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#Musical Theatre
leaffsheep · 2 days
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PATRICK PAGE?!!?? AS IN HADES IN HADESTOWN PATRICK PAGE??!!? ALSO GUILLERMO FROM WWDITS IS GONNA BE IN S2??!!?
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i-ideate · 1 day
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i think my biggest moment of pride was that time i said 'marius pontmercy would be a huge percy jackson kid' and then finding out that chris mccarell played percy in the lightning thief musical and marius on les miz broadway.
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marvelmaniac715 · 3 days
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Things that have made me cry (or almost cry) in the last few hours due to exhaustion:
The end of The Underworld from Epic the musical
The end of Hadestown
Socialising with strangers
A sad TikTok about Aziraphale being lonely as the Supreme Archangel set to When Will My Life Begin from Disney’s Tangled
The board of animal actors used for the Harry Potter films, including the ones that never made it to screen because that is not fair
How pretty David Tennant looks (it was pictures of Crowley)
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eddiediazismyhusband · 18 hours
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going on my falsettos/buddie shit for a second, but the song “What Would I Do” is soooooo buddie after one of them is in an accident and they don’t know if they’re gonna make it, like—
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like im imagining eddie singing this to buck after the lightning strike when he was sobbing in that hospital room while Buck was in a coma
for any of my fellow musical theater stans that happen to also be in the 911 fandom i HIGHLY recommend the falsettos 2016 revival cast recording… it will rip your heart out, stomp on it, put it back in, rip it out again, and tear it to pieces (it also has tracie thoms playing a badass lesbian doctor so what other convincing do you need??)
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Broadway Divas Tournament: Round 4
It's been a little too relaxed around here these last few weeks. Very few wars, very few vicious fights among Diva fans. So. We're back to where we began with Bernadette vs. Patti and now Lea Salonga in the pit. If Lea hasn't been tossed back in after losing to Christine Baranski Round One, I'm confident my beloved Kelli O'Hara would have made it to Round 4 (and then been summarily eviscerated by Bernadette). So, to avenge my darling blonde soprano (a dying breed), here she is boys, here she is world, here's Patti.
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Seven-time Tony nominee, two-time winner Bernadette Peters (1948) has a sixty-plus year stage career of monumental proportions. Considered the foremost Sondheim interpreter, their collaborative works include Sunday in the Park with George (1984), Into the Woods (1987), Gypsy (2003), and Follies (2011). She has a thriving concert career, and was a co-founder of the beloved Broadway Barks event each year in Shubert Alley. She has an honorary third Tony (Isabelle Stevenson Award) for her outstanding advocacy and philanthropy.
Lea Salonga (1971) made history in 1991 as the first Asian performer to ever win Best Leading Actress in a Musical for Miss Saigon. She was just twenty years old at the time, the second youngest, and now all these years later, she qualifies for our MILF tournament. Lea has starred in six Broadway shows including Les Miserables (as first Eponine and then later Fantine), Once On This Island (2017), and most recently a brief stint in Here Lies Love (2023). She is also the singing voice for Disney's Mulan.
Eight-time Tony nominee, three-time winner Patti LuPone (1949) has a staggering fifty-plus year stage career. Award-winning roles include Eva Peron in Evita (1979), Gypsy (2008), and Company (2022). She has toured the US with her wildly successful concert and cabaret acts, and will kill you on sight if she sees a cell phone in the theatre. Patti was NOT Norma Desmond on Broadway, and because of it, is the proud owner of the ALW Memorial Pool. She is no longer a member of Actors' Equity. Despite that, she will reportedly be back on Broadway next season in a straight play.
NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE
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"Time to prove that this is the Bernadette Peters website. Let's go, lesbians, let's go."
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"She may have had a second chance at winning, but we've got to make things fair. Let's see how she does up against not one, but two of Broadway's biggest Divas."
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"Just like her Broadway career, Patti LuPone rises from the dead. She's just here for the extra chaos, and I cannot wait to see the results."
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pencilcasetime · 18 hours
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“why does distance make us wise?” - your eyes, rent
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real-odark · 2 days
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oh my god michael ruperttr marvin i want you so bad oh my bod. I god.mmy ghod sh micral tuper,.. kaebin
jmicha
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sondheim-girly · 2 days
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I am so terrified for the Tony nominations on Tuesday oh my god
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droughtofapathy · 1 day
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"Welcome to the Theatre": Diary of a Broadway Baby
The Great Gatsby
April 27, 2024 | Broadway | Broadway Theatre | Evening | Musical | Original | 2H 30M
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All the sparkly costumes and grandiose set pieces can't disguise this show's intellectually and musically filthy core. With a creative team that seems to have missed the entire point of Fitzgerald's book, Bad Gatsby is a Vegas spectacle best suited to theme parks and audiences bereft of critical thought. I have no loyalty to the source material. As a lesbian, I didn't much care for the book and its protagonist who seems disinterested in women, and spent pages waxing poetry about the male physique. But even I know it's a classic brimming with intellectual nuance, while this production is anything but. The relationship between Gatsby and Nick is now only ever a passing acquaintance, rather than the very foundation. The show's aggressive heterosexuality sees Nick and Jordan (a forcibly-feminized, pick-me girlboss type) romping about as Gatsby and Daisy, somehow even duller than the book (and how was that ever possible?) sing power ballads at and about each other that say nothing, and move the plot even less.
This adaptation of the beloved classic novel gleefully excises any and all purpose. Nick's idolization and homoerotic love for Gatsby drives the book's narrative. Here, he's doing basically nothing. My kingdom for a dramaturg who seems to actually like and understand the book, rather than someone who just wants to capitalize on it being newly public-domain. Why, oh why, do people keep adapting classics they clearly do not like? I don't like Gatsby, so I'd never bother to write a musical adaptation of it.
And speaking of music, it's ill-suited to both the period and the story. Everything is all contemporary pop ballad, and as someone who doesn't care about or know much of Jeremy Jordan, it's not working. Perhaps it's my blatant lesbianism and pretentious disregard for the allure of youth, but he's never seemed overly remarkable. He's a white male tenor. There are fifteen-thousand who look and sound just like him. But from the constant shrieking up in the mezzanine, you'd have thought the Beatles had come back for a one-night-only reunion. Thankfully, in my front side-orchestra section, I was surrounded by older patrons who politely clapped and refrained from any such screaming. Also, Jeremy Jordan's accent is all over the place, and I can't imagine why.
The shallow production that sits in the (possibly cursed, at this point) Broadway Theatre, has been robbed of its social commentary, its purpose, its depth. The characters are caricatures, the subtext is spelled out on a chalkboard (A song entitled "The Green Light"???) and is in some fascinating way, a meta commentary in and of itself. A massive budget allows for not one, but two working cars to drive around on stage. The glitz and glam blinded the creatives to anything...creative.
And don't even get me started on the baffling decision to cast a Mexican-Asian woman as Daisy, the quintessential image of white privilege. What are we saying by having Eva Noblezada in that role? It's such a thankless role that it's not like her talents are being utilized. And her character is so weak and dull, even more so than the book itself. And she's out here doing a hit-and-run, and yet we're just gonna...gloss right over that, I guess? And Nick's disgusted by Jordan saying they shouldn't tell the police what they know, but then immediately goes to plead with Gatsby to get out of town? Having done no work in the show to justify this loyalty, it's just inconsistency.
Also, and now I'm just jumping around to things I didn't like, the scene where Gatsby gets shot is staged so that Wilson is pointing and shooting that gun right at the front right orchestra section. And staring down the barrel of a gun is not what I want to be doing on a Saturday evening at 10:30 p.m. He shoots that thing twice while pointed at the audience, and no thanks.
Anyway, the Florence Welch Gatsby is at the ART now, so let's hope that one actually understands the damn book.
Verdict: Someone Put This Dumpster Fire Out
A Note on Ratings
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susiephone · 4 months
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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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trashpidgeon48 · 4 months
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Leitmotifs drive me insane, like I hear *repeated melody that has an association with a person, idea, or situation* and I go *tears up the fucking rug like a dog*
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saveugoodmadam · 5 months
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*leaves theatre* wow what a great show my favourite bit was how it fundamentally changed me as a person forever
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marvelmaniac715 · 3 days
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Jorge Rivera-Herrans and the entire cast of Epic the musical owe me emotional compensation because I have had two very long days with all day (very fun and enjoyable) trips, and I haven’t cried ONCE. I listened to The Underworld from the Underworld Saga a few minutes ago, and do you want to know what the straw that broke the camel’s back was? The last minute or so of the song with Odysseus’s mother. I’ve shed a few tears over musicals in the past, and I’ve read the Odyssey and didn’t find this moment so emotive in text form, but I was full on SOBBING, then I tried to listen a second time as a form of exposure therapy and IT HAPPENED AGAIN 😭😭😭. I don’t know if it’s because I’m not as close as I could be to my own mother and have regrets about that or if I was simply imagining myself in Odysseus’s shoes but that moment leaves me an utter wreck and I’m not okay.
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we’re sobbing tonight my dudes
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