#Cats Original London Cast

[white-cat-of-doom]

The 'new' version of the Original London version of Magical Mr. Mistoffelees, found only on the Memories From CATS EP released in 1981 on 10" vinyl.

This post brought to you by me digitizing strictly analog only recordings ;).

[gotham-native]

"Cats" 1981 Original London Cast · John Thornton · Bonnie Langford

"Cats" 1983 Broadway Cast · Timothy Scott · René Clemente · Christine Langner

[zachbiller]

[acadjonne]

a heartfelt “what the fuck” to the original broadway cast version of mr. mistoffelees for having the titular mr. mistoffelees joining in during the middle of the song, i thought this was tugger’s “simping for my magical boyfriend” song

[pixiedustjellicle]

I have such a difficult time connecting with the Cats community now. Part of me feels like maybe I'm too old for the current fandom(I don't feel old, but I'm certainly not 19 anymore). Or that perhaps it's because I don't much care about ships. Sometimes I worry that I intimidate people, and I'd hate that. Let me introduce myself and how Cats has shaped my life, and maybe I can find my people?

I first saw Cats at a tiny local theatre when I was eight. I fell in love with it, and even though I didn't have the movie yet, I spent months afterwards with just the poem book and highlights album. Eventually I got the 98 VHS too- and then another local theatre put it on when I was ten! I got to see it twice there. And afterwards, I made up my own attempt at a costume, turned our spare room into my attempt at the set, and put some chairs in there to put on the highlights show for some friends of my mother. The CD was worn out, I went on with the show, and they even gave me a card and a new CD afterwards- the London 2 disc set! Looking back, I think how embarrassing it probably was, but I was so happy and proud of myself in the moment. Two more years later, US Tour 5 came through Nashville, and I got to go and stagedoor for the first time. I wore a tail I made and one of the actresses told me I had a perfect Bombalurina tail twirl. For all those years, I worked Cats into school projects, I drew nothing else. My mom put up with it for so long, and I still thank her to this day.

And then I went into middle school. New school, new students, and I started getting bullied for it. I found other musicals I didn't get bullied for- Phantom, Wicked, and Sweeney- to latch onto, and I kinda put Cats in the back of my head. I still loved it, but my hyperfixation had waned thanks to mean kids, and other than occasionally watching the 1998 movie, I didn't think much of it for years.

But the US Tour 6 announced a date in Nashville. I hadn't seen the show in eight years, and I wasn't about to miss it. I had already started taking an interest in cosplay, but I'd never made a costume like that. I remembered admiring the CCDB as a kid though, and I told myself I was totally capable of making my own, just to go see the show in costume. And I did.

And the cast were SO sweet, and I started finding Cats fans on Instagram. I thought I could do better on the costume, so when the show stopped in Chattanooga a couple months later... I did it again.

The pandemic hit and I lost my job. Immediately I started getting work making Cats cosplays for others, and I haven't stopped since. And when the show resumed, I made an overnight trip to Memphis to dress up again!

And then, I saved until I could finally go see the Royal Caribbean production (front row all three performances), and got to cosplay on the cruise and get a picture on stage with the cast! This was absolutely everything to me, especially seeing the original choreography as opposed to the revival. I definitely cried. (I'm in the middle bottom row!)

I've gotten to make some costume pieces for three regional productions of Cats, in the Dominican Republic, Atlanta Georgia, and most recently Georgetown Texas. I've won some local cosplay contest with my costumes, too! And I'm lucky enough to own a few original pieces- though I've had to part with some too.

My love for this show has spanned just over 17 years now. I adore the story, the costumes, the choreography, the sets, and the characters. It's part of how I learned I am autistic. It's given me confidence I didn't know I could find. And every time I get to see it live, I feel like I'm where I belong. The fandom has felt quiet. And I'm not sure if that's just because I don't know where I fit in? So here's hoping I can find my tribe.

Favorite productions: Original Broadway, Moscow, and Mexico 2013/2018

Favorite Cats: Jemima/Sillabub, Bombalurina, Demeter, Munkustrap, Tumblebrutus, Jellylorum

Favorite songs: Jellicle Songs for Jellicle Cats, The Song of the Jellicles and the Jellicle Ball, Macavity

Favorite cats to cosplay: Etcetera and Victoria

[faefox9]

things that are now canon in the goes wrong universe from a local production of TPTGW

-Jonathan Harris likes to ribbon dance, watch his pet snail, and trim his bonsai trees in his free time

-Robert Grove's birthday is March 22nd, 1989(yes this does contradict the goes wrong show, I don't think the actor was aware of that)

-Max Bennett has a BFA in performance from Yale

-Sandra Wilkinson has a day job as an accountant

-Sandra Wilkinson watches the bachelor

-Max Bennett's parents donated $10,000 into the murder at haversham manor

-within this production specifically Max Bennett, Annie Twilloil, and Trevor Watson were all American while the rest of the CPDS was british

-Robert Grove was born into a "theatrical family" and his first role was as Mercutio in Romeo and Juliet Jr in the 3rd grade

-the murder at haversham manor is Robert Grove's first non-Shakespeare production(yes this also contradicts preexisting lore)

-Robert Grove "usually gets his maids to do all the hard work around the house"

-Robert Grove is originally from London

-Charles Haversham was a dream role for Jonathan Harris because "napping is something he excels at"

-Trevor Watson has 2 cats, one is a Persian named Princess, and the other is a Siamese that I sadly forget the name of

-for the scene of Winston attacking inspector Carter at the end, they had it where one of the Cornley crew put on dog ears and acted as Winston(my friend who was in the actual crew for the production said that the person who did that was the actual stage manager)

-they added a bit where when they put the clock on the chaise longue 2 Cornley crew members come up and offer to help where one of them reminds the other to "be British" and then Chris gets mad at them and they run off, but then he summons them back to help lift the clock(my crew friend said they added this because the cast couldn't lift the clock(with the actor for Sandra inside it at this point in the play))

-for the kiss between Max and Trevor they removed Trevor's line of "nobody wants to see that" and they had him be hesitant at first and then shrug and pick up Max in his arms and fully make out with him, and on one night when the door opened and the other cast members went in they held hands while standing next to one another

[thegayhimbo]

Stranger Things The First Shadow Review

Synopsis: Following a horrific incident from their previous life in Nevada, the Creel family relocates to Hawkins, Indiana in an attempt to make a fresh start and instill a sense of normalcy in their son, Henry Creel. However, Henry is anything but normal, and harbors a dark secret of his own that scares both himself and his family. When a series of gruesome animal killings takes place, attracting the attention of a group of teenage outcasts and a Doctor with his own agenda, Henry realizes his secret is about to be exposed, and is forced into a reckoning that will change the course of his life, and of Hawkins, forever.........

Observations:

FINALLY!!!!

I've been waiting for MONTHS to see The First Shadow. As far back as January, we got tickets and made plans to travel to London specifically for this. Last Thursday (June 20, 2024), we were able to view it on-stage.

Was it worth it? Short answer: YES.

This is going to be divided into several parts. The first bit will detail my experience at the play, and the remaining parts will contain SPOILER HEAVY analysis of the story, the characters, and plot revelations tied directly to the mythology of the show. There's a lot to speculate on where the Duffer Brothers will take the final season from here.

Part 1: My Experience

In terms of production value, this was top-notch. I loved the set designs, from Hawkins High School, to the classic 50s Diner the characters hang out at, to the gothic Creel House, to the cold white rooms of Hawkins Lab, to the hellish landscape of Upside Down, and so on. The 50s aesthetic works well, and there were multiple shots that conveyed the sense I was watching an episode from the show.

The special effects were spectacular. Huge shout-out to the way they choreographed the mutilation of both animals and humans. It actually looked like bones being snapped and limbs twisted around. There's even a disturbing scene where Hopper and Bob are digging up the carcass of a butchered cat, and the prop they used for it looked realistic (combined with dirt and blood for nauseating effect). The lighting also helped elevate the creepiness of it all.

The music was also great. They had a nice selection of 50s songs, but they also brought back familiar themes from the show. One of my favorite musical cues was the use of Philip Glass's "Window of Appearances" which is heard when Vecna's origins are revealed in "The Massacre at Hawkins Lab" (Season 4, Episode 7). They also use it in the climax of this play:

The actors brought their A-game, but the two performances that really stood out for me were Isabella Pappas as Joyce and Louis McCartney as Henry Creel. Pappas does a stellar job combining Joyce's world-weary "I'm sick of everyone's bullshit" attitude with the fierceness that makes Joyce stand out as a character. It reminded me a little of Natalia Dyer's performance as Nancy Wheeler, especially with the "take charge" attitude that both of them have.

As for McCartney, he was the show-stealer. I didn't go into this play expecting to feel any sympathy for Vecna, but the emotional depth McCartney brings to his performance elevates the character to a 3-dimensional complex tragic villain, which makes his eventual fall to evil all the more heartbreaking.

The audience I was with was fully immersed. Most of the jokes got a laugh, there were a few screams when jump-scares occurred, and there was a standing ovation at the end when the cast came out to give a bow. Even during intermission, everyone was chatting happily about the play, and I heard nothing but compliments.

My only regret is, due to a scheduling conflict that day, we ended up missing the first 5 minutes, and they wouldn't let us in the theater until the title cards came up. We did see parts of the beginning on a TV screen in the lobby (and one of the patrons was gracious enough to fill us in on what happened), but I wish I'd been in the theater for the beginning. My advice is GET THERE EARLY if you plan to see it. The theater fills quickly, and they may not let you in at certain points.

The only minor nitpick I have about the quality of the play is there were a few moments I had a hard time understanding what certain characters were saying. This was mostly in the scenes with Henry/One/Vecna when he was either screaming or alternating to his demonic voice. I was usually able to figure out what was going on, but I wish the dialogue had been clearer.

Overall, this was a fun experience, and I even brought back memorabilia from it:

Part 2: Characters/Story (MAJOR SPOILERS AHEAD!)

It's pretty much advertised in the synopsis, but the play takes place in 1959 when Joyce, Hopper, and Bob are in high school during the time the Creel family moves into Hawkins. The story is largely centered on Henry Creel's villain origins as he becomes more unhinged due to the power he possesses. This leads to a series of pet killings in Hawkins that catches the attention of Hopper, who ropes in both Joyce and Bob to investigate and find the culprit. All the while, Joyce is struggling to put on a play at Hawkins High School (i.e. The Dark of the Moon), which coincidentally happens to have Henry/One/Vecna as the main star! :)

These three arcs sound like they shouldn't connect at all, but to the Duffer Brothers credit, they manage to thread them in a way that's believable and engaging. Joyce's exasperated attempts to get The Dark of the Moon off the ground provide some light comedy to what is essentially a grim story, and it was a nice way for the audience to see all the adult characters from the show (i.e. Ted Wheeler, Karen Wheeler, Al Munson, Lonnie Byers, Sue Sinclair, Charles Sinclair, etc) as they were during their teen years.

The investigation of Hopper, Joyce, and Bob into the pet killings hearkens back to the old-fashioned dynamic the Party had in the first season when they were looking into Will's disappearance.

As for Henry/One/Vecna, his arc was well executed and horrifying on so many levels:

The way a young Henry Creel was portrayed in this play was oddly endearing. I mentioned earlier that McCartney brings a lot of emotional depth to the character, and by that, I mean he portrays teenage Henry as awkward, shy, creepy, funny, and even sympathetic at times. He's a kid who doesn't feel comfortable in his own skin, who has a hard time interacting with other people, and has powers that frighten him with the added side-effect of NOT knowing how to control them yet. Victor Creel mentioned to Nancy and Robin in S4 that Henry was a "sensitive child" and it turns out that was meant literally: Lights go on or off (or even explode) whenever Henry's mood fluctuates (making Henry constantly jumpy), he can unknowingly tune into the radio with his powers and mistakes it for voices in his head, he can read the thoughts/moods of other people, he can create illusions (similar to Kali/Eight), and whenever he tries experimenting with his powers, it ends in disaster. In short, he's someone who's terrified of his own shadow, and almost everything in his environment sets him off. At the same time though, there are some relatable qualities to him, such as his love for comics like Captain Midnight (which he eagerly shares with Patty), and there is an internal struggle he deals with for most of the play to genuinely be a good person in spite of the demons (both literal and figurative) that threaten to overwhelm him. He reminds me of Will Byers in some ways, and I am dead sure that parallel between these two characters was intentional on the Duffer Brothers part.

Contrary to what's implied on the show, it turns out Henry had his powers long before he moved to Hawkins. Previously, he lived in Rachel, Nevada until an incident between him and another boy resulted in said boy ending up in a wheelchair. It's ambiguous whether Henry deliberately attacked the boy or if it was an accident (it could have been either one), but it was enough to force his family to move. His parents (particularly his mother) are insistent on pretending everything is normal and that Henry will eventually get better, all the while putting more of an emotional strain on Henry as he tries (and fails) to conform.

We get a little more insight into Henry's parents, and it's not pretty: Victor Creel was already established on the show as a war veteran with severe trauma and PTSD over killing innocents during a raid, and the play depicts him the same way, with the added effect of being so wrapped up with his own issues that he fails to see his own son spiraling. The sad thing is there are scenes indicating he does love Henry (and also defends Henry's relationship with Patty, referring to it as "puppy love") but he isn't able to convey that in a way which makes Henry feel safe.

As for Virginia Creel, I don't know if this was intentional in the narration, but I found her unlikable. Putting aside the unsettling 50s Stepford Wife persona she projected, her treatment of Henry bordered on emotional abuse. She likely didn't intend that, but everything, from her attempts to keep Henry isolated from the one relationship that brings him any happiness, to constantly treating him like a time bomb waiting to go off, to pretending everything is okay when it isn't.........all of this causes whatever mother/son relationship she has with Henry to deteriorate. There's even one nasty scene where she smacks him, though she quickly regrets it when Henry lashes out in anger and forces his mom to witness a vision of herself being covered in spiders when she was locked in the closet by her abusive parents as a child. In some ways, it reminded me a little of the Norma/Norman Bates relationship from the Psycho series (minus the incest subtext) in how unhealthy it is. It was deeply uncomfortable seeing her attempt to force Henry to be something he wasn't just so she could maintain the image that she and her family were perfect. And when she realized she couldn't do that, she finally tried to wash her hands of Henry the moment Dr. Brenner showed up and offered to take Henry into his care ("Lock him up and throw away the key" to paraphrase one of her comments). I get that this is set in the 50s where there's plenty of values dissonance with how parents raised their kids at that time, and there is some context behind why she was scared of her son and his behavior (because there were times Henry wasn't acting okay), but she still handled this situation poorly and contributed to Henry internalizing his trauma and insecurities until they exploded out of him in the worst possible way. It was bad enough that Henry was dealing with something he didn't understand, but she needlessly added on to those problems.

Alice (Henry's sister) is also in the play, but she only appears in a few brief scenes, and sadly doesn't get a lot of characterization beyond being the "cheerful child" in the family. It's implied she knows that something is wrong with her brother, but doesn't look closely at it. Interestingly, they portray her like she's Henry's younger sister, even though the show established that she's supposed to be older (There's a news article in S4 that claims Henry was 12 and Alice was 15 when the Creel murders happened). Other than that, there isn't really much to say about Alice.

The three main characters (Joyce, Hopper, Bob) have their familiar quirks that will follow them into adulthood: Bob is nerdy, smart, good with technology (which comes in handy in their investigation) and the host of a radio show. Hopper is the disgruntled son of the Chief of Police who's trying to make something of his life. Joyce is high-strung, in a dead-end relationship with Lonnie, and trying to find a balance between optimism and pessimism. In a way, I'm reminded of the Steve/Jonathan/Nancy dynamic we briefly got in the S1 finale, with Joyce having similarities to Nancy, Bob to Jonathan, and Hopper to Steve. This was clearly set up as a love triangle between the 3 of them, and I have to question if the Duffer Brothers deliberately did this to foreshadow what could end up happening between Steve/Jonathan/Nancy in S5. In any case, Joyce, Hopper, and Bob investigate the animal killings when they start to happen, and while they come close to figuring out who it is, they ultimately miss the mark and pin the crime on the wrong person (Poor Victor Creel). Sadly, by that time, it's too late, and both Virginia and Alice Creel are dead.

There is a new character introduced named Patty Newby who plays an important role. She's the adopted sister of Bob and was revealed to have been taken in (or stolen as a child, as Henry later claims) by Bob's father, Principal Newby. Despite his misanthropy and awkward nature, Henry takes an interest in Patty, and the two of them develop genuine affection for one another. When Patty auditions for Joyce's play, Henry helps her with her lines (which leads to both of them getting cast as the main leads), and later feels comfortable enough to share his secret powers with her, including giving her a glamorous vision of starring and singing in a Las Vegas show. Against all odds, I actually found the relationship between Henry and Patty to be cute. Not only did it humanize Henry, but the way it was presented made sense: Both of them are outcasts with deep insecurities that they're trying to work through. Patty feels like an outsider in her family and at school due to her race (which isn't helped by people like Dustin's father making disgustingly bigoted comment towards her during class) and her complicated relationship with her adopted dad, who treats her coldly. Since Henry also feels like an outcast in his family, he's able to empathize with her, and both of them try to encourage the best in one another. In a moment of genuine kindness, Henry helps Patty locate her biological mother (who coincidentally is also a singer), and Patty returns the favor by trying to encourage Henry into believing that he is a good person and that there are positives with his powers.

I know some fans will complain about how Patty was never mentioned on the show even though she's supposed to be adopted siblings with Bob, but I'm not bothered by that. Nothing about her existence contradicts anything on the show, and it was nice to see a redeemable side to Henry that proves he wasn't a complete monster to begin with. The only thing that's harsher in hindsight is that, because Patty and Bob were close growing up, and because of Henry's affection for Patty, it makes what he does to Bob in S2 (i.e. siccing the demodogs on Bob) a lot more vile.

Finally, there's Dr. Brenner himself: If there was ever any doubt that he saw Henry and the other special kids like El as a means to an end, this play erases that. He is at his absolute worst here. Manipulative. Cruel. Determined to push Henry over the edge. Egging Henry into murdering a convicted prisoner, even though Henry fights back against doing that, all so Brenner can test him. Hurling verbal abuse at Henry, and then playing up the "Loving Papa" persona in the same way he would do with El years later. It really says something that he is the most loathsome character in the play, and that he doesn't see Henry as a person so much as a tool.

This was already a given on the show, but I still remember fans who kept making apologies for Brenner's behavior in S4 while insisting he really did care about Henry and the other kids in spite of his abuse of them. 🙄 I always maintained those were garbage apologies, and this play only reinforces that. Even though Henry is ultimately responsible for the choices he makes (regardless of the negative influences in his life), there is an argument to be had that Brenner bears responsibility for destroying whatever remaining goodness Henry had left in him until Henry became the cold, calculating monster with a plethora of rage and a deep hatred for humanity to accompany it.

Part 3: Revelations

For a while now, I've held theories that the powers El, Henry, and the other special kids have had were connected to the Upside Down. These theories were even talked about in my reviews for Stranger Things Six, Stranger Things The Other Side, and Stranger Things Suspicious Minds. I've also speculated on the idea that the Mind Flayer might be its own entity, and that Henry/One/Vecna didn't create it so much as gave it a form when he found those black particles in the Upside Down decades later.

This play confirms those theories: Not only is the Upside Down connected to their powers, but it's revealed in this play that the Mind Flayer acted as a malevolent corrupter to a young Henry, which would later lead to him becoming the monstrous Vecna.

At the beginning of the play, there's a flashback to 1943 where the U.S. military was experimenting with a new technology on the USS Eldridge to create a force field to hide the ship from the Germans during WWII. Interestingly, this bit was based on a real life experiment called "Project Rainbow," and the pamphlet I bought gives more details about it:

In the play, the technology caused the ship to end up in the Upside Down, where most of the crew was slaughtered by Demogorgons. The sole survivor turned out to be Dr. Brenner's father, who came back to the real world with altered blood in his system. He ends up dying, but passed on his secret to his son, kick-starting Brenner's scientific pursuits for the military. In other words: Brenner was aware of the Upside Down long before El banished Vecna to it in 1979.

Fast-forward a few years later. Henry is in Rachel, Nevada, playing in one of the caves with a spyglass when he encounters a rogue scientist who worked under Brenner in Nevada. Brenner had spent years attempting to replicate the experiment on the USS Eldridge in Nevada, and one of his scientists had stolen key technology and fled to the caves. When Henry discovers the technology, it transports both him and the scientist to the Upside Down. The scientist is killed, but Henry gets exposed to a malevolent entity (The Mind Flayer) before he is transported back to this world. Just like with Brenner's father, his blood is altered, and so is his personality. Brenner would later be able to track Henry down due to the spyglass he dropped in the caves after his exposure. In spite of escaping the Upside Down, Henry was now connected to the Mind Flayer, who spends the majority of the play acting as a malicious influence driving Henry to kill, and chipping away at his personality bit-by-bit:

It's not really a spoiler to say Henry is behind the pet killings in Hawkins (since he was shown killing animals on the show), but the difference here is the play makes it ambiguous how much control Henry has over his powers and actions. The Mind Flayer certainly uses Henry as a vessel, but there are moments Henry was shown to be capable of resisting it, indicating there was some manner of agency on Henry's part. In some moments, he chose to drive off the monster, whereas in others (like the deaths of Virginia and Alice Creel), he allowed the monster to work through him.

Like I said, these are theories I've held for a while now, so it felt gratifying to see them validated. While Vecna's monologue to El in 1979 implies that he was always a sociopath with powers who acted on his own accord with no outside influence, it's important to note that Vecna in that scene is an unreliable narrator twisting past events to paint himself a certain way to El. Part of it may be that he doesn't want to admit he was a victim of the Mind Flayer and that he made his own choices (Which is true: He DID have choices and the ability to reject the Mind Flayer, which we see in one scene when the Mind Flayer attacks Patty's father, and Henry intervenes on Patty's behalf to save him). Part of it may be that he's been under the hold of the Mind Flayer for so many years that, by the time El meets him, he's come to believe he and The Mind Flayer are one in the same.

Either way, regardless of what happened, there were a lot of elements stacked against Henry that makes me pity him: The Mind Flayer's influence, Brenner exploiting Henry's powers for his own selfish scientific desires instead of genuinely helping him, his parents trying to force Henry to be normal and shove down his issues instead of taking the time to deal with them..............the only positive thing Henry had going for him was his relationship with Patty. Her determination to see the good in Henry and his powers, and her belief that Henry could rise above the darkness gave some brief salvation for him. Unfortunately, that wasn't enough to save him, and the darkness won in the end.

There is a slight change I was okay with: In the show, Henry mentions that he fell into a coma after killing his mother and sister. While that is true to some extent, he actually wakes up a few hours later and flees the house to go find Patty at the school. He encounters Joyce in the basement (after the power gets knocked out) and, in a scene that's both creepy and sad, he acknowledges that Joyce is a good person and warns her that the world will punish her for it while taking away everything she holds dear. There's a dark irony to his words considering he would later be responsible for the disappearance of her son, the death of Bob, and most of the problems Joyce would later deal with on the show.

Following his encounter with Joyce, Henry finds Patty on an elevated stage platform, and begs her to run away with him. She is basically his last hope at this point, and even that is taken away when Brenner manages to track him and Patty down. There's a whole "Good Angel/Bad Devil" exchange that occurs as Patty (the Angel) implores Henry to fight against The Mind Flayer while Brenner (the Devil) snarls that Henry is already a monster and he might as well accept it. All of this cultivates in Henry using his powers on Patty, having finally surrendered to the Mind Flayer's influence, and throwing her from the rafters, almost killing her. Henry passes out after this, and Brenner takes him back to Hawkins Lab, where he will spend the next 20 years as Brenner's prisoner. Patty manages to survive the fall and, thanks to information Henry gave her earlier, she's able to locate her biological mother in Las Vegas and reunite with her. The last act of redemption Henry would ever have.

These revelations help give context to the mythology of the show. They explain what motivated Dr. Brenner for so many years. They explain the Mind Flayer was well aware of this world, and that Brenner was aware of the Upside Down long before El opened the gate in 1983. They explain Henry already had troubling aspects to begin with, and that his encounter with the Upside Down and the Mind Flayer only amplified those problems. They explain how and why Henry became disillusioned, nihilistic, and angry over the next 2 decades, and how he would project that onto his enemies once he became Vecna. They explain why Henry/One/Vecna takes an interest in certain characters on the show, from El (whose upbringing and struggles are similar to what Henry went through as a child) to Will (who shares similar traits with him as an outcast and a nerd) to even Billy (with both of them projecting their rage onto the world), and went as far as to target them. And, most importantly, it explains how Henry and other special kids like Kali and El got their powers.

This does raise interesting questions that I hope S5 will explore more of:

Since Will was kidnapped and taken to the Upside Down in S1, does this mean his blood type has been altered as well due to his exposure to the Mind Flayer? Does he now possess some kind of power similar to El that we haven't seen yet but might be unveiled in the last season?

And what about the Upside Down freezing in time in 1983? Considering the Upside Down remained consistent as a hellish environment (even after El banished Vecna to it in 1979), this gives the impression that what happened there was an anomaly. I still maintain Will's disappearance had something to do with the altered environment, and I have provided theories for it in my review of Stranger Things The Other Side, but it's still a question that remains unanswered by this play.

And then there's Patty: She does survive, and last we see of Patty is her reuniting with her biological mom, but it's also mentioned she disappeared and that Bob (her adopted brother) misses her and plays songs over his radio podcast in her memory. Did Bob ever find Patty following this, or did he die before that could happen? Does she even remember Bob or Henry, or did the fall (which injured her badly enough that she now walks with a cane) cause her retrograde amnesia? Is it possible S5 might bring her back, and she could have some role in reaching out to Henry/One/Vecna? Is she still alive at this point?

So many questions that I'm hoping S5 provides answers for.

Part 4: Themes

It's no coincidence that the play Joyce produces for the school holds parallels to the tragedy of Henry and Patty's relationship. The Dark of the Moon is a ballad about a "witch boy" named John who falls in love with a human girl named Barbara Allen. He is given a human form on the condition that she remains true to him. Through a series of tragic events (including the death of their child at the hands of religiously-crazed townsfolk), Barbara ends up betraying John, causing him to lose his humanity and become a part of the fog from the place he came from.

If we're drawing direct parallels, it's pretty obvious Henry is John, the "witch boy" embedded with special powers who falls for the human girl, Barbara/Patty. The difference is that the "humanity" of Henry is more metaphorical than literal: He attempts to not give into the monstrous influence of the Mind Flayer, and Patty recognizes this and is determined to help him through the love she gives him. However, the key difference is Patty isn't the one who betrays Henry. If anything, she remains a loyal friend and confidant to Henry (even AFTER Brenner tells her that Henry killed his mother and sister) and desperately tries to convey to Henry that she believes in him and that he can fight off The Mind Flayer. Unfortunately, that proves insufficient, and it's Henry who inflicts the final betrayal on Patty, destroying their relationship, and causing Henry to become prisoner of Dr. Brenner at Hawkins Lab. He is the "witch boy" who returned to where he came from.

It should be noted that the ballad this play is based on contains these final lyrics:

They laid poor Barbra by the old church gate,

With the wild, wild rose growin' nigh her,

And witch boy roamed the mountain high,

'Til mountain fog became him.

And then one morn, before the dawn,

The fog rolled down that mountain,

It came to rest nigh Barbara's rose,

and watered there a briar.

The rose and briar climbed the old church gate,

'Til they could grow no higher,

And there they tied in a true love's knot,

The rose wrapped 'round the briar.

And so a witch and human gal,

Had conquered death eternal,

And 'neath the darkness of the moon,

Their love's entwined forever.

Could this be foreshadowing that, as evil as Henry/One/Vecna has become, there is still a chance at redemption for him through Patty? That whatever love he held for her could bring back Henry's humanity and allow him to overcome the Mind Flayer one last time? They did a similar thing with Billy Hargrove in S3 (with the platonic love he had for his mother), and since love is one of the key forces that's been shown to repel the Mind Flayer, it could work again in Henry's favor if he chooses to take it.

However, a lot of this is tied to whether Henry is capable of remorse or empathy at this point, and considering what we've seen on the show, it's a safe bet to say whatever humanity he had left in him is now gone. I'm doubtful that even if Patty shows up in S5, it'll be enough to redeem Henry. There are some things you can't come back from, and regardless of the negative influences he was dealing with, Henry still had choices, and he chose to hurt others.

In a way, Henry's story reminds me of Coriolanus Snow's arc in The Ballad of Songbirds and Snakes: Despite the relationship he has with Lucy Gray Baird, it wasn't enough to cancel out his negative personality traits (narcissism, entitlement, etc) and whatever love he may have had for her isn't enough to redeem him, or prevent him from becoming the tyrant we all know and loathe by the events of The Hunger Games.

Another theme present was the exploration of the adult characters and how the personality traits they had as teens continue well into adulthood. It's been speculated before by various groups of people that, internally, there's a certain point where you stop growing mentally and remain the same age, and that definitely seems to be the case here with some characters. The problem is that while these qualities might have been excusable when they were teenagers, they become less appealing as time goes on:

Ted Wheeler, for example, is depicted in the play as a dumb jock who's clueless most of the time. Fast-forward to the 80s, and he's now an apathetic father who still remains clueless. Not only is this not cute anymore, it's frustrating to his wife and those around him.

Karen Wheeler is depicted in her teens as interested in her youth and beauty and dating Ted BECAUSE he's a hot jock. By the time she's an adult, she's still into that (though she does make more of an effort to be emotionally available to her kids unlike Ted) and her desire for youth and a passionate relationship almost leads her to sleeping with Billy despite the inappropriate age difference between the two. 🤮

Jim Hopper is a younger man with a fractured relationship with his abusive father, and a lot of his motivation is rooted in trying to stick it to his dad and prove that he isn't the loser his father thinks he is. It's why he takes an interest in the animal killings around Hawkins and conducts an investigation similar to how police would do it. It's also why he joins the Vietnam War later (as he would later tell Enzo/Dmitri in S4). Even later becoming the Chief of Police on the show likely has its roots in this. Years later, long after his dad is likely dead, he's still trying to prove him wrong.

Lonnie Byers is depicted as a douchebag, even as a teen, who isn't really interested in making something of his life, who's coasting off other people, and really doesn't have any desire to improve himself. Come Season 1, and is it any surprised he's a deadbeat dad who's divorced from Joyce and still making shitty decisions down the line?

Same goes for Al Munson: The play depicts him as an improv actor who's deeply self-centered, who isn't as good as he thinks he is, and is someone who just annoys everyone around him with his antics. Anyone who's read Flight of Icarus knows he doesn't get any better as an adult, and it has completely wrecked his relationship with his brother Wayne and his son Eddie.

And then there's Dustin's father: "Asshole" is the best term I can use to describe him. He's very belittling and not well-liked (even among his peers), and it doesn't surprise me that Mrs. Henderson (who's also shown to be a cat-lover as a teenager) would eventually split with him and raised Dustin on her own.

There are a few positives though: Both Charles and Sue Sinclair come out of the play as decent people, and Sue is shown to be a loyal friend to Joyce, helping Joyce to get her play organized. I can see why they ended up together, and I maintain both Lucas and Erica are lucky to have them as parents.

The overall point is, like with Henry (who also never really grew up, and is now an angry kid trapped in the body of a 30-something adult), there is a theme that change is a process you have to work on. All of these characters (including Henry) have their own flaws they have to work through, and it is a choice about whether you put in the hard work of overcoming those flaws, or you surrender to them and let them dictate your life and stilt your growth. It's always an uphill battle, and it's never easy, but when the alternative is hurting the people around you, I would argue it's worth the effort for their sake.

Final Thoughts:

While there is some leeway between how events in the play can be interpreted, there is one tiny retcon that was hard to ignore: Henry's age. In the show, it's specifically mentioned in the newspaper article that Nancy and Robin look up that Henry was 12 when Virginia and Alice Creel were killed. However, this play retcons his age to being 14 years old. My guess is this was likely done so that Henry would be a freshman, and therefore able to attend Hawkins High School with Joyce, Hopper, Bob, and the other characters. While I don't mind this retcon for story purposes, it still sticks out like a sore thumb, and I wish the Duffer Brothers would take better care with details like that, especially after what happened in S4 with Will's birthday being forgotten.

There is a pamphlet for 10€ that they sell at the Phoenix Theater that gives more information about the play, its cast, and the central ideas behind the story. You can even see it in the picture above with the other memorabilia I collected (next to the t-shirts I bought). If you're going to see the play, I highly recommend purchasing it. It's worth the money.

Overall, this was a well-written play that I'm willing to accept as canon. I hope the events in this play are referenced in S5, and have a role in how the show's story unfolds. I highly recommend getting a ticket for anyone who is a Stranger Things fan! :)

[operafantomet]

Do we know how many (and if so, which) casts Gillian Lynne personally taught outside of the original London and Bway companies?

That is a good question, and something I have paid too little attention to. My GUESS is that she was at all the original / early productions, if only for a day. She would also have trained the associate and / or resident choreographer for the production.

So yes, she would have instructed the original and many later West End and Broadway casts, as seen here with Sarah Brightman:

Then the early productions around the world - I assume both Tokyo, Stockholm, Toronto, Vienna, Hamburg etc. Here she is with Marina Prior (Christine) in Melbourne:

And probably the US sit-down productions and tours. Here with Davis Gaines (Phantom), Lisa Vroman (Christine), Raymond Saar (Raoul) and Hal Prince (director) for the San Francisco production:

I also think she adored Sierra Boggess, cause she was present and working whenever Sierra Boggess was present... For Las Vegas:

...for the RAH celebrations...

...and for Paris...

(Sierra Boggess has also addressed that they had very good chemistry, and that she learned a lot from Gillian Lynne)

But I also know Denny Berry (original swing on Broadway, and later associate choreographer and production dance supervisor) has had a lot of responsibility in keeping Gillian Lynne's original vision alive. She has worked with POTO on four continents according to her own bio, in the US, in Hamburg, Sao Paulo, Buenos Aires, Cape Town, World Tour, Australia etc. In an interview in 2016 she said that "The detail in choreographer Gillian Lynne’s movement is well-known. And those of us who must pass it on, never, ever forget the beats and the meanings of every count.” Denny Berry was also married to Steve Barton, original Raoul, which makes the link to the original staging extra strong. Here's a photo of her rehearsing the Oberhausen cast, with Elizabeth Welch in the middle (Masquerade):

And one from Hamburg, with Rachel Anne Moore as Elissa / Carlotta (Hannibal):

Another original Corps de Ballet, Patricia Merrin who was in the original West End cast, has also worked as associate choreographer on Phantom and kept an eye on many a production, in Stockholm, Copenhagen, Moscow, the World Tour etc. Here she is in Cape Town, instructing Cat Lane and the Corps de Ballet there:

And for no reason at all, two bonus photos of Gillian Lynne on stage, just because. One is with Andrew Lloyd Webber and Zoë Curlett during the curtain call in West End:

And another with Hugh Panaro on Broadway:

[thetoyboxau]

PINNED POST! - INFORMATION STATION

In short, welcome to the TOYBOX AU !

Read more to learn the terms and whatever other information you may need to know about this project! ⬇️

⭐️ This is a poppy playtime AU created by @cannibal-kittyy (used to be @/thecharmingchaoscollection)

(also known as @cannibal-kittyy on pixilart as well)

This AU has a LOT to unpack and has tons of lore- some of wich I don’t even know how im going to execute /hj

with this, of course that means theres tons of characters

⭐️ Here is our current cast of original characters!!: ⭐️

(not every character featured yet)

🛠️🎭 “simon” (the player)

🍁🦊Flurry Foxtrot

🐝🐰Honey Bunny

❇️🐺Wally Wolfheart

🐶💉Dr. Micheal Stephens (Dr. Doggy)

👩🧸Dr. Alice (Dr. Alison Stephens) + Dolly! A small white Wuggy :]

🩵🚃 Trainer! (A shorter Huggy mascot/bigger-body)

🐝😼 London, a Cat Bee bigger-body doing their best to keep trainer safe while not being able to see him in person

🩵💙🐱 Ruben, a Candy Cat bigger-body who mostly hangs around DLL (Daddy Long Legs)

Asks/Dares/ect. are allowed as long as they’re sfw and don’t contain any slurs/explicit content, swearing is fine, just not excessively.

other than ocs (not all added) we obviously have some of the original games cast for this AU that can be asked things as well! This includes all of the cast, and the smiling critters. We’ll be putting out as much stuff as possible for more lore context. :D

if the mod is talking/answering somehing, there will be a 🎤 at the start

This will be updated soon! So stay tuned :]

[indecentpause]

IT'S TIME FOR HALLOWEEN

I made a playlist a few years ago and have added and moved some stuff around

cut into bits to make it a little easier to read!

glee cast - there’s a light (over at the frankenstein place) // the original broadway cast of beetlejuice - the whole “being dead thing” // keith david - friends on the other side // danny elfman - remains of the day // paul kendel - the court of miracles // original movie cast of the nightmare before christmas - this is halloween // junie & thehutfriends - the consequence of imagination is fear // vian izak - witchcraft // my chemical romance - blood (end credits) // creature feature - the greatest show unearthed // aurelio voltaire - brains! // ke$ha - cannibal // halestrom - love bites (so do i) //

danny gonzalez - spooky boy // danny gonzalez - spooky guy // danny gonzalez - spooky ho // danny gonzalez - spooky man // original movie cast of repo! the genetic opera - zydrate anatomy // jonathan coulton - creepy doll // aurelio voltaire - when you’re evil // steam powered giraffe - the ballad of delilah morreo // the charlie daniels band - the devil went down to georgia // what we do in the shadows OST - you’re dead // blue kid - the dismemberment song // original broadway cast of sweeny todd - a little priest // oingo boingo - dead man’s party // ludo - skeletons on parade //

american murder song - the devil in camp // mystery skulls - ghost /// the real tuesday weld - me and mr wolf (dr cat remix) // bob’s burgers ost - i love you so much (it’s scary) / jeff richmond & tracy morgan - werewolf bar mitzvah // sheb wooley - purple people eater // kody kavitha - my frankenstein // brian david gilbert - stayin alive // china anne mcclain - calling all the monsters // rob cantor - shia lebouf (live) // rob zombie - living dead girl // yeah yeah yeahs - heads will roll (a-trak remix) // victor and the bully - heebie jeebies // moon sisters & the nostalgia girls - hex girl //

freak on a leash - i put a spell on you // rasputina - transylvanian concubine (the manson remix) // sharon needles - 666 // madam misfit & victor and the bully - the mothman song (i believe in the power of the mothman!) // tim curry - toxic love //creature feature - grim grinning ghosts // sesamoid - it’s terror time again // bug hunter - 2 bed, 2 bath (and a ghost) // andrew gold - spooky, scary skeletons (undead tombstone remix) // ludo - scare me // lònis, jon mero - skeleton swing // october country - my girlfriend is a witch // the orion experience - vampire

the living tombstone - 1000 doors (spooky's jumpscare mansion song) // warren zevon - werewolves of london // oingo boingo - weird science // antsy pants - vampire // michael jackson - thriller // vast - i am a vampire // donovan - season of the witch // classics iv - spooky // neil cicierega - bustin // alice cooper - welcome to my nightmare // reel big fish - hungry like the wolf // bruno coulais and the children's choir of nice - coraline end credits // the addams family original broadway cast orchestra - overture // scary bitches - lesbian vampires from outer space // lesbian bed death - goth girls are easy // kailee morgue - medusa // kim petras - transylvania // cherry glazerr - trick or treat dancefloor // mc frontalot - goth girls //

oil frost - the vampire conspiracy // oil frost - the vampire conspiracy (part 2) // oil frost - the vampire conspiracy (part 3) // skatune network with jer & catbite - monster mash // nick lustsko - spirit halloween theme song // alden dereck & shannon sheridan - killers walk // the cramps - goo goo muck // the mountain goats - werewolf gimmick // vernian princess - something wicked (that way went) // the clovers - love potion no. 9 // twin temple - satan's a woman // dreadful children - pink elephants on parade // scarlet room - hello to hyde // tom cardy and mike betz - bunch of draclias (and they're all playing flutes) // bear ghost - beware!

listen to it here and get ready for spooky season!!!!!

I will also be reposting/reblogging this at a more reasonable time when October hits, but for now I have to share my excitement with you <3

[real-reulbbr-band]

@godnattakatta asked for my favorite Victoria actresses in a previous message so here they all are!

Hyla Mayrose Wright (US Tour 6, 2021)

Her Victoria takes and her understanding of her overall are just so intriguing to me, I feel like she understands who Victoria is but also what can be expanded about her, like her saying Victoria has an actual connection to the Jellicle moon itself was everything to me and it still is, because it makes sense; the moon can symbolizes femininity but also (at least in some interpretations) the ebb and flow of time, which relates quite well to Victoria’s arc of coming of age. Focusing on her performance though, I kept finding myself looking for her in the crowd- she has such cute background interactions with the other jellicles that each have their own uniqueness to them, like she thought of how Victoria feels about each and everyone. Granted, the US Tours do seem to have had some direction to further character interactions among the cast but Hyla’s really stuck out to me. I was so focused on her during the ball- which I think is saying a lot since so much happens in the US tour choreography she’s just so fun to watch and can really capture your attention.

Georgina Pazcoguin (2016, Broadway revival)

Her expressions during the white cat solo are everything- and she really evokes the feeling of being captured by these strange feelings she's having and still being intrigued by them as much as she's nervous. She wants to and then does surrender to the feelings, and her heavy breathing by the end of the solo (whether intentional or just because of exhaustion) I think adds a really nice touch. I'm really partial to her expression at the end of the solo and how she interacts with Mistoffelees afterwards. Very good stuff but no surprise since it was directed by Gillian Lynne! Also she's what drew me to Victoria in the first place so I have to include her.

Hanna Kenna Thomas (Various London productions and Vienna revival)

Her Victoria comes off a little more playful and even sassy to me, which is really fun to watch. A notable moment for me is when she's encouraging Jemima to play with Jenny's tail and whenever she interacts with Munk. I also like the subtlety of her acting during the solo, she moves very beautifully and her expressions when lowering into the splits- so good. I also think she has an overall excellent reading on Victoria (though I do disagree with one thing she said) but I do think she's ultimately right that there is an innocence in discovering yourself and your body for the first time and it's beautifully presented in the solo.

Honorable mentions: 

Ellis Van Evert (Amsterdam and Original Paris Production)

Ellis really embodies the "Unselfconscious" trait the best for me, like she doesn't even expect the pas de deux to happen because she's so deeply caught with these feelings inside and overall she's just really cute. Particularly during Skimble’s song, she’s very excited about creating the train and being in the front, she starts twirling with the cowcatcher- again super cute. Like on my first watch of cats Paris I was taking physical notes and pausing every other second because I was so into her performance.

Ebony Jayne Kitts (RCCL Cast 12) 

Ebony’s performance as Victoria, to me, really showcases the ‘loving life’ aspects of Victoria’s character and just seeing her perform makes me happy, her Victoria is so smiley and cute she’s become a newer favorite of mine. She has this very timid but excited energy during the pas de deux which is very fun to see and her acting flows very well with her movements during the white cat solo. I’ll admit there’s some small bias here because I did see Ebony perform live, it just wasn’t as Victoria but even then her movements were so fluid and gorgeous to watch just like the clips I’ve seen.

 I don’t think there are any Victoria performances I dislike- so I like just about any Victoria, as long as the performer gets those key moments down like the white cat solo and Grizabella’s first touch I’m happy.

[white-cat-of-doom]

how many versions of cats were released on cd? I have the obc and olc versions so I was wondering if you knew what other versions there were, and if possible where to find them :D many thanks!

Hello Anon,

There are eighteen cast recordings:

Original London 1981 (both 2CD full recording and 1CD highlights)

Original Broadway 1982 (both 2CD full recording and 1CD highlights)

Vienna 1983 (1CD highlights)

Budapest 1984 (1CD highlights)*

Australia (Sydney) 1985 (2CD full recording)

Japan (Osaka) 1985 (2CD full recording)

Hamburg 1986 (2CD full recording)

Amsterdam 1987 (1CD highlights)

Paris 1989 (2CD full recording)

Japan (Nagoya) 1989 (2CD full recording)

Mexico 1991 (1CD highlights)

Warsaw 2004 (1CD highlights)*

Prague 2004 (1CD highlights)*

Dutch Tour 2006 (1CD highlights)

Italian Tour 2009 (1CD highlights)*

Japan (Tokyo) 2019 (2CD full recording)

2019 Movie (1CD highlights)

Vienna Revival 2021 (2CD full recording)

*Non-replica production, if that matters

In addition, there are a number of promo CDs that include a handful of tracks from the casts at the time of release:

Hamburg 1996 (3 track promo, assuming audio taken from 1986 cast recording)

Japan (Tokyo) 1996 (3 track promo)

CATS 1998 Elaine Paige (3 track promo; 'Memory' included, and two other non-CATS songs)

Japan (Osaka) 2001 (4 track promo)

Madrid 2003 (1 track 'Memory' promo)

Moscow 2005 (8 track promo?, two versions; both have 4 instrumental tracks)

Dutch Tour 2006 (3 track promo, audio from 2006 cast recording)

German Tent Tour 2011 (3 track promo)

Of everything listed above, the only ones I do not own are the Madrid 2003 'Memory' promo, Prague 2004 cast recording (a very rare CD that was scrapped before moving to production, only test/promo copies exist), and Moscow 2005 (another very rare promo release, only found with the press packages). Who knows if I can ever get my hands on them.

In terms of where to find them, the OLC, OBC, and Vienna 1983 are still being produced today and can be easily found new online, through Amazon or eBay (or better yet, in-person at your local music store!), and so is the Budapest 1984 CD as well (at least from what I can tell, it is always readily available brand new from Hungary). The 1989 and 2019 Japanese cast recordings are also still readily available brand new from Japan through the Shiki webstore. The 2019 movie highlights is also very easy to find, considering it just was released. The Vienna 2021 recording is still available from the label's website (at 45% right now!), but they only ship within Europe.

All the others can be found second-hand to varying degrees of ease online (i.e., eBay). The 1980s cast recordings are not too difficult, with Hamburg being fairly easily found, but as you start moving into lesser known (and shorter running) productions, it becomes more difficult to find them. Some are extremely uncommon, and I purchased the only copy I have even seen go for sale throughout the years, and I am still waiting for the chance to get the few I do not have.

Happy hunting to you, Anon!

[gotham-native]

If youre given the chance to direct a cats non replica what would the production be like? Whats the setting, costumes, choreo, music are gonna be like? what elements are you gonna put thats exclusive to that production/things to add? what inspos/elements ya gonna use from other productions and also other non replicas?

THIS MADE ME THINK THINK AND GOT ME TO FINSH MY HALF MADE NON REPLICA FROM LIKE 3 MONTHS AGO

SO

If youre given the chance to direct a cats non replica what would the production be like?

setting In a park (That I've cleverly named T.S PARK) {Please clap} i don't have the exact lay out figure out but i'll do a basic sketch and add it in when i figure it out (If you have suggestions please help) costumes I did my favorite thing for this and made a POWERPOINT (And i uploaded it correctly this time so y'all can see it) choro Original Chorography with a bit of the stylized felineness like in Warsaw and some of the Broadway reveal for the Macavity scenes music I don't know much about all the tempo changes there has been but I'd pick the like 1998/modern versions where it's more ?fast? (Even though i love original London mungojerrie and rumpleteazer) what elements are you gonna put that's exclusive to that production/things to add? -Demelonzostrap (because I'm me) -Growltiger is going to be a puppet show put on by Jellylorum and Gus JR. for Gus and the kittens with a little magical help from misto (Like Original Broadway Mungojerrie and Rumpleteazer). Separate characters are going to Physically play Growltiger and Griddlebone and Jellylorum and Gus JR. will be off to the side but still on stage voicing them, LIKE A PUPPET SHOW. -For the Paus de deux Victoria and Plato are going to be 'Separated' from the other cats on a upper part of the set while the rest of the cast are below cuddling/playing -The Everlasting cat is a character and in the end she kinda come out of the sky to help Grizabella to the heaviside layer. -i don't like Bustopher Joan's as a number so it's getting cut and a scene of the cats comforting each other after grizabella the glamor cat before mungojerrie and rumpleteazer will take it's place -Macavity is going to original go to grab either Demeter or Jemima but Old Deuteronomy stands in the way to protect them so Macavity takes him -Demeter gets to punch Macavity because she deserves too what inspos/elements ya gonna use from other productions and also other non replicas? I like in Tecklenburg when Munk gets the staff at the end symbolizing Old Deut believing he is ready to lead the tribe so maybe something like that Other then that I'm not sure Extra Misto is going to being a demon (not literally) (Maybe) but he is going to be the creepiest little dude I would very much like to maybe have a female Tugger and Misto at some point, as a treat Macavity has Fire powers and they will be shown

(some of the charters designs i picked are still from three months again so im iffy on some of them and i don't remember where half the picture are from a mix of Pinterest, tumbler and the wiki)

feel free to ask questions

[zachbiller]

[skilletpng]

Hello! It’s been forever since I posted but I got some new cats merch for Christmas and updated my shelf!! Thought it would be fun to post!

I am also going to explain everything here LOL So!

For the backdrop I am using a 1982 vinyl of the original London cast recording!

The music box was made to celebrate the 7000th performance of the Shiki production from 2008 I believe! It plays Skimbleshanks!

The Victoria statue is from Shiki production specifically the Tokyo run and I forgot to check but she’s from sometime between 2004-2009.

The stuffed animal I got at a show a few years ago!

The two dolls in the front are unofficial but I thought they were super cute!

The moon and little cats were just for fun and to fill space

And you might notice something out of place here…. The carousel horse!!! It is in no way actual cats merch but it’s a music box I found in a thrift store that happened to play memory! So I thought I’d add it just for fun! :3

I will update when there is more and there WILL be more haha

[d-criss-news]

Darren Criss and Cat Cohen Will Lend Voices to GWYNETH GOES SKIING in Edinburgh and Utah

Gwyneth Goes Skiing is headed to Edinburgh Fringe this August, and will also make its international premiere in Utah.

Darren Criss will provide the singing voice of Terry Sanderson alongisde Edinburgh Comedy Award Winning comedian, actress and singer Cat Cohen, who will lend her voice  as Gwyneth Paltrow on the vocal track with hits including I Wish You Well and See You In Court. 

Darren Criss is best known for playing the role of Blaine Anderson in Glee (alongside the real  Gwyneth Paltrow!). In 2018, he was awarded Emmy and Golden Globe acting awards for his  leading role in The Assassination of Gianni Versace: American Crime Story. Criss has also starred  on Broadway in How to Succeed in Business Without Really Trying and Hedwig and the Angry  Inch. 

Edinburgh Comedy Award-winner Cat Cohen’s live comedy performances combine stand-up  comedy with cabaret-style songs. The comedian, actress, and singer’s first Netflix comedy  special, The Twist...? She's Gorgeous, was released in 2022. As an actress, she has appeared on  comedy series such as High Maintenance, Broad City, Search Party, and What We Do in the  Shadows.

Criss and Cohen digitally join Trixie Mattel who makes a special on-screen appearance as  Gwyneth Paltrow’s mother, Blythe Danner. They are seen alongside the original Gwyneth Goes  Skiing cast - Linus Karp as the Goop-founding, Door-Sliding, Shakespeare-In-Loving, consciously uncoupling Hollywood superstar Gwyneth Paltrow and Joseph Martin as her nemesis, Terry  Sanderson, a retired Optometrist from Utah.  

The world debut of Darren and Cat’s voices will be back where it all began, Park City, Utah. The  now-infamous location of Terry Sanderson and Gwyneth Paltrow’s collision in 2016 will play  host to the US transfer of Awkward Productions and Pleasance Theatre’s runaway hit. Gwyneth  Goes Skiing’s transfer to The Egyptian Theatre marks the first international transfer for Awkward  Productions’ work. 

Gwyneth Goes Skiing, which is a co-production between Awkward Productions  and the Pleasance Theatre, returns to the slopes after two sold-out and critically-acclaimed runs  in London. This silly play-with-music marks Awkward Productions’ return to the Fringe  after Diana: The Untold and Untrue Story had a sold-out run in 2023. 

Gwyneth Goes Skiing recounts the collision in 2016 on the slopes of Deer Valley and the court  case seven years later that enthralled the world. This very silly story of justice, betrayal and  optometry makes the audience the jury, asking them to decide who's guilty and who's gooped.  Gwyneth Goes Skiing features a whole lot of fiction, a sprinkling of verbatim lines from court  transcripts and delightfully catchy original music by Leland (RuPaul’s Drag Race; Cher’s  Christmas; Troye Sivan’s Something To Give Each Other). 

Performance Information The Egyptian Theatre, Utah  Thursday 16th – Sunday 26th May 2024  328 Main Street, Park City, Utah 84060 https://parkcityshows.com