enigma-the-anomaly

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this puppy currently being fostered by a rescue i follow makes me feel like. like. i don’t know. she’s a bug

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TODAY IT’S A GREAT DAY BECAUSE IT’S MARCH 15th THE DAY WHEN DENZEL CROCKER LOST HIS HAPPINESS AND IT’S ALSO ANNOY SQUIDWARD DAY

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It's the ides of mark

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what i need is a devout knight

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The unsung symphony

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asunder gotta be one of the top five ways to be torn

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extremely cool article you should read if you haven’t already

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I don’t think adaptations need to be one to one recreations if the original. In fact I think interpreting the original in a new and interesting way through a new medium is pretty cool and shouldn’t be immediately dismissed just because it’s different

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The Smell Of You In Every Dream I Have

#ff8cfe | #e28cfe | #aa8cfe | #708cfe | #028cfe

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one of my favorite things about a lot of different musicals is when they have their opening number reprised in their finale, the same melody and lyrics having an entirely new meaning to them thanks to the context of the rest of the show.

and obviously there are a Ton of examples (Wicked, Come From Away, The Outsiders, SpongeBob... i know there are others i can't think of them), but there are two specific shows that I genuinely think are examples of the absolute best use of this.

to me, those two examples are Cabaret and The Great Gatsby.

like the other examples listed, each time this sort of thing happens, there is new meaning given to the same song thanks to the rest of the show happening in between, but both Cabaret and Great Gatsby have it in like... a very chilling way.

In Willkommen and Roaring On, these are both somewhat upbeat songs, introducing the club, the parties, the energy that the audience is Supposed to feel at this point. nothing else matters in the world, only the thrill of endless entertainment.

but this isn't what these shows are about. there are much darker stories going on underneath, and by the time we get to the finale, the audience is changed along with the characters - but the song is the same. Nothing else Matters. only the thrill of Endless Entertainment. We have No Troubles Here.

but another thing that i find so musically fascinating is that it's not just the audience's perception of the song that changes, no the music itself helps to drive the audience to those realizations. at the orchestra's break in Willlkommen (finale), it begins very similar to the opener, but gradually adds more and more dissonance, making it harder and harder to even bear listening to. In Roaring On (finale), the ensemble lines are just slightly more staccato, slightly more dissonance, slightly more unnerving to listen to.

it's just so fascinating to watch a musical, and have the same song mean something so incredibly different, just because of the context it exists within, and very slight musical changes.

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eva noblezada as daisy buchanan in the great gatsby on broadway

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Happy Ides of March!!

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get in losers we're killing caesar.

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K