: https://www.reddit.com/r/CastRecordings/

I hope that helps! Also, I might delete this ask in a week ro 2 because I’m a paranoid parrot, so everyone get your fill.