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eye-may · 10 days ago

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A Post Where I Clumsily Trundle Through An Incoherent Web Of Thoughts On The Discrepancies Between OLC (Wayne Sleep) Mistoffelees and OBC (Timothy Scott) Mistoffelees, Specifically Regarding Their Vocal Tracks

I sit in a ✨rapt contemplation✨ of how much I do and don't think Mistoffelees should sing, based on the interpretation of the character I have scrunged together after two months' worth of obsessing over the subject, trying to make sense of the expansive history, and all the variations, of CATS. It doesn't help that, as far as I can tell, the most enigmatic (read: inconsistent as fuck, affectionately) fixture on the franchise is its own Conjuring Cat.

Read below the cut if you're at all interested in me trying to transliterate my thoughts! I promise you it will be confusing. ❤️

The gentle, vaguely mysterious way Mistoffelees sings "Have you been an alumnus of heaven or hell?" in the OLC recording is actually so beautiful and so personal to me. I could rationalize ad infinitum why it just makes sense for the inexplicably magical cat to have this line, but suffice to say: it just works. And of all the London-based productions in which I've heard this specific arrangement, my favorite delivery of that line still belongs to Sleep. His airy, almost pensive (?) inflection stands out so much from the rest of the cast, in a way that I think really befits the character.

Then he goes on to sing Jenny's number, again, with such conspicuous gentleness and sweetness. Everything he sings sounds almost like a lullaby, a trapping that works well for a song about a cat that lazes about and sleeps all day. it's a stark contrast to Munkustrap's operatic, romantic grandiosity. to say nothing of the fact that the Mr. Mistoffelees instrumental motif is what LEADS UP to the first line of that song; in my opinion, that's a vestigial indication of the original intention to have Mistoffelees narrate this part of the show.

When it's time for Old Deutoronomy to arrive, Mistoffelees opens up the lyrical announcement, again, with a voice that is soporific, melodic, gentle, sweet. He sounds youthful and unassuming, and yet is clearly a member of the tribe who is knowledgeable of its hierarchy and its history, and one who is so intimately trusted that its leadership bequeaths him the responsibility of making introductions, of musically guiding all and sundry through various beats and developments. I've heard others refer to this version of Mistoffelees as something of an 'assistant' to Munkustrap (shout out to this post, which singularly kept me from going insane while I tried to write this), a righthand cat as it were. I think later on, the closest we have to such an entity is Alonzo, the Secondary Protector; but this, in my opinion, is an incomparable archetype. Wayne Sleep's Mistoffelees is (I think) the most physically diminunitive version of the character there has ever been in a professional production. (Maybe except for Dane Wagner, whose actual height I cannot find anywhere on the internet, so jury's out). He doesn't cut the figure, per se, of a trusty backup during a violent altercation. Rather, his position on the community ladder is attributed to his acuity, which he conveys in his lilting, unaffected explanations. There's not exactly a pretense of showmanship, and Mistoffelees doesn't seem to come off esteemed as an entertainer. Rather, he's a member of the tribe who, although he's small and sweet-sounding...proverbially missable in a crowd...there's something about him that gives the rest of the tribe the impression that he's worth listening to. As much as, even, the tall and dignified Munkustrap, or the barely-hinged Rum Tum Tugger.

This Mistoffelees, despite all that, is not above casual comingling. He's not sanctimonious or high-flown...at least not if his adorably repulsed line delivery during Tugger's number is anything to go on.

I feel like when the roles were changed for Broadway (something something contracts something something principals), and Mistoffelees's narration was shuffled to the Mungoteazer number, the beat of Mistoffelees mistakenly attempting to lead the song and then getting chastised by Munkustrap was a cheeky nod to the original arrangement. In a metacontextual way, we DO expect Mistoffelees to sing Jenny's song. Even if you're not familiar with the OLC version, his motif still cues him in for it. Subsequently, it became his motif teasing his cue...only for him (and the audience) to realize that he was mistaken.

Obviously I have no way of knowing if that beat was, in fact, acted out in the original Broadway production with Timothy Scott (I suspect that it was not, and that Valentin Baraian was the trailblazer in the original Vienna run, and Lindsay Chambers's seemingly de-aged Mistoffelees in the early 90s further cemented the Woobie-fied awkward version of the character) but either way, this makes it so that the audience is acquainted with Munkustrap as a revered narrator, thitherto without much of an impression either way of how Mistoffelees is regarded by the rest of the cats.

In taking on the Puppet Show sequence, Mistoffelees's air of leadership and wisdom is abated, and filled in with an image of an eccentric showman. This isn't the least bolstered by Timothy Scott's cryptoid make-up, and his express desire to play Mistoffelees as bombastic and fascinating, rather than cute. His animation of piles of trash into dirigible puppets is the most ostentatious foreshadowing of his magic that there has ever been in any replica version; therefore, rather than the audience feeling as though Mistoffelees should be listened to, and that he's an unassuming and affable guide...they're given the impression that they should be mystified. Scott's Mistoffelees is replete with showmanship and grandiosity, in a more literal and traditional sense than Munkustrap or Tugger. He introduces himself before Tugger ever gets a chance to, resoundingly clapping himself on the back for his aptitude as a magician (the greatest magicians have something to learn...etc). In my opinion, this doesn't come off as egoism so much as it does a collateral feature of trained stage presence. He has bits. He's a professional.

Too much of a professional, even, to tease Tugger during the latter's number. I suppose the "bore" line is sung by Munkustrap and Alonzo at least, like it usually is in Broadway-based adaptions. In some productions, I think, Mistoffelees joins them for the delivery to form a trio. But, again, no way for me to know whether that's the case with Scott. I assume that he isn't just because it seems like his version of Mistoffelees is a touch too turgid to be bothered with Tugger at all.

The way he BANGS out Mungojerrie and Rumpleteazer in the OBC recording...his voice and inflection so dynamic, using his magic to bolster his showmanship, to entertain, to be a storyteller...it feels very proper for the self-proclaimed magician to present his abilities with such aplomb. (He sings with equally stratospheric energy during Invitation, which Wayne Sleep did not sing in the OL version...and I almost feel like it's too high-energy and playful a tune for the 'gentle guiding' version of the character). He has none of Wayne Sleep's timidity. He is no longer gentle. He's hyper, florid, dynamic, and loud, singing in an unhesitating, playful baritone that takes on a growl during his most dramatic deliveries. Wayne Sleep's and Timothy Scott's versions of Mistoffelees seem almost incomparable.

I think about the characterization of Mistoffelees as vague and aloof, and, you would think there was nobody shyer. I could see that, yes, with Wayne Sleep's Mistoffelees; while he's seemingly comfortable with being the center of attention amid his group of friends, and while he's all too happy to come in clutch very flashily during the eleventh hour, he still gives the impression of softness that one could construe as timidity. He's able and willing to assist Munkustrap, to elucidate in front of a group, to be heard and seen, but it's not too difficult to imagine him reverting to a state of unassuming quietness in any other contexts. It may just be me, but I feel that two "Presto!"'s during his number are almost formative, or at least uncharacteristic and something you'd only hear in such an extenuating context. It's like watching the peaceful, wise mentor abruptly kick ass when the hour is nigh. Is Wayne Sleep...Trojan Horse Mistoffelees...?

Anyway. Timothy Scottfelees, on the other hand, is more difficult to brand as a supposedly avoidant and coy character. He can be aloof, maybe, if the magnitude of his specialness ends up making him truly peerless. But this is the version of the character often called the "consummate showman," and an evidently eager one at that. After dynamically spinning the Mungoteazer yarn, he then goes on to sing about himself for part of his own number, ironically delivering lyrics that are antithetical to the idea of their own subject conveying them. (This is partly why it's fucking stupid that Mistoffelees sings his entire ass own song in the 2019 movie but that's neither here nor there).

But I get it, again, with the contracts and the him needing to sing two songs to have a principal contract blah blah blah blah. I guess the director didn't want him to sing Gumbie Cat and Mungoteazer. I wonder why, if they had him perform the latter to get around casting two additional actors for the mischief twins (and instead had the psychic twins dress up as garbage), that they couldn't simply have him sing Old Deutoronomy like the OLC Mistoffelees did. Instead they initiated the tradition of having Tugger and Munkustrap duet it, when Tugger didn't need that extra singing credit to fit the criteria for a principal contract because he already sings his own number and also Mistoffelees's number. I know it makes sense for Tugger and Munk to be singing it if you subscribe, as seemingly most do, to the interpretation that the two of them are Deutoronomy's sons. But I don't think Mistoffelees's original part precludes that implication. I think it would be neat, even, for the three of them so sing it.

Tangentially, I cannot figure out why John Chester (OLC George) is credited in the studio recording for Old Deutoronomy. When I listen to it, it just sounds like Mistoffelees and Munkustrap alternating, and then the ensemble, and then Brian Blessed (Deut) singing his part. Maybe George is the one to escort him? (Weird that he would be given a track credit for that). Or maybe his voice sounds remarkably similar to either Sleep's or Shankley's and I'm just not able to discern when he is, in fact, singing.

I got all into these mental gymnastics because lately I've been bouncing between the two eras, trying to make sense of the directorial adjustments, and also trying to decide the implications for Mistoffelees's character and which tracks I prefer for him. Incidentally, it's wild to me how inconsistent and evolved the Mistoffelees character is in the grand scheme of CATS. He has a plethora of roles, personalities, and tracking variations the extent to which no other character compares. All of the cats have been interpreted and played differently, of course, depending on the company and the direction. But it seems to me like Mistoffelees is far and away the most varied.

All right. So these are my (barely) conclusive thoughts, formatted handily to mimic the inane back-and-forth constantly beleaguring my internal monologue. Buckle up for some unsolicited, worthless opinions!

Should Mistoffelees sing "The Pied Piper's Assistant," (Broadway), or "Have you been an alumnus of Heaven and Hell"? - The latter! No matter the character's vibe! The inexplicably magical and visually demon-coded character should have this line. It just ✨makes sense.✨

Gumbie Cat - I have grown rather fond, after listening to Wayne Sleep's version, of the idea that Mistoffelees sings this number. That is, however, in no small part due to how well Sleep's lullaby-ish voice works for the tune --- better than, I think, the deeper and more powerful registers you typically hear from Munkustraps. That being said, Mistoffelees singing this demystified him pretty quickly, and arguably ages him up just because you're given the impression that he's privy to, and comfortable with, the tribe's alumni, and furthermore is in a position to express his opinions this way. So all that being said, while I enjoy Wayne Sleep singing Gumbie, in the alternative blip of spacetime where I direct CATS, I'd go the typical route of having Munk sing it.

I think it may be interesting, though, to see a version where Munkustrap and Mistoffelees duet it; and this could be done in a way similar to the Munk/Misto combination for OLC Old Deutoronomy, but in a way where you don't get the impression that Mistoffelees is a peer to Munkustrap. The Broadway Revival seemed to restore bits of the OLC's impressing upon the idea that Mistoffelees is something of an Assistant Director to Munkustrap, just not by singing. (It's stuff like helping her out of her coat, pushing the mop off the stage, moving things around, etc). I really like the idea of Mistoffelees being an adolescent hopeful, sort of shadowing Munkustrap, bottomlessly eager to be helpful, and perhaps even being set up to lead the tribe one day.

All that, granted...I also do like the beat of him getting embarrassed. I could do without it, but I like how it contributes to the interpretation of the character as young and sometimes awkward. God I don't know. o(-<

"The Rum Tum Tugger is a TERRIBLE BORE!" - Mistoffelees should absolutely be the one to have this line. Primarily because it adds that extra vitriolic and playful layer to the supposed relationship between the two characters. And it is also, I think, funny to suggest that Mistoffelees, of all cats, is the one who is not impressed by such prurient behavior, because we see later that he's objectively more impressive and worthy of adulation. (Tugger would agree with me). I honestly think that part of the reason Terrence Mann had so little to contribute to the expansive "Tuggoffelees" discourse is because Mistoffelees wasn't the one to deliver this line in the OBC version. And, secondarily, I prefer a Mistoffelees that isn't peerless, and isn't immune to kiddish ribbing. I have my opinions about how this line should be delivered but that's frankly a whole other post.

Mungojerrie and Rumpleteazer - I think we need the OBC version of this somewhere in the CATS ether, but modified. I agree with this post that is does create an issue where the foreshadowing of his magic is too conspicuous, to the point that it knocks the grandiosity of his Hero Moment down a notch when it's time for his big number. I war with this, however, because I love the idea of Mistoffelees using his magic to be an entertainer and a storyteller. I'd love to figure out some kind of synergistic version where Mistoffelees presents the legend of Mungoteazer in song, incorporating his magic, in a way that doesn't preclude the actual existence/presence of Mungojerrie and Rumpleteazer. I saw a post floating around recently proffering the possibility of the three of them singing it as a trio...I'm a huge supporter of that idea.

Given currently extant versions of the song, I'd forego the puppet show and have the titular characters sing it, in keeping with the tradition.

So now I'm going right ahead and taking away Mistoffelees's expositions after all that. 😩 Let's continue.

Invitation - He should sing it. I don't feel super strongly about this one, but I simply like it better when Mistoffelees sings it versus Munkustrap. Even when we have the quieter, more kiddish versions of Mistoffelees, it doesn't disrupt those elements of his character. It feels like an exciting moment for an inchoate showman. It also seems to give him a "reason" to burst onto the stage amidst an orchestral explosion and pull Victoria into a step.

Old Deutoronomy - Mistoffelees can and should sing at least that first part that Wayne Sleep sings, and maybe the first chorus with both Munkustrap and Tugger. I have the impression already that the three of them form a trifecta of Jellicles who are specially favored by Old Deutoronomy. However...I also think Mistoffelees (rather than Skimble) should be the one to escort Deutoronomy to the stage...so I'd have him sing the first bit, then get signaled by Munkustrap to leave, and then the rest of the song is left to Tugger and Munk, and then of course the ensemble. Perhaps continuing to forego the verse about flatulence.

And then, finally:

Mr. Mistoffelees - Tugger should be the one singing the entire song, full stop. I feel very strongly about this because I want there to be as much emphasis as possible on the astronomical estimation Tugger, in spite of his apparent egoism, has of Mistoffelees. It's also silly, to me, when a character sings about himself being quiet and shy. I do need him, however, to say "Presto!" which, as far as I can tell, he pretty much always does. Timothy Scott is something of an outlier unless we're talking about the Mutestoffeli.

I end this diatribe...not much more resolute than when I began. Obviously this hemming and hawing did not even really touch the Mute Mistoffelees phenomenon and all my feelings about that. I guess all I'll say in conclusion is that I love all versions of Mistoffelees, and I love that his evolutions, interpretations, eras, and iterations are so different and so dynamic. I love that so many amazing performers have been able to have so much fun and creative freedom with the character over the years.

I just want yall to know that up to this very moment I keep looking shit up and re-reading posts and wiki pages and I'm only getting infinitely more confused about which Mistoffeli did what thing which way at whatever time, so I'm going to give my brain a break before it liquifies. <3

#cats #cats musical #cats the musical #mr mistoffelees #mistoffelees #my shit #timothy scott #wayne sleep

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probablyasocialecologist · 1 year ago

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In recent years, the Tanzanian government has forcefully evicted Masai communities in the north of the country from their ancestral land to make way for conservation and tourism. Around 70,000 people are thought to have been affected. The government plans to lease the UAE-based safari company Otterlo Business Corporation (OBC) land to create a wildlife corridor for trophy hunting and elite tourism. Meanwhile, in Liberia, exclusive rights to over 1 million hectares of forest – about 10 per cent of the country’s total land area – could be conceded to a private Emirati company, Blue Carbon, as part of a draft deal. The scheme would see protected forests created in order to generate carbon credits to be sold on voluntary markets or traded between Liberia and other governments, allowing polluting countries or businesses to ‘offset’ their emissions. Blue Carbon has similar deals in Zambia and Zimbabwe. Aissatou Keita, a member of the National Platform of Actors for Climate Justice in Senegal, has described these projects as generating ‘rights to pollute’ for industry. ‘It is clear that carbon projects are put in place by polluters to continue their devastating activities and to restore their image,’ she writes.

#climate change #colonialism #carbon credits #africa #carbon offset

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buttercuparry · 7 months ago

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clovenhoofedjester · 10 months ago

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jellicle lineups; part 1/4

hi catsblur ! today i am presenting to you the fruits of my labor. my own little versions of the jellicle cats; obviously based on the replica designs With Fun Little Twists ! such as, they are not naked. ramble below the cut, both on designs and some personal thoughts on the characters

these designs are very much first-draft, subject to change, blah blah. you will very likely be seeing me drawing them differently if i post more of them. i just. urrbhhh. i had 2 draw them....

and the clothes ! even though they're very feline i draw them a bit too human-y for the nakedness to not look consistently weird. i will be drawing them closer to the stage designs in some instances but for rn. clothes. it was a fun exercise in character design too

the kittens are all young adults, think 18-20 ! as much as i love headcanons like demeter being sillabubs mother, it shrimply will not work out timeline-wise. so headcanons like that will be delegated to like... siblings and stuff

victoria | 🍧 💌 🩰

i started out with victoria's design not only because of her being the Main Kitten, but because she has such a concise and clear aesthetic to me. she actually started out with a simple pastel brown dance practice fit before i decided that i wanted to make the outfits ornate(ish) and ended up with a proper ballerina getup

i also quite like when victoria is not just solid white with some grey (love ones that are more yellow or brown) so i colored her fur with some blue and pink-ish tones not only to add more depth but to resemble the trans flag LOL

and i wanted to try something different with making her a bit more lavender than baby pink. i also based her overall look on obc victoria, portrayed by cynthia onrubia :^]

to move on to character interpretation, i think victoria is partially deaf and mute. she primarily communicates through dance. as one of the oldest kittens she'd be 19 in human years

plato | 💐 🕯 🍬

plato's design doesnt stray too far from his standard replica design but i tried to add my own flair . i tried to keep the creepy porcelain doll aesthetic going w their face added some more depth like some other designs with different colors and bold face stripes

i also really like the outfit i chose for them. the flower in their hair and on their shirt is a peony which is a popular wedding flower :") because im a sucker for platoria and very much subscribe to the idea that the ball we see is their funny cat wedding in a way

the outfit is based on standard ballerino costumes but i tried to stray from it with the silky half-skirt thing and pointe shoes. lets go queer cats lets go

i think plato is also very quiet and that's why he and victoria were so drawn to each other. i also quite like the idea that he was a bit of a troubled stray before he found the jellicles. they would be 20 in human years

electra |⚡🥭 🔔

boy i STRUGGLED with electra's clothes i struggled so hard. i think i'm happy with what i ended up with though—i originally gave her the babydoll dress that sillabub has (inspired by artsed electra) but figured that i wanted at least one of the girls to be more tomboyish/butchy. thank you to that one production which apparently had electra be one of the raffish crew and get in on some of the boys' choreography

im very happy with what i did with her fur colors as well. silly little tortoiseshell :] its based on a nonrep but i have no idea which one. enjoy her freckles too

i think electra deserves to be a little spunky. [whispers] i also think shes bombalurinas little sister. she'd be 18 in human years

etcetera | 🎠 🍯 🏅

i needed at least one cat with a circus aesthetic. say hello to my magnum opus: jacked tumbler acrobat etcetera. it was only a matter of time until someone said fuck it and let one of the girls perform lifts and stuff. this is mostly because ive always really liked how shes usually the cat to do the flying trapeze bit and wanted to push it further

i also struggled SO EXTREMELY HARD with making her colors look nice and makeup distinctive but i figured it out in the end—thank you obc cettie for the mismatched eyeshadow and such. i also wanted to give a cat a short bob type of head fur/hairstyle and she fit the bill

nothing much about specific character notes other than like... i want to make her related to some of the cats but cannot for the life of me figure out who 2 assign. also she'd be around 19 in human years, a couple months younger than vic

sillabub | 🌻 🧋 🎼

i think of all of these little fellas sillabub is my favorite. several elements are balanced in her design—the standard jemima with a darker/reddish palette, the more softer and lighter sillabub design, the red eye patch from il sistina jemima, and the overall aesthetic of obc jemima with the big hair and wide, deepset eyes

i've seen her typical design critiqued by some people and wanted to incorporate those critiques by making her look less similar to demeter/bombalurina, adding more red to her body fur, and making her makeup more distinct and less... wooo girl give us nothing. and i included the squiggly on her collarbone

i also really REALLY love her overall aesthetic of sweet kindhearted girl NAMED AFTER A DEMON WITH SHADOW THE HEDGEHOG COLORING AND GIGANTIC SPIKED COLLAR !!!! so i decided to push it by making the collar definitely too big for her, giving her a slightly "edgy" outfit and making her hair resemble devil horns

as for character stuff, i think she has magical powers though i haven't developed exactly What they are yet. beyond her sweet exterior they trouble her. [whispers] i also think shes demeters little sister. she would be 18 in human years, a few months younger than electra and tumblebrutus

pouncival | 🌱 🩹 🍵

i struggled with pouncival's clothing design like i did electra's because i didn't go into drawing him with a particular gimmick in mind. but i think i'm happy with the casual formal look. it makes him look like such a kind young man even if he's a little shit

i did have a lot of fun trying to make his makeup distinctive from tumblebrutus'—so many fellas with brown eyepatches ! so his colors are more dark and striking. i also tried to make him look less like Typical Cis Man by giving him a bit of black lipstick

enjoy his freckles too

but like. i think hes literally such a little cis guy. nothing else for me to add for my specific interpretation of him it's all laid out. this guy fucking loves rocket league, fishing and chess. he'd be 19 in human years

tumblebrutus | 🎡 🥊 🍦

SWEET TUMBLEBRUTUS. i think drawing him here gave me a soft spot for him. with his outfit mirroring cettie's i didn't much struggle with that. his colors are also based on obc tumblebrutus

when i was first conceptualizing my own versions of the cats i wanted at least one of them asides from grizabella to have wavy fur. and idk what it is, maybe it's the lack of content for him, but i was really drawn to the idea of curly tumblebrutus!

i wanted their design to be distinctive from pouncival's so i made their colors softer, kinda watercolor-y. OH AND THEIR FUR IS ALSO MEANT TO BE A LITTLE TRANS FLAG COLORED

as for character, i think he is also a bit troubled, as a son of grizabella's. you heard me, people. i'm probably the first person ever to headcanon that. he'd be 18 in human years

AND THAT'S ABOUT IT ! thank you for reading this far, have a great day and stay tuned for more designs in the days to come !

#cats the musical #cats 1998 #character design #chibi #sfw furry #victoria #plato #electra #etcetera #sillabub #pouncival #tried glazing this; didn't love the artifacting effect so it remains unglazed #i suppose i am laying down and dying at the hands of tech bros #tagging 98 because theyre all based on it as a baseline #my art

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killingfrankie · 9 months ago

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MY THOUGHTS ON THE OBC CAST RECORDING OF MEAN GIRLS.

‘A Cautionary Tale’: Honestly the best start to a musical ever. I’m obsessed with this song so much it’s insane. The little ‘nice’ from Damian and then ‘thank you’ from Janis after the ‘you can’t buy integrity from the mall’ line is SO SATISFYING. So good.

‘It Roars’: The transition into this song is so seamless and perfect and it’s so catchy. It shows how separated Cady is from society and it helps make sense of who she is, why she acts the way she does and how enthusiastic she is to finally join a more “normal community/society”. Does that make sense?. I am personally thankful that it was cut from the movie and replaced by ‘What Ifs’ because I just don't think it would’ve translated well. And that’s okay! Some things are better left untouched.

‘Where Do You Belong?’: “your mother called you babygirl?” “singing ha ha ha” SO GOOD. Damian is so funny. In the musical and the new movie Damian has so much more personality and more of a backstory and it’s so good. SO MAD THIS WAS CUT THOUGH. Grey slayed this song. The introduction to Damian and Janis for Cady. Perfect.

‘Meet The Plastics’: Silly silly Cady so so so curious. The way they describe the plastics in the beginning💀so funny. “MY NAME IS REGINA GEEEEORRRRRRRGE” LITERAL FUCKING CHILLS I LOVE TAYLOR LOUDERMAN. Her intro is so fucking real. HATE the 115 line tho. Thank goodness they changed it. Mad they cut karen and Gretchen’s parts from the movie tho 🙁 GRETCHEN’S VERSE IS SO GOOD BRO. straight and to the point. Karen’s intro is so funny. I love Karen. They could never make me hate her. “That’s it! :D” kate rockwell oh how i love you. WHEN ALL THEIR VERSES MERGE IS SO GOOD. i'm personally a Regina girl so I sing the ‘heeeeeres where you belong here's where you belong.’ “NO REALLY SAY IT.” SO GOOD. “come sit with us tomorrow! It’ll be fetch!”

‘Stupid With Love’: LOOOOOOVE. I used to not really like this song but it’s grown on me a lot and I love how unhinged Erika gets. “Do you have an eraser?” “i would love to :3” cadyyyyyyyy heroooonnnnnn. SO GOOD. “jinx!” “ha ^_^ IM ASTOUNDED AND NONPLUSSED. I AM FILLED WITH CALCULUST.” I LOVE HER. this song is so good. I also personally really like Angourie’s version too.

‘Apex Predator’: i can play this song on piano. SO GOOD. i love this song so much. Have you guys seen rachel zeglers cover? Cady using metaphors to present Regina’s behaviour and her power is so clever and it’s just so fun to listen to. When janis and cady both sing “she’s queen of beasts” THEY SOUND SO GOOD TOGETHER BRO. “HOW CAN YOU OUTSMAAAAARRRRRRRT THE APEX PREDATOOOOOOOOOOOORRRRRRRRRRRRRRRRR”

‘What’s Wrong With Me?’: Gretchen :((( I feel like i cry to this song a lot. It’s just like, gretchen, honey, you dont deserve this. “Mama called me beautiful. Dont believe her anymore, now im listening to you.” REGINA LOOK WHAT YOU’VE DONE WHY WOULD YOU DO THIS SHE’S JUST A BABY😭😭😭😭😭😭😭😭😭😭😭😭😭😭 the final “WHAT’S WRONG WITH ME” AND SHE BELTS. SO GOOD. translated so well on screen.

‘Stupid With Love (Reprise)’: i’ve never been a big fan of aaron but i don’t have any issues with him but this is satisfying to listen to. “So i’m swearing off of dating.” “Shit.🥲” . “hey whats the date?” “october 3rd! MY NEW FAVOURITE DAY!”

‘Sexy’: KAREN I LOVE YOU. this song translates so well onto screen from stage. Kate slayed this song and so did avantika. I love how passionate karen is about halloween. This song is such a BOP too. The beat is so addicting. “I CAN BE” ateeee. She knows who she is and she SLAYED. When she lists the costumes. Chefs kiss. The whole sex cancer bit is so good. Thank you for curing sex cancer karen! “THIS IS MODERN FEMINISM TALKING. I EXPECT TO RUN THE WORLD IN SHOES I CANNOT WALK IN.” ICONIC. PERFECT. INCREDIBLE.

‘Someone Gets Hurt’: literal chills. Like actual goosebumps. “Yes i look perfect” yes you do. I can play this on guitar. SO FUCKING GOOD ISTG. so tense. I’d give in to her immediately. She’s so intoxicating i swear to god. This song captures regina SO WELL. there’s so many astonishing little vocal moments. Taylor louderman is literally one of my favourite vocalists of all time she’s so fucking good to listen to. The amount of emotion in her voice is incredible. “IT’S FINE FOR YOU IT’S FINE TO FLIRT. AND GOD YOU’RE HOT WHY DO YOU EVEN WEAR A SHIRT.” actually fucking insane i love her.

‘Revenge Party’: this song is so fun and actually batshit crazy i love it. It really shows how creative Janis and Damian are. This for me is where Cady turns for the worst. I hate the whole theme where they fuck with regina’s weight to take her down. It’s genuinely disgusting and thats one of my only problems with mean girls. Like ik they’re all mean girls but still. Gretchens whole meltdown is so fucking funny. I love gretchen so much. The final chorus is so fun.

‘Fearless’: gretchen not being able to function without having a “boss” is iconic but also someone get her a therapist. This song is so fun. Like all of them singing about not being scared of regina and then regina coming in and changing the song to the chords of SGH and then basically warning them that she will get them back. Again, CHILLS.

‘Stop’: MY FAV ATM. SO FUN. SO MAD THEY CUT IT FROM THE MOVIE. JAQUEL WOULD’VE SERVED. So catchy and addicting i love it so much. The “stop” before giving examples hits every time. “MY GOD GIRL, HE’S JUST A GUY!” SO TRUE!!! Janis calling out Damian about Phillip is so funny. Damian going insane over phillip is so funny. “For four whole weeks i trolled and dissed her. THEN I FOUND OUT SHE WAS HIS SISTER.” CRYING ITS SO FUNNY. Then all the girls saying their mistakes. It just gets gradually more sad. “Good work ladies lets take a break” A 5-6-7-8 ! “ TAP BREAK. ICONIC. Him calling her out by saying “stop. Being glued to your phone, counting followers and likes and IGNORING YOUR FRIENDS.” and then the. “She’s leaving! JUST LIKE MY DAD!” IS SO FUNNY.

‘What’s Wrong With Me? (Reprise)’: again with the “boss” :( also having mrs george in the reprise is so funny and it makes so much sense. Bless they’re both trying so hard. “You’ll be worshipped for years.. Then she’ll turn three and everything’s wrong with me” REGINA WHAT DID YOU DO TO YOUR MOTHER 😭😭

‘Whose House Is This?’: SO addicting and fun. “WHOSE HOUSE IS THIS? ITS MY HOUSE NOW.” im so thankful kevin kind of got a song. He’s so funny. “WHOSE HOUSE IS THIS?” “IT WAS ALWAYS MY HOUSE😭” SO FUNNY.

‘More Is Better’: am i the only one who thinks aaron kinda over-reacted here when he called cady a clone of regina… likeeeeee it’s not that deep bro. Also when it alludes to ‘i see stars’ is so cute. She’s JUST a girl. And she’s not wrong. Regina wouldn’t let that girl talk to him in a normal conversation. What else was she supposed to do? Aaron does have some points tho about how she’s changing herself to it in. but he shouldn’t be scrutinising her for it.. Like bro just reassure her that you like how she normally is… cutesy song tho

‘Someone Gets Hurt (Reprise)’: this entire sequence is genuinely insane and so fucking good and i am obsessed with barrett so much like she’s so talented. And Auli'i ate it up in the movie too.

‘World Burn’: GOOSEBUMPS. The start of this scene is so sad in the movie… TAYLOR LOUDERMAN ATE THIS SONG UP. not a fan of the use of the d slur tho. V happy they changed it for the movie. The intensity of this song makes me feel like im entering my villain era. “But you didnt finish my oooooofoffffff. MY NAME IS REGINA GEORGE.” CHILLS BRO CHILLS. “AND YOU CAN QUOTE THIS. WOAHOHOHOOOOOHHHOHHHH.” “MEAN. MEAN. MEEEEEEEEEEAN.” I LOVE HER BRO YOU DONT UNDERSTAND. “SOO MEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEAN. I WANNA WATCH THE WORLD BURN.” I C O N I C.

‘I’d Rather Be Me’: i can play this song on piano too. It’s so good. I love it so much. Probably my fav when i first watched the musical. My fav thing is the chanting of “janis janis janis janis” and it is so satisfying. Im sad they cut it from the movie. Janis’ redemption arc is so fucking good. Love a queen who will do anything to be authentically themself. “everyBODY has opinions but tht doesnt make them true.” i prefer the ‘every asshole’ from the movie but the everyBODY still hits.

‘Do This Thing’: “YO YO YO MATHLETES STATE CHAMPIONSHIPS, WHAT! FIRST FEMALE EVER ON THE TEAM, WHAT! A BOXED LUNCH WILL BE PROVIDED, WHAT!” SO FUCKING FUNNY BROOOOO. “I’m a lean, mean, math machine” okay cady. Whatever floats ur boat queen. That line kinda hits. The part where they’re solving equations hits so hard. Kevin is so funny. “YOU LIKE THAT MARYMOUNT?!?!” cady ate it up towards the end. This song is so good.

‘I See Stars’: this song is so cvnty i love it. It makes me lightheaded when i karaoke it though so god bless erika henningsen for doing it 8 times a week. This song is so cutesy i love it. The perfect ending. Cady’s redemption was so well written bro. And i love this song. Not my favourite but it’s still on my playlists.

#mean girls #mean girls 2024 #gretchen wieners #damian hubbard #mean girls broadway #cady heron #regina george #janis sarkisian #karen smith #aaron samuels #kevin gnapoor #erika henningsen #taylor louderman #kate rockwell #ashley park #grey henson #barrett wilbert weed #kyle selig #cheech manohar

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