Elisabeth das Musical Textposts pt. 1
Rudolf: Andreas Bieber, Der Tod: Uwe Kröger (1992)
Elisabeth: Pia Douwes, Maximilian: Wolfgang Pampel (1992)
Der Tod: Uwe Kröger, Elisabeth: Pia Douwes (2002)
Elisabeth: Pia Douwes, Der Tod: Uwe Kröger (1992)
Der Tod: Uwe Kröger (1992)
Rudolf: Lukas Perman, Der Tod: Mark Seibert, Elisabeth: Maya Hakvoort (2022)
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My unsolicited headcanon about der Tod's veil
Please note that my headcanon only applies to 2 productions: Original Vienna (1992) and Vienna Revival I (2004).
The first appearance of the veil occurs in Act 2 during Die Schatten werden länger, and the next time the veil is seen is during the Mayerling Walzer. If you have sharp eyes and pay close attention, you can observe der Tod draping the veil over his shoulders and then covering Rudolf’s body with it after the prince’s suicide. From that point onwards until the end of the musical, the veil does not appear again.
The question arises as to why der Tod used the veil when he met Rudolf in his carriage during Die Schatten werden länger.
Now, let’s go back to when Rudolf was a child. When the little prince asks him to stay, der Tod responds, “I’ll stay close to you.” Due to this promise, it is likely that der Tod and Rudolf would meet again before decades pass and the prince grows up. This is based on the timeline rather than what the audience sees on stage. It is highly possible that der Tod was often with Rudolf, more so than with Elisabeth, as Rudolf was easier for him to manipulate.
We all know that der Tod does not have a fixed appearance but can take on different forms depending on who is allowed to see him. For example, in Die letzte Chance/Maladie, der Tod appears as a doctor to Elisabeth. This suggests that der Tod could be anyone around Elisabeth and Rudolf, making it impossible to recognize him. So how did Rudolf recognize der Tod in the Die Schatten werden länger? The answer lies in the veil.
It is possible that der Tod appeared in a different form when Rudolf encountered him during that time. The veil served as a symbol for Rudolf to identify that the person before him was der Tod.
To further support this argument, let’s consider the Mayerling Walzer. In this waltz, the Death Angels and der Tod resemble Mary Vetsera and are indistinguishable. So how does Rudolf know which one is the “Mary” he seeks to embrace? Once again, the answer lies in the same veil that is draped over der Tod’s shoulders. The kiss of death occurs, Rudolf pulls the trigger, and der Tod covers the prince’s body with the veil. After this point, the veil does not appear again because der Tod no longer requires it.
Visit my WordPress for more Elisabeth das Musical headcanons.
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I always say “oh yeah I’m a lesbian hahah” until I see a pretty man with long and/or blonde hair sing a pretty musical song while the character he plays is having a breakdown and then all of the sudden I’m foaming the the mouth growling “I need to fuck that man in the ass”
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(Rewatched both Tanz der Vampire and The Last Trial recently, and they’ve finally given me ideas for faceclaims…candidates under the cut, and I might make a poll about it tbh)
Ruslan Gerasimenko
Kirill Gordeev
Lukas Perman
Rostislav Kolpakov
Evgeny Egorov
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You know Luka also has something that sets him off that has nothing to do with being selfless like anyone does
Abandonment
Daddy issues part 2 baby (part 1 being Adrien ofc)
The times he's been preyed on by an akuma stemming from his own feelings being hurt were in Truth and and Crocoduel
Luka has never been mad/upset at Marinette for her indecision or her love for Adrien literally ever, it's just not in his nature to covet romantic love as a major priority
He got sad when she wasn't present during their relationship, missing out on important events and dates- then finally he opened up a very vulnerable part to himself, only to be told straight up that she cannot reciprocate his amount of vulnerability in their relationship. They're in a relationship, so ofc he expects a certain amount of attention and affection equal to his own.
Second time is when he thinks Marinette doesn't want to be in his life at all anymore in Crocoduel. Like anyone would be, he was upset after their break up bc, hey- he did love her and want their relationship to work out. But his sadness didn't ever reach a point to where he couldn't control it. What's important to him is simply having those he holds dear to be with him. Marinette not wanting to be near him at all is what truly upsets him, bc gf or not, he just wants those he loves to love him in return.
Wanting the people he loves with him, to communicate with him, spend time with him, etc.- are all things that stem from his own desires and self esteem. It's how the reassurances of his other friends stops the akuma.
Like yeah he could be fleshed out more (lack of screentime,,,,hic,,,sob,,,) but I really appreciate the small morsels we get of him here and there 😭 literally an empath
Also as an elderly being 👩🦳 watching the show now, his lax attitude towards teenage love is so refreshing dtvdybfkt- like don't get me wrong, I live for the melodrama of mlb most of the time, but he reminds me shit ain't really that serious in your teens and if we treated it like just a natural cycle of life we'd all be better for it 🏃♂️🏃♂️🏃♂️
I'm Marinette in terms of uncontrollable and erratically nervous behavior around my crush
But also I'm Luka where I'm like: Well, I'll live. I'm still young. I got my art, family, and friends- after a few awkward weeks even my ex is still my good friend so things are great 👍
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Since the video that this is from got leaked onto bilibili anyway, I feel comfortable reposting. i love early lukas rudolf we need more of this...............
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Guys just WAIT until you see what I just had custom ordered
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"men whimpering audio" this "men whimpering audio" that. real ones listen to draussen ist freiheit reprise from german musical tanz der vampire: vienna 2010 cast recording.
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