#HTIS IS SO ENDEARING

[sinning-23]

Calling Them By Their Full Name

OPLA Headcannons! I thought htis was a funny little thing lol. Anyway enjoy

Warnings: slight mentions of nsfw topics but nothing too serious

Sorry for any spelling errors!

Luffy

-ohhhhh that did not sound like your usual happy, loving voice.

-he knows he fucked up and now he’s hiding from your wrath.

-“MONKEY D. LUFFY, GET YOUR ASS IN THIS KITCHEN. NOW.”

-you could hear a pen drop from how quiet the ship got

-ok so maybe he ate that super expensive, super special dessert you had been saving for a while now. And like, it was going to go bad! All he wanted was a little taste! Than a taste turned into accidentally eating the whole thing.

-He was gonna tell you, honest! But it had proven obvious you found out before he could. He seen you round the corner with RAGe on your face and tears in your eyes.

-"TRAITOR!" You yell, throwing a tired punch to his chest.

-“I’m sorry mami, I’ll find you another one. Promise.” He hums, peppering your face with kisses, squeezing your face between his palms when he did.

-There’s no way you could stay mad at him for long

Zoro

-whoa whoa whoa why are you so ANNNGRY

-hated when you call him by his full name like that, makes him feel like a child being reprimanded

-“RORONOA GODDAMN ZORO.” You boom, Nami’s jaw dropping at the sound. Even she could tell you were pissed

-he’s the sassiest mf alive so he’ll probably just be like, “who the hell are talking to woman?!”

-“You’re a real piece of work you know that??” You’re still yelling and he wastes no time rolling his eyes at you and grabbing you by your waist, the action shutting you up.

“Wanna stop yelling and be a big girl and tell me what’s wrong?” He teases, that stupid smirk you love falling over his features at your speechlessness.

-It’s not often you say his full make but when you do he makes sure you’ll never forget it that same night.

-“Say my name baby, real loud.” He groans, a hand around your throat to steady spent body as he slams back into you

Sanji

-I know thats not a cigarette i smell Vinsmoke Sanji."

-awe hell. Yout tone is deadly. he tried he damndest to stomp it out before you rounded the corner but nope.

-You never use his full name like that. Never.

-did he just get chills?

-"Of course not my love!" He lies throigh his teeth but before he can say anything ese you re lips are on his, you fist gripping the fabric of his shirt.

-He knew he was caught, the taste of tobacco mixing with your usual mint. You pull away, smoothing his shirt out with a warning smile.

-"Don’t lie to me again, I’ll always know when you do, Black Leg." You explain , taking the small cardboard box from his pocket and walking off.

-Even though it was ment as a threat, he couldn't help but feel hotter than ususal. God he loved it when you talked all serious to him.

Bonus: Mihawk

-You know better than to use his full name. Orr to even call him anything besides the usual endearing pet name.

-So when he hears his name called with nothing short of rage, hes trying to figure out who you think you’re talking to.

-"Dracule. Mihawk." You spit, holding the empty bottle in your hand

-Ok so your rage was warented cause he managed to drink the entire vintage bottle of wine you'd been saving...it wasn’t like it was on purpose!

-He doesn’t even bother to look up from his book, just barely giving you a slight glance when you were right in front of him, pointing to the bottle.

-"Id watch your tone darling." he warns, smirking at the way you purse your lips and turn away with a fierce attitude he'd be sure to deal with later.

-“Oh shove it up your ass Dracule.” You scoff, trying to quicken your pace but failing when he’s already behind you, his much larger hand holding your wrist as you yelp.

-His look says it all. You’re screwed.

-So now you’re sitting pretty, bent over and counting each time his hand meets the sore and slightly reddened flesh of your ass.

-“Now, what’s my name again darling?”

[steelcityreviews]

REVIEW: HTI's Fun Home - An Ambitious and Heartfelt Premier for Hamilton's Theatre Community

Adapted from Alison Bechdel’s groundbreaking graphic novel, Fun Home is a refreshing original musical about the power of memory and how it helps us shape, reexamine or even destroy our identity. Moving between past and present, Alison relives her unique childhood playing at the family’s Bechdel Funeral Home, her growing understanding of her own sexuality, and the unanswerable questions about her father’s hidden desires. It was the unexpected winner of Best Musical at the 2015 Tony Awards, championed the underrepresented (specifically women writers and directors) and has become a sorely needed addition to the musical theatre zeitgeist.

Hamilton Theatre Inc. has taken an ambitious risk with producing Fun Home as part of their 65th season. It is Hamilton Ontario's premier of the show and there has been a great deal of anticipation regarding its opening. After several health based challenges leading up to opening night, the show finally opened its doors to Maple Avenue and the Bechdel "fun home." While the production has its flaws, it ultimately grants audiences a brave, humourous and heart-felt look at the lives of the Bechdel family and how tragedy can lead to healing and hope.

Director Tyler Collins has staged Fun Home to incorporate all the memories present-day Alison recalls. The main set is the house, which begins as a dusty relic and is unveiled as Alison's father's passion project and, as we discover, a way to express his closeted queerness. The set design has some effective reveal elements to it which I won't spoil here but shows the ingenuity in how to make larger scenes work on a small stage.

HTI often faces the challenges of spacing and this time, the orchestra is affected. Some members were in the loft and some were on the ground floor which often made the sound levels uneven and several songs were very difficult to hear over the instruments. Lesson 101 at HTI is always the power of projection as the cast is not mic'd and the hanging mics only provide so much assistance. Due to many cast members recovering from illness, this may have affected their ability to project so bravo to those who pushed through. That being said, audience members who are not familiar with the songs and story may find difficulty in hearing several cast members throughout. The production features some moody lighting that adds to the overall atmosphere of the show but is also underlit for several scenes. The actors faces were often so dark that the emotional impact was frequently lost. Perhaps, for the remaining shows, some extra spotlight usage or warm washes would help resolve this.

Where this show shines is in its casting. It is no easy feat to cast three individuals to play the same character at various points in their life. Collins and the creative team made brilliant choices in casting Kristi Boulton (Present-day Alison), Sabrina Gabrielle (Medium Alison) and Ariana Abudaqa (Small Alison). Each of these actors bring charm, humour and nuance to their performances and they even match one another in stature and vocal prowess.

Boulton interacts with the other versions of Alison in an endearing way while making hilarious quips about situations as she tries to make sense of her past. Boulton impresses with her deep understanding of the source material and channels the emotional impact of the story with deep respect and soaring vocals, particularly in Maps and the gut-wrenching Telephone Wire. Gabrielle embodies the nervous energy of Medium Alison perfectly while they accept their sexuality and their awkwardly joyful Changing My Major is equal parts funny and relatable. I hope to see more of Gabrielle on stage in the future. Small Alison is energetic and sassy, almost to a fault. There is undeniably a great deal of talent in Abudaqa but her performance of Ring of Keys comes off a bit too manic and less reflective in the realization of Alison's sexuality. It is a pivotal moment in the show and it doesn't have the impact it should. All this to say that at the finale, these three will have you tearing up with their powerful performance and gorgeous harmonization. Bravo.

While Alison is our protagonist, the show ultimately focuses on the strained relationship with her father Bruce, his closeted sexuality and the deeply concerning (and ultimately tragic) decisions he makes. Ian McKechnie is another strong casting choice in this role. He understands the levels needed to make this role work so that the audience never hates him but like, Alison, never truly understands him. The moments of rage and intensity delivered by McKechnie shows off his skilled acting ability and the tension and despair never feels phoned in. Very impressive work.

There is a great deal more to praise about HTI's Fun Home. Amber Mill's breaks our hearts with her tragically resentful Days and Days. This song is a key example of why musical theatre exists: to show emotion and reveal one's self when words simply aren't enough. Mills demonstrates the heartbreak in this song and it is delivered beautifully. The Bechdel brothers (Gretchen Tellez and Olive Millie) deliver some refreshing moments of levity in Come to the Fun Home and Raincoat of Love and Jackie Mahoney and newcomer to the stage, Ivan Bond provide balanced support as Joan (Alison's girlfriend) and various characters throughout. The costumes are period accurate for the 1970's and the colour matching for the characters, particularly the Alison trio, is creative and clever.

HTI's Fun Home is a welcomed piece of musical theatre in our community and almost a decade since its original debut, still has a story that needs to be told. Audiences will come to understand more about the rollercoaster of emotions while discovering one's sexuality, the hardships associated with it and how the past can be our greatest resource to accepting ourselves and those who impact our lives. Tickets are selling quickly for this Hamilton premier. Go to the Fun Home.

For tickets and more information, please visit: https://hamiltontheatre.com/tickets/

Photos by: Kreations Photography

[kkkkkkkitty]

[molavernon]

WHOM on god’s good, undeserving earth would voluntarily eat this abomination of a foodstuff?? none other than the one and only hvc aka vernon

[inannaschosen]

be grateful that i, ishtar, have decided to respond! though i suppose i may have a soft spot for earnest mortals like yourself. you work hard doing your best and that stubborn determination is endearing. but it wouldn’t hurt for you to pay a little more attention to me alright? it’s not like i’m particularly lonely when you’re away but...i’ve just grown used to having you entertain me is all. so... remember me once in awhile alright? (hope you enjoy some ishtar in your inbox! -kaiselfships)

i am shamefully late responding to this because every time before was fraught with me flailing like an idiot because ahhhhhHHHHH

just more yelling because htis is good and i love her and ahhhhhhhHHHHH

[pilotheather]

this isnt a liveblog its jsut ehrm. dump.

-first of all. nick is a sweetheart . like a little angel. im fucking obsessed witb him. hes done nothing wrong. ehs just a fucking weirdo.

- the irish lass whose name i... edid not catch. for the literal WHOLE episode. i think tis like. oh shes a bit shitty isnt she. cunt. but im endeared and i do sort of LIKE her even if shes lowkey insufferable and it jsut feels like

- somehow she feels immensely realistic in a specific way bc shes not a fucking arse in like this stupid . overdone way. like shes just a bit of a prick in a way i'd anticipate many ppl to be pricks and tht makes me kinda like her as a presence yknow. bc it just feels... refreshing like esp bc its like

- this is gonna sound sooo eeeekk esp after but

- its like eh eh eh eh. she has ehrm. a personality doesnt she... yah. and i caught it very fast. which is ehrm. sadly refreshing for this era which is like

- its so so sad bc theres lots of yaz. listen. ive said it time and time again shes GOT this potential but hhehg. i jsut... i wish theyd fucking LET her be an actual fucking character who drives herself rather than just. relegating her to bg cardboard cutout who'll interject with a "talk to me. doctor" every once an episode like

- its so... sad bc its like. chibnall weirdly just cannot write the companions with a fully fleshed personality its like . he keeps separatign them from the docto and just shoving them in a narrative cardboard box where they dont actually touch anything in the episode and they never like. make their own choices or decisions they jsut get swept away with the plot and its like.. they don t feel grounded at all

- and so u have these guys tht are lovable on paper i think. i felt the same with graham and ryan too. they have personality and motive that i could kinda describe to you i guess but so much of it was jsut sort of.... fed to us though exposition. just standing there and STATING. oh i am here. rather than actual demonstration and they never get their hand on the ball with episodes so its jsut like. i find it hard to really buy into it like.

- meanwhole u have this lass this episode . clearly abrasive. she imemdiately lies to the doctor and tries to save her and nicks skin. like thats- THATS SOMETHING... YOVUE ACTUALLY... AFFECTED THE COURSE OF EVENTS.... its sad tht im like OH. thats SOMETHING! but its sth and it just. eek.

- and it also helps bc her dialogue felt the most... genuine and organic. like i jsut agaib i feel like yaz never fucking gets to just. speak up and say anyhting unless its the canned line of "doctor. say something." and im sickkk of it. i just cant stop thinking abt older companions. the way they would be ..A CTUALLY TALKING AND PROVIDING INPUT AND ITS LIKE.

- yesi think moffat era (amy and clara specifically here) also had a funny way about dialogue that i didnt like. it was also very artificial but it was also like... hm. how do i say this. its like i always say with amy and clara its like whenever they say sth funny its not like sth an actual human person would say (thats more rtd era) but it would be like an obvious. scripted joke like wahoo look at me saying the witty oneliner which i did not eally care for with moffats humour but its like

- THATS STILL. SOMETHING IT FEELS LIKE. like i dont know. characters still get wisecracks in but its also like

- they dont land too. its like theres just htis lack of... energy and its like. i thought they actually DID do energy and pulse of the show rlly well in flux even if the whole thing was like. objectively nightmarish. like i still ENJOYED myself watching it bc theyd made such a vast improvement on like... god whats even the right word. its like it had a MOMENTUM. and that was definitely partially bc it was an overstuffed mess but also like...

- like in this episode theres just so many scenes of like. i dont know. i just feel like im watching dnd little replicas orr whatever being pushed about a table. im seeing plot points going from a to b. theresjsut ... i dont know. theres something really missing here and i think there was some of that in the guests' pesonaltieis but like the tardis team... eerrrrrrrr

- bc its like they dont ever just. TALK to each other. and i get thats SORT of the point but listen its just- I WANT THEM TO WORK... OFF OF ONE ANOTHER. and you can still demonstrate that 13 is kind of icing yaz out but like- my god! still have her talk more have dan talk more have them. ACT. ACT. ACT. LIKE. EEKEKPFOJSF

- so yeah ehrm am i even making sense

- idrc abt this ep which is a shame bc the concept could have been good if it was jsut tighter and this stuf above was done better but ehrm

- yeah ia lso decidely dont rly care abt thasmin but im happy for them girlies. u kno what i eman. yeah<3

[soyraktajino]

okay holy fuck i’m 

i’ve always been a little unreasonably enamored with robert picardo,, ok,, like the emh was really Important to me bc his character arc really mirrored my own tenative steps back into socialization after being so massively fuckd up by anxiety in high school -- or something, i dont remember the details, MY POINT IS, like i’ve always cared a liiiiiiiiittle too much about this relatively minor trek character and projected a lot of that onto his actor, as one does 

and he’s just incredibly endearing, he’s a total nerd and he’s like this ridiculous. nerd grandpa. i love him fuck you holy shit 

BUT LATELY HE’S BEEN. SO VOCAL ON TWITTER ABOUT TRUMP

I COULDNT CAPTURE ALL THE TWEETS IF I TRIED THIS IS JUST HTE LATEST ONE AND IM 

SIDLKJFLSKJ DLFKHSLD 

CHRIST 

THIS MASSIVE FUCKIGN NERD EXCEPT ALSO LIKE. 

HE’S POLITICALLY AWARE (AND LIKE? POLICY WISE TOO. HE’S NOT JUST MEMEING HE’S ACTUALLY REALLY INTELLIGENT) AND BEING SARCASTIC AND FUCKING HILARIOUS ABOSU TIT AND IM ABSOLUTELIY FUCKIGN SCREAIMISNG 

my gay ass has it so bad for htis nerd im a wreck holyf cujk

[steelcityreviews]

REVIEW: CCPAC's INTO THE WOODS  an ambitious journey into a Sondheim classic... 

Curtain Call Performing Arts has chosen an ambitious and beloved Stephen Sondheim musical for their season finale with Into the Woods. The musical intertwines the plots of several Brothers Grimm fairy tales and explores the consequences of wishing for a happily ever after. 

Often, fairy tale characters don't feel the weight of their actions' consequences. They do as they're told, and their wishes fall into their laps. Into the Woods cleverly emphasizes that this results in characters who are equal parts discontent and who don't understand the importance of their responsibilities. 

In a mere seven weeks (an impressive feat), the company beckons the audience to join them on their journey into a beautifully designed set that is both enticing and foreboding. It certainly set the tone as the audience wowed set designer's Zachary Viola's artistry on stage. Once the audience enters the woods, we find a production that is far from perfect but remains consistently professional and full of potential.

Our unreliable and cheeky Narrator (played by Abigail Henry who truly lights up the stage with their presence) introduces our main players and gives insight into their hopes and dreams, ranging from practical to wistful to downright absurd. It is a large, frequently transitioning cast and considering the constraints of HTI's studio theatre, they manage to block the opening number quite well with limited issues throughout. 

There's a wonderful mix of diversity in newcomers and familiar Curtain Call alumni alike and the wealth of talent, budding and established, is what makes this show special. The more experienced cast members work effortlessly to cover up any minor fumbles, especially when they are all at the mercy of a pre-recorded score which allows next to no room for error. Sondheim is renowned for challenging material (especially lyrically) for even the strongest performers so when you lose yourself, it takes great strength to come back from a slip up or sour harmony. The cast received well earned applause for being so dedicated to the material and their comradery on stage.

Some of the standout performances come from the Baker's Wife (a perfectly cast Nicole Martin who performed with huge range of believable emotion), Jack (an impressive and endearing Alexander Gonsalves), Cinderella's Prince (played by Justus Alexander who chewed the scenery with great comedic timing and had the audience in the palm of their royal and, at times, wolfy hand), and the Witch (an intensely dedicated Layne McKellar whose Witch’s Rap in the Prologue earned applause mid-song).

One of the production's greatest setbacks was the sound. I empathize with how intense the sound controls must be when micing a large cast with several one liners. The music tracks were often too loud, drowning out anyone who was not miced and we strained to hear them even when they were. This takes us out of the fantasy too frequently and like with all musicals, the lesson here is never rely on your mic and be sure you know how to project. This was demonstrated by the Witch and Narrator most often, who showed great skill pushing through their difficult numbers even when their mics had issues. That dedication to remaining professional embodies what this company set out to accomplish in such a limited time and the entire company deserves recognition for it. 

The show is a treat for the eyes with careful consideration from the production team toward costuming, lighting, atmosphere and even interpretative creatures such as birds, horses and trees. I would have loved to see more nature incorporated into the interpretive dances such as using branches to be more tree-like but as it is, those aspects were well performed without being too silly. I appreciated the interpretation and how the dance ensemble was utilized. 

Into the Woods is quite a musical adventure with a gauntlet of emotion coursing through it. The cast succeeds in so many ways and their enthusiasm, characterization and skill sets prove that even a musical notorious for its challenging staging and lyrics is a truly rewarding experience for young professionals. 

There are limited seats available for their remaining performances Friday August 11 and Saturday August 12 so pack up a basket, stay on the path, avoid wolves and giants and join CCPAC on their final journey this season!

Photography by: Kreations Photography

For tickets and more information, please visit: Box Office - CCPAC (curtaincallpac.ca)

[steelcityreviews]

REVIEW: HTI’s “Something Rotten!” Proves There’s Nothing as Amazing as a Musical...

Where can you find Bottoms, frying pan yielding bards, musical theatre references that would make the Schmigadoon! writers hang their heads in shame and a tap-dancing battle of wits?

Look no further than Hamilton Theatre Inc, as the company debuts the first production of Something Rotten! for the greater Hamilton/Toronto area. A nerve-wracking venture to say the least and in less capable hands of the production team and cast’s overwhelming enthusiasm for the material, it could have been a scrambled mess. Thankfully, this is not the case and the production, on the whole, is egg-cellent. 

Something Rotten! is the story of two brothers, Nick and Nigel Bottom, both alike in dignity, in the Renaissance, where we lay our scene. Together, they try to create a new play which will allow them fame, fortune and perhaps more than cabbage soup to feast upon. With his life crumbling around him and frustrated with the fame of one William Shakespeare, Nick uses what is left of his savings to visit a soothsayer, Nostradamus, who reveals that the future of popular theatre is something called “a musical.” The Bottom brothers attempt to use the visions of the future to outshine Shakespeare, while simultaneously finding love, chasing their dreams and discovering that the most important thing you can do is be true to yourself.

The book and lyrics are nothing spectacular (on paper) and the story is simple; one we are familiar with. The lyrics are funny and often clever without being too offensive. However, despite the simplicities, the efforts needed to make everything translate successfully are no small feat and that is where this company excels.

Director Monica Cairney is no stranger to The Bard. Her past work in productions across Hamilton has demonstrated a deep understanding and respect for the work of Shakespeare. This is why her directing choices, from casting to staging, pay such a delightful homage to the period as well as the ridiculous amount of musical theatre in-jokes and innuendos throughout. Cairney’s vision is straightforward which allows her cast to be in on the jokes and grants many of them the freedom to play with the material, adding in a few modern jabs at both new musicals and Hamilton Theatre Inc. itself (“$7 for a thimble full of wine?!” Brilliant). Audiences do not have to be fully versed in every musical theatre production out there to understand the humour and intention, though you could tell who in the audience really understood the references by their boisterous and hearty laughter. I was also impressed by Cairney not falling into the common HTI trap of not enough stage for so many cast members. Her staging (which I am certain was aided by choreographer Meredith Busteed) granted very few issues which allowed the audience to really identify the hard-working ensemble members rather than letting anyone fade into the background. 

It is refreshing to see so much new talent grace the stage as well. There is a well-balanced mix of veteran performers and newcomers who all demonstrate great chemistry not only as the characters they play, but as a cohesive company. Unless this is your first HTI show, you will undoubtedly recognize the talents of Dustin Jodway (as the show stopping lead Nick Bottom), Matt Moore (as Nostradamus - who I predicted would be the masterful choice to play this role), Jenn Helsdon (an impressive multi-tasker not only playing the show-opening lead Minstrel and other ensemble roles but also Costuming the entire show), Katlyn Alcock (an endearing and sassy Bea Bottom), Paddy Skinner (showing off his knack for the ridiculous as Shylock) and Devin France (another top notch casting as aspiring playwright and love-struck Nigel Bottom). These performers give it their all and then some from the aforementioned tap-dancing, to beautiful harmonies and solo moments and the ability to land the majority of the musical theatre in-jokes. 

Joining them are newer faces, all who exceeded my expectations in their roles. Mike Lloy as the sleazy, egotistical yet damn charming Shakespeare, Keri Bishop as Portia who absolutely astounded me with her vocal prowess and hilarious chemistry with France and a wonderfully energetic trio of ensemble (Harry Chapman Darlington, Graham Clarke and Oakley Mossop) who prove there are no small parts when it comes to musical theatre. 

Musically, Something Rotten! proves to test everyone vocally. The lyrics, quite often, are rapid fire especially in numbers such as “God, I Hate Shakespeare,” “A Musical,” “It’s Hard to be the Bard” and the jaw-dropping effort needed to perform “Make an Omelette” (which had Saturday night’s audience applauding far longer than the cast anticipated…well deserved!) With such demands on the cast, there were bound to be lyrical flubs, some difficulty hearing lyrics or dialogue over the band, some minor timing issues to keep up with the band and a sense that this sold-out opening weekend put added pressure on all the performers coming off of an intensive tech week. Every single company member deserves praise for their efforts, especially when covering up any missteps with humour and grace. 

Ending HTI’s 64th season with this production as a Hamilton area debut was a risky but advantageous decision. This production of Something Rotten! excels with its chemistry between cast members, beautiful period piece costuming, enthusiastic choreography moments and the entire company who truly understood how to pay homage to musical theatre. Nostradamus was right: there’s nothing as amazing as a musical. 

Don’t miss this one.

For tickets and more information, please visit:  Hamilton Theatre Inc Website

Performances at: 140 MacNab Street North, Hamilton ON 

Photography by: Kreations Photography