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Signage outside the Hudson Theatre on Broadway has indicated that the current Broadway production of Merrily We Roll Along will have a proshot. We know this will be filmed for commercial release and not the NYPL archives as the signage indicates that Radical Media, the production company that filmed the Come From Away and Hamilton proshots, will be filming this production.
It is worth noting that the Maria Friedman production of Merrily We Roll Along has a proshot on Youtube with the West End cast already.
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I haven’t watched the color purple, so I’m not being 100% objective here, but I don’t think my vote would change.
There is something so magical about the music of spring awakening, I don’t think I have the words to explain it. And it is that that makes it one of my favorite musicals of all time.
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nightmare time is so funny to me. it’s required viewing if you want the full emotional payoff of npmd. hidgens fakes a scientific discovery and commits murder to fund workin’ boys. wiggly is one of five eldritch gods with separate cults around hatchetfield. virginity rocks. tgwdlm emma and paul might be an android and a clone respectively. ted spankoffski is the homeless guy. hatchetfield’s upper crust gamble on an underground child fighting ring. emma’s magic weed gives nighthawks psychic powers. there’s an immortal witch who made a deal with the lords in black to save the children of hatchetfield from monsters, she fakes a new identity every fifteen years. dylan saunders fucks a car—
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I feel really guilty for not liking Pacific Overtures much.
I adore Steven Sondheim and he is possibly the greatest songwriter to ever live. His melodies, his lyrics, his rhymes, his metaphors. Everything he writes is ingenious.
But I got so bored watching this specific musical. The music just didn’t work for me. I think the melodies he uses are based on traditional Japanese music, which was obviously the correct choice for the subject matter, but to me it was just slightly unpleasant. The only songs I actually enjoyed were Please Hello and Next, and if I’m not mistaken those are the songs most influenced by western culture which also makes me feel guilty.
I also got a little bored with the plot. I am not the biggest history fan in general and trying to follow a part of history I wasn’t familiar with while not being encouraged by music I enjoyed meant I stopped watching in the middle of the musical and only finished it almost 2 years later.
And I feel so bad for all of this. Because I love Steven Sondheim. And the performers were amazing. And the sets were gorgeous. And it truly is a very interesting piece of history. And it’s a lesser known musical so it needs all the love and attention it can get. But I just didn’t enjoy it all that much.
Anyway, there is a professionally shot performance of the original cast on YouTube if anyone wants to check it out.
On a different note: does anyone know if Ernest Herada and Anne Herada are related? I tried googling it but there was very little information on both of them so my research was inconclusive. However it seems possible with what I could find on their backgrounds. I’m very curious.
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happy pride month to
homosexuals
women with children
ex-ex lovers
teeny tiny bands
shiksa caterers
short insomniacs
hypochondriacs
yiddish americans
spiky families
radiologists
intellectuals
nervous wrecks
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My personal favorite examples of this are Please Hello from Pacific Overtures and Now/Later/Soon from A Little Night Music
There are so many more. It is probably one of my favorite aspects of musical theater.
that thing in musicals when everyone’s singing completely different things and it all falls on top of each other and it’s just pure cacophony but it’s so perfect and it just sounds so right and it’s all brain scratchy <3
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People who hate musicals are the weakest links in society. You’re telling me you can go watch a Transformers movie, or a Marvel movie, or any of the Harry Potter movies, but singing and dancing is where you draw the line??? You people are boring BOOOOOOO🍅🍅🍅🍅
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*puts hands on hollywood exec's shoulders, staring unblinking into their eyes* listen to me. you will never get people who hate musicals to like musicals by making your musical less of a musical. if you hide the fact that your film is a musical in the advertising, you're going to get a lot of low ratings from people who hate musicals and went into your movie not expecting a musical and got one anyway. people who hate musicals will hate them no matter how realistic and diegetic and lowkey you try to make it. they will hate musicals even if you completely excise anything complicated, over the top, silly, or even slightly challenging. they will hate musicals even if you cut half the songs. they will hate musicals even if you cast that a-lister who can't sing worth a damn. stop trying to market to people who hate musicals. they're a lost cause. your audience should be people who love musicals. this half-assed middle ground pisses off both camps. just embrace the fact that your movie is a musical. lean into it. don't try and trick musical haters into coming to your film when you could be marketing to the theater kids. better cringe than a coward.
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I watched 42nd street today.
I was really confused at first, because it gave the impression of belonging to a different era of musicals. Apparently, even though the musical put on stage in the 80s, there had been a movie of the same name in the 30s where most of the songs come from.
Peggy was kind of a Mary-Sue, but she was really sweet and it didn’t bother me much
I was also a little confused by the love story. I thought Peggy would end up with Billy, but then she kissed Julian, but after that she said she was going to the party with Billy? I’m not sure whether it was the production I watched, or if it’s supposed to be open ended or something.
Anyway, it was a fun musical, and there was lots of tap dancing, which I always adore.
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kent would be so good at chess. so last verse of one night in bangkok coded.
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FUCK CLIVESDALE!!
reblog if you agree
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Join us April 6th from 12pm - 2pm PST on Youtube for our Cinderella’s Castle Kickoff Livestream!
Hang out with the cast and crew, learn more about StarKid's next musical, and celebrate the launch of our latest Kickstarter campaign! 
Don't forget to bookmark our Pre-Launch page on Kickstarter to be notified about any updates and the official launch!
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I am so very excited about the new Starkid musical, but…
It really needs to be the last Cinderella musical.
There are already at least four musicals about her (I haven’t actually seen them all, but still) that I can think off the top of my head.
There is:
The Disney one
The one by Rogers and Hammerstein
The one by Andrew Lloyd Webber
The one by Camila Cabello
Plus Cinderella is one of the main characters in into the woods
Is there something about Cinderella’s story that makes people want to write musicals about her?
I am really curious about Starkid’s take on the story and can’t wait to watch it, it’s just something I have been wondering.
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’Tis a faithful squire I spy! Who shall accept this fine mouse into thy service? One last illumination comes on the morrow…
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Who, pray tell, is this gallant frog? Are there any squirrels or badgers who dare test the mettle of his oath? Pledge thy sword and watch for more…
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Reblog for bigger sample size
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