#IT ALMOST FELT LIKE HE WAS INFUSED WITH A BIT OF JEREMY HEERE FROM THE BMC PRODUCTION I SAW SAME WAY OF TALKING

[musicals-and-mushrooms]

emmett forrest with glasses my beloved<333

I saw legally blonde at WAAPA last night and it was incredible!!! Heres a few doodles i did of emmett and elle, once i figure out how to draw these two properly it is so over for everyone

[brothermarc7theatre]

“Be More Chill” #793

It’s no secret now that Joe Iconis has hit Broadway fame with his gone-viral, teenage-loving hit, Be More Chill. Though it may be closing August 11th, and may not have received a single Tony award, it is a great example of what unapologetic commitment to your craft, and a little help from the viral generation, can do for you. Be More Chill, a former off-Broadway cult nugget, has made the mainstream jump to Broadway’s Lyceum Theatre. In true modern relation, the show is about a teenager who will do anything to become popular, even taking an untested, not-FDA-approved pill from Japan. Led by a very charming, well-voiced Will Roland, Be More Chill is anything but honoring of its title in its execution and commitment to telling this story of teenage angst, desire, and love.

From the start, Be More Chill is a weird show. It leans into its weirdness with a score and technical design that let its audience know that it’s aware of its weirdness, and the audience has consented to going along for the ride. Mr. Roland’s performance as Jeremy, the teenage at the center of the story, starts off the weird in “More than Survive,” the opening number that tells of his high school status, but not necessarily sets the stage for what he is truly looking for. Love, popularity, a relationship with his dad, to just have a quicker download time for his porn? All these questions, and it takes a long time for  the audience to get a clear answer. Mr. Roland’s differing timbre between pre-Squip (the pill he takes which makes him super cool and attractive) and Squip-induced is a bit much, but not without reason; there’s only so much a slightly differing hairdo and costume change can do for an audience to see Mr. Roland’s back-and-forth journey as Jeremy, and Jeremy on Squip. Mr. Roland’s big “I Want” moment comes just in the nick of time in “Loser Geek Whatever,” a finale he sings with flourish and a nakedness that makes his Jeremy finally somebody the audience can get on board with. Much to Mr. Roland’s and book writer, Joe Tracz’s, credit, Jeremy is a great role in that it supports and helps develop every other character he comes into contact with. Once Jeremy’s journey catches up, the show’s plot certainly clicks along at a more intriguing, invest-worthy pace.

Playing opposite Mr. Roland is a stellar George Salazar as Michael; yes, that Michael, who hides in the bathroom during the big Halloween party. By this time, even moderate Broadway fans know that “Michael in the Bathroom” is the new go-to song for your post-show karaoke, your next conservatory audition song, or perhaps your college showcase. But let it be known that Mr. Salazar sang it first, and, according to my YouTube rabbit holing, sings it best. All roads lead to Mr. Salazar’s completely vulnerable and big-voiced lament that puts on display every insecurity any teenager has ever felt at any given party, whether on the same or a smaller scale as Michael. “Michael in the Bathroom,” I dare say, is the sole reason Act Two exists, in terms of artistic, musical theatre satisfaction. But don’t be fooled, Mr. Salazar delivers a fully-realized performance as Michael, infusing humor, likeability, and well-earned sympathy for his journey from best friend to friend erased.

Featured highlights include performances by Lauren Marcus and Katlyn Carlson as besties, Brooke and Chloe, respectively. Both embody ditsy high school angst and popularity with near-believability but plenty of comedic integrity. In fact, the general tone to the cast’s execution of Stephen Brackett’s direction is that each character rests a hair above reality, especially when comedy is in discussion, catering more to those who enjoy the exaggerated, more off-beat humor and delivery. This works to much of the show’s success, though sometimes falls flat, especially at the hands of Britton Smith and Stephanie Hsu’s, playing almost-lovers, Jake and Christine, respectively. Mr. Smith is given very little to do in the way of character development, and apart from Ms. Hsu’s beautifully charming delivery of her opening solo, “I Love Play Rehearsal,” her efforts seem to focus more on shoehorning the laugh through facial and physical comedy rather than leaning on Mr. Tracz’s dialogue and chemistry opposite Mr. Roland’s Jeremy.

Jason SweetTooth Williams is a hardworking chameleon in the adult male track, playing Mr. Heere, Mr. Reyes, and the Scary Stockboy. Mr. Williams’ ability to give distinct nuance and varying types of humor to each well-crafted character is a testament to his professionalism and chops as an actor-singer. Jason Tam is a delightful, ominously engaging Squip, having the presence and vocal prowess to truly be a Squip of sterling quality. Last, but certainly, not least, Mr. Iconis’ answer to Bye, Bye, Birdie’s “Telephone Hour” is led magnificently by Tiffany Mann, playing Jenna, whose belt and energy catapults “The Smartphone Hour (Rich Set a Fire)” into true show-stopping territory.

In all, Be More Chill finds its triumphs in the technical designs, namely in Tyler Micoleau’s concert-like lighting design, fit for those who enjoy non-stop eye-popping flashes, complete with spectacle and dazzle; Ryan Rumery’s rapturous sound design; and Beowulf Boritt’s dynamite set design, which leaves plenty of room for the lights and Alex Basco Koch’s on-point projection designs to take center stage when called for, almost serving as another character in the story telling. In fact, the simple plot (not a bad thing) gets tucked away in this technical marvel of a production. Also, I’d be remiss to not mention how absolutely rockin’ the band is, musically directed by Emily Marshall. At no time was the band nor the cast competing with one another at the Wednesday matinee I attended; all was heard and all was pitch-perfect, which is certainly not an easy feat for a score such as this.

Be More Chill is exactly what it sets out to be, problems and all. What you’re left with when leaving the theater is a protagonist who, of sound mind and body, decides to take a pill to become popular, even at the expense of losing his best friend. Other choices Jeremy makes, which I dare not spoil should you find yourself able to see the show before its closing date, leave the Squip (arguably the Audrey II in this scenario), as a glorified savior rather than villainous influencer. It is difficult to find sympathy for Jeremy, no matter how effectively Mr. Roland is at delivering his nerdy charm and alluring presence. If the simple answer was just to be more chill, then why is there such a desire to impress by erasing? Many answers to be found if you decide to take chance on the Squip and go see Be More Chill.