The Death of Caesar by Jean-Léon Gérôme

‘Caesar? I hardly know her!’ - Marcus Brutus after he stabbed his friend probably

Random Sing Memes I Made On The Bus

how I imagine detention would go for Noel and Mischa

Ocean: *BUSTS INTO THE THEATRE* Ocean: WHERE'S MY CHIOR, MARCUS????? *Noel and Mischa painting a Tree set piece* Ocean: WHAT THE HECK ARE THOSE TWO DOING IN A TREE

BONUS

Noel: Not making out, that's for sure

endless au edits: smosh theatre's seasonal lineup (3/4)

no matter what else you have to say about it, one thing is certain. smosh's summer show is a fascinating choice: a production of godspell directed by zoe moacanin. smosh fans may know moacanin from directing last year's infamous performance of les miserables, which was the first show in almost a decade to star both smosh founders, ian hecox and anthony padilla. in a P.I.T. interview with hecox, he revealed that les miserables was moacanin's "brainchild." from the beautiful, minimalistic set to the haunting, romantic stage direction, hecox credited it all as her idea. "the show would not have gone on without her," hecox said. "she's one of the greatest directors i've ever worked with." moacanin's understanding of tragedy and theatre itself truly make her a force to be reckoned with. with a standout crew to support her, including arguably smosh's most talented stage head alex tran, i think we can all preemptively agree that this religious comedy-drama will lean far into the latter and leave not a dry eye in the house. it will surprise almost no one that shayne topp is staying atop the heap of most leading roles in smosh productions as he takes on the intimidating role of jesus christ himself. jesus is a high-energy, charismatic, strong leader that others instinctively follow - all words that accurately describe topp. when i reached out to him to set up a potential interview (coming soon), he had this to say: "it's truly such an honor to be working with zoe [moacanin]. she's extremely talented, and this cast has really captured my heart. i'm so excited to put on this show." i'll have the pleasure of sitting down with topp next week to dive further into his character and his relationship with the cast. speaking of, his fellow lead actor is none other than chanse mccrary, who will be playing john the baptist/judas. mccrary is known for speaking out about how his sexuality and race affect his career, both in how he's perceived by others and how it informs his art. to see him play such a double-edged character will be fascinating, as he will act as jesus's confidante as well as his downfall. smosh theatre is often highly praised for giving their actors room for interpretation. mccrary has taken that and run with it in the past, and i have no doubt that he'll do that again. mccrary shared on his instagram that he's "excited" for the upcoming performance. "i've had so much fun working on this show; this is truly one of my dream roles. come see me and @ shaynetopp sing all for the best and maybe kiss, who's to say". well, he certainly has me sold. godspell is a unique show in that theatre companies often name all of the characters after their actors. smosh is following that unwritten rule, releasing the rest of the cast solely as the songs they sing rather than the characters' names. the incredibly talented arasha lalani will be singing "turn back o' man," performed by the mary magdalene-esque character. lalani has played mostly high-strung, comedic roles with smosh thus far, and she's damn good at it. but as she showcased as cosette in the aforementioned production of les miserables, she absolutely has the range. backing her up in the ensemble of apostles are relatively up-and-coming actors marcus munguia (singing "light of the world" as the comedic, up-beat, class clown apostle) and peter ditzler (singing "all good gifts", a character notably sweet and innocent yet slightly slow on the uptake) among others. the stark mix of both classic smosh members and newer actors makes for a perfectly balanced cast, one that will make this old show feel brand new.

*Ides

Damn autocorrect

| HAPPY WORLD THEATRE DAY! 🎭

Il materiale di origine: @aliceasburyaudio (Instagram)

I am absolutely obsessed with Oscar Isaac’s backup performance at the Beacon Theatre earlier this week.

I just KNOW Marcus thinks he's soooo smart and such a good manipulator and beloved by everyone and So Normal. Meanwhile everyone at school thinks he's the Weirdest Guy Ever. Nice! But weird.

Spectacles in Constantinople (other than chariot races)

[by Marcus Rautman]

Reconstruction of early Constantinople

Like any great city, Constantinople was a nexus of social space, civic ceremony, commercial entertainment, and endless diversion. Medieval observers saw a busy urban environment where streets and plazas were regularly taken over by processions, churches and monasteries were filled with clergy and worshipers, and competitive games and performances took place in the open-air hippodrome.

The unruly intensity of enthusiastic crowds could also have unforeseen consequences, and on occasion violence and riots flared. John Chrysostom and other guardians of public decorum warned that attending mass spectacles could lead to laughter, immodest and licentious behavior, impulsiveness, and loss of responsible identity. While theatrical shows were generally improvisational, their potential to critique and undermine social order was clear to officials like Justinian (527–65), who suppressed Christological mimes and withdrew funding for their public performance. Some of the most negative views came from bishops attending the late seventh-century Council in Trullo, whose canons discouraged clergy and monks from attending the hippodrome and condemned exhibitions of mimes, wild animals, and public dancing.

Yet other sources make clear that organized spectacles were inseparable from the intensity of city life, with state-sponsored processions, games, and performances growing out of playful, demonstrative interactions experienced every day in street, market, and home.

On stage

Acrobat, musician and dancer, silver cover of a bowl, 12th century (in the Hermitage)

Theatrical entertainments were another popular spectacle inherited from classical times. Roman citizens had long been in the habit of attending public performances and several open-air theaters are known in early Constantinople. Unlike classical drama, stage productions in late antiquity aimed at visual rather than literary appeal, and ranged from choreographed group performances to individual displays of acrobatic and illusionist skill. One of the most elaborate forms of stage performance was pantomime (pantomimos), a ballet-like retelling of familiar mythological tales known in the third century BC. Commanding public stage or private dining room, a single interpretive dancer assumed well-known character roles by wearing distinctive costumes and trappings. The expressive eloquence of non-verbal performance was reinforced by instrumental or sung musical accompaniment.

By contrast, the less decorous antics of mimes and mummers offered broadly comedic diversion in the tradition of burlesque and slapstick. Expressive mime (mimos) performances had an equally long history, with plots drawn from easily recognized, often transgressive aspects of everyday life: family dramas, mistaken identities, infidelities, crime, violence. Requiring no scenery and few props, mimes moved freely from stage to street corners and taverns, delivering lively action supported by flutes, pipes, lyres, singing, and drums. Acrobats and jugglers appear in different media and are mentioned by late medieval authors. The depiction of small, costumed, and sometimes nude figures on carved ivory boxes of the tenth–twelfth centuries suggests the broad parody and implicit social commentary of playful display.

Like other forms of mass entertainment the theater was viewed by authorities with suspicious tolerance. Chrysostom and others saw the manipulative inauthenticity of dramatic roleplaying (hypocrisis) as inherently blasphemous. Naturally the unpredictable and emotional response to public performance contributed to immorality and political subversion. Performers were seen as inhabiting the social margin; foreigners, slaves, and especially women were regarded as morally irresponsible, even as they were invited to play in the palace itself. Prokopios’ overheated account of Theodora’s stage career likely drew on widespread prejudices about the moral fluidity of the entertainment community as much as its enduring popular acclaim.

On the streets

Broad, porticoed streets were among Constantinople’s most characteristic urban features. While major processions stuck to these primary routes, secondary streets in peripheral quarters saw myriad local celebrations. [...]

Streets were busy throughout the day. Carts and wagons kept to the main roads, with porters carrying their loads through uneven, winding alleys. Food vendors, scribes, and moneychangers lined the porticoes, which were good places to meet people and pass time with friends. Keeping passages clear of debris and lit by torches at night was up to shopkeepers, who might briefly expand their domain by setting benches and tables for customers outside their doors. Floor mosaics, graffiti, and game boards carved into the paving of porticoes reflect the attractions of recreational leisure. Observers note the boisterous conviviality of restaurants, taverns, and baths, where acrobats, illusionists, and jugglers shared their talent at close range. Trained bears, birds, and dogs were always reliable attractions. Mime-like performers and storytellers continued to play back streets and tavernas.

— Marcus Rautman, "Entertainment" in The Cambridge companion to Constantinople / edited by Sarah Bassett. Cambridge University Press 2022

"I just met Josh Dunn ✊✊ @joshuadun"

Hamilton Manila 2023!

As a musical theatre girlie who lives far away from the capital city, it's a bit hard to catch artists and musicals when they tour in my country. It can also be quite expensive since I have to pay for my flight and book Airbnbs. But when Lin-Manuel Miranda announced that Hamilton would have its Asian premiere in the Philippines early this year, I promised myself I would not throw away my shot.

I first discovered this musical in the summer of 2016, probably a month before it garnered big awards — including Best Musical! — at the Tonys. Having only heard of Breathe from LMM's other show, In The Heights, back then, I was surprised to hear rap and hip-hop in a Broadway musical. Nevertheless, I was hooked! Every song was catchy, and the lyrics were smart and informative. Satisfied and Helpless became my favorite songs, with It's Quiet Uptown making me cry whenever I hear the four words: "Forgiveness, can you imagine?"

After watching The Phantom of the Opera back in March 2019, I was so excited to go back to Solaire and watch another musical. This time, I was able to enjoy my second theatre experience with my college friends. It seems very fitting that I get to share this moment with them. Back in college, we used to sing songs from Hamilton during breaks and enact the dance from The Schuyler Sisters. We even made a parody of the song Alexander Hamilton when making a presentation about Confucius for our Asian Civilization class!

While Solaire didn't have many different backdrops for photo ops for Hamilton like they did for POTO, my friends and I were still able to take cute pictures!

As a partnership with UnionBank, they also offer free holographic souvenir cards for the first 140 people (150 on the weekends, iirc), so coming to the theatre four hours earlier is definitely worth it! Here's my card with my friends:

My friends and I also enjoyed complimentary drinks from Solaire since it was our first time signing up for Solaire Rewards. Don't throw away your shot for free drinks!

Okay, now for the show itself! Although most of my friends were hoping to watch the show in the orchestra seats, we ended up on the balcony. After a while, I realized that Hamilton is certainly best viewed on the balcony since we're able to see the rotating stage more clearly, as well as the incredible choreography and lighting design.

Here's the main cast we saw on October 31:

Like most Filipinos, I was hoping to see Rachelle Ann Go as Eliza. "Pinoy Pride" is something of a cheesy inside joke in our country, but hell, I'm so happy to see Rachelle thriving in West End productions, from Les Misérables to Hamilton. Seeing her portray Eliza live was one for the books. She was playful and giddy in Helpless, but she completely broke everyone's heart during Burn. And not to mention, her voice! Her singing highlights include Burn and the last part of Who Lives, Who Dies, Who Tells Your Story. She also shared wonderful chemistry with Callan Purcell, who played Hamilton in this production.

I was so looking forward to seeing Jason Arrow as Hamilton, but I still liked Callan's performance, even if his interpretation was completely different from other Hamiltons I've seen in slime tutorials. I especially liked him the best in Act 1. His "mature" Hamilton may not be that convincing at times in Act 2, but his energy was so infectious as the "ambitious" young Hamilton in the first half.

Another surprise was Kirrah Amosa's Angelica. I've read some comments in the Pinoy Hamilton FB group about her "lacking" portrayal of Angelica, but you know what? I thought she was great! Yes, she's giving more of an "empathetic Eliza" energy instead of the "fierce Angelica" we usually see, but that's what made her performance of Satisfied even more impactful to me. As for the third Schuyler sister, Peggy/Maria Reynolds, Elandrah Eramiha has a honey-like voice, which she completely showed off during Say No To This.

As a Burr apologist, I'm torn with Winston Hillyer's portrayal of Burr. Eliza's my overall favorite character in the show, but for me, Burr is the most relatable and grounded. I wasn't completely disappointed with his performance, but I just didn't think his character was able to "grow" in the second half. He has a very wonderful, crystal-clear voice, though!

Darnell Abraham as George Washington was also a main highlight of the show! Maybe it's because of his rich baritone voice, but I loved his father-son relationship with Callan. His Washington was thoughtful and deeply caring. (And dare I say I like him more than Chris Jackson from the OBC?)

Brent Hill was hilarious as King George, but I can't help comparing his performance with Jonathan Groff's. They both have brilliant comedic timing, but Jonathan's a much more menacing King George, whereas Brent is sassier and maybe even crazier!

Meanwhile, Hamilton's comrades: Marcus John and Trey Curtis, who played Lafayette/Jefferson and Mulligan/Madison respectively, also had so much chemistry with each other and stole the show so many times! Marcus reminded me so much of Daveed Diggs' little quirks in the show, but he was still great in his own way. I've read somewhere that Trey is also a standby for Hamilton and that he's amazing. Sigh... What I'd do to watch the show again and catch him as Hamilton! Julian Kuo was also very sweet as Laurens/Philip Hamilton, which made his death scenes twice as heartbreaking as usual.

Overall, I'm very much satisfied with this Hamilton cast!

Of course, Hamilton will not be complete without merch! Just like last time, I bought a boat tote bag because, like other Gen-Z kids, I'm obsessed with tote bags. We just can't help it! I also bought a lapel pin, so I can pin it to my other tote bags. I initially wanted to buy the button pin set, but unfortunately, it was sold out. I'm still pretty happy with my purchases, though!

Four days later, I'm back at home, and I still have post-show blues. I just listen to the OBC recording and the mixtape to keep me company. Maybe I'll rewatch the Disney+ pro-shot again!

Watching Hamilton was a dream come true and an experience I'll never forget anytime soon. I can't wait to watch my next musical again!

Moon Theatre Troupe Halloween Headcanons

The theatre itself leaves out candy for kids and has Halloween activities like face painting, ghost tours (all theatres are haunted. this a fact), and special shows.

Mrs. Crawly, Rosita, Marcus, and Aamanee (Meena's mom) make and bring snacks for the troupe.

Ash and Nooshy always have horror movie marathons.

The piglets drag all the younger troupe members out trick or treating with them.

Buster gets wayyyyy too into fake cobwebs as decor and the troupe is always cleaning them up weeks later.

Halloween music is blaring up to like three weeks beforehand constantly.

Johnny and Ryan always escape to go sit on the roof and just people watch by the end of the night.

Gunter has set numerous glitter based traps around the theatre with the help of both Clay and Stan.

Barry and Eddie make cool light shows with the stage lights during public events on the holiday.

The costume contest is insanely competitive. Like ridiculously so. They are planning out costumes over a year in advance and will keep them so secret that you'd think they're hiding government intel.

Everyone, like everyone everyone, in the troupe and their families leave a piece of candy for the theatre ghost.

Meena's grandfather always starts telling ghost stories but ends up going down tangents instead while his wife just shakes her head next to him.

Nana is the judge of the costume contest for the sole reason she has the best one every year and it would be unfair otherwise.

Rosita's family always has a theme for all their costumes.

Suki, Hobbs, and Mizuki act as coordinators for the whole event, like they do with every holiday the group celebrates together, so it does not descend into chaos.

Porsha insists on there being karaoke every single time. The competition there also gets insanely intense.

Marcus and Rosita make the coolest decorations in the living world by hand themselves.

Marcus: hey, I have Attention Deficit Hyperactivity Disorder, that *clearly* means that I get a deficit of attention

Oscar Isaac and Marcus Mumford performing at The Beacon Theatre

via Beacon Theater Instagram