#Suzie Toase

[denimbex1986]

'*****

The National Theatre At Home's website is a Rolodex of some of the theatre's greatest productions to date, an ever-updating library of acting royalty. On 6 December, the site is welcoming the arrival of Noël Coward’s Present Laughter - as staged at The Old Vic in the summer of 2019, along with The Grapes of Wrath.

Matthew Warchus’ production’s stellar cast (Andrew Scott and Indira Varma both won 2020 Oliviers for this production) brings its own expectations. They star as the separated but yet-to-be divorced couple, Garry and Liz Essendine. Such are their larger-than-life personalities, that we’re kept guessing about whether it’s all for show or if it’s fundamentally who they are.

The cast is rounded off by Joshua Hill as Garry’s ever-so-real Valet, Fred; Kitty Archer as one of Garry’s many (many) admirers, Daphne Stillington; Luke Thallon as Roland Maule, a budding playwright with a slightly overheated addiction to Mr Essendine; the always so ‘charming’ (and destined to be your favourite character) Monica Reed is played by Sophie Thompson; Abdul Salis and Suzie Toase star as manager-producer duo, Morris and Helen respectively; Helen’s ‘wandering’ (for one of a better word) husband, Joe, is played by Enzo Clienti. Wrapping up the cast list, Liza Sadovy stars as maid and medium, Miss Erikson.

Present Laughter tells of Garry Essendine, an actor and producer in London who is preparing to go on a theatrical tour of Africa, when news of a potential affair, in both the friend group and theatre firm, comes to light. Garry’s loved ones try to support him through not only the tour, but also in how he deals with his obvious loneliness. What they fail to realise is that the only person who may actually be committed to being their authentic self is, in a very weird turn of events, Garry himself! A perfect comedy emerges.

As you would expect, this 21st century version of Coward’s provocative play has seen a fair few changes from the original 1942 production.

Firstly, let’s talk about the queer representation this adaptation beautifully brings to light. Coward initially wrote the part of Garry as a man who filled his loneliness with evening after evening in the company of women whom he barely knew - even spending a night with the wife of his longtime friend and producer. But Warchus has added an even deeper level to Mr Essendine’s antics. The production sees a gender-swapped cast for a few of the supporting characters. Toase’s character, Helen, was originally that same producer, Henry; and Helen’s wandering husband, Joe, was initially her cheating wife, Joanna.

Nothing about the plot essentially changes, however, showcasing a complex and beautifully told story of openly (and some not-so-openly) queer characters in a setting where the plot isn’t necessarily about their sexuality - it is a part of them, not the totality of them.

The play is genuinely side-splittingly funny from start to finish, with powerful scenes of tenderness and humanity to ensure those moments of comedy truly land.

Andrew Scott’s versatility should be studied. The fluidity of his portrayal of Garry Essendine is beautifully orchestrated as if each thought were new, were genuine - he defines ‘truth in the moment’. His vocal gymnastics are both something to be in awe of, but also to hang on to as a key element of the storytelling. From changes in intonation, to completely random tempo changes, Scott hilariously and effortlessly has the audience, and in most cases, the cast, in the palm of his hand - and, sure enough, he milks it for what it is worth, in the best way possible.

Although every cast member had their own opportunity for sending the audience into fits of laughter, it was the earthly rootedness of Varma’s character, Liz, that kept me drawn in during moments of chaos. Varma is effortlessly funny, it’s part of who she is. Every joke lands because she just simply is that funny. I won’t spoil too much, but Varma’s humanity in the piece, specifically towards the end, really steals the show, and complements Scott’s theatrical dramatics perfectly.

Present Laughter is an ideal show to watch with loved ones this festive season: from its humour and clever comedy, to its stunning portrayal of real people living. The simplistic, yet stellar, portrayal of queer characters in a play that was not originally dedicating space for them, is something that makes this piece so special. Chemistry, comedy, and chaos - the perfect evening of theatre that you will not want to pause (even though now you can).

All that entertainment, and yet Warchus’ reimagined production also goes straight into my ever-growing list of ‘plays you must see to understand the complexity of people’...'

[dalyankiz1981]

On a high once again after watching this for the second time. And I even let hubby come and watch it with me as he was still recovering from his heart attack the first time I saw it (out of danger and in the hands of brilliant doctors, I hasten to add, but still recovering - in case anyone thinks I was a horrible wife for leaving him to go watch my fave 🤣)

Needless to say he really enjoyed it too and was talking about it all the way home (and if he was to develop a lil man crush on Andrew too which I suspect he might have it wouldn’t be the worse thing! 🤭)

Ofc I loved it even more this time around and it was even more special and hilarious because an older guy in the same row as us was laughing so hard throughout it - one of those types of laugh that sets you off in fits too 😂 😂 Absolutely MARVELLOUS darlings!! 🤩

[hisblossombunny]

Let's just appreciate some *Actually Attractive* Harry Potter baddies ;)

Arben Bajraktaraj (Dolohov), Graham Duff (DH Death Eater), Anthony John Crocker (DH Death Eater), Penelope McGhie (DH Death Eater), Rod Hunt (Rowle), Dave Legeno (Greyback), Paul Khanna (author alias: Venice Fulton) (DH Death Eater), Emil Hostina (DH Death Eater), Judith Sharp (DH Death Eater), Suzie Toase (Alecto Carrow)

[peterviney1]

Present Laughter- Old Vic 2019 review Review added of PRESENT LAUGHTER by Noel Coward at The Old Vic (FOLLOW LINK). This version stars Andrew Scott and has been noted for 'gender fluidity.' Few plays ever get so many five star reviews as this production. I've given it a mildly mean four. Go to the review and find out.

[cristalconnors]

BEST CAST

WINNER:

BACURAU- Casting by: Marcelo Caetano. Ensemble: Bárbara Colen, Thomas Aquino, Silvero Pereira, Thardelly Lima, Rubens Santos, Wilson Rabelo, Carlos Francisco, Luciana Souza, Karine Teles, Antonio Saboia, Sônia Braga, Udo Kier, Buda Lira, Clebia Sousa, Danny Barbosa, Edilson Silca, Eduarda Samara, Fabiola Liper, Ingrid Trigueiro, Jamila Facury, Black Jr., Márcio Fecher, Rodger Rogério, Suzy Lopes, Uirá dos Reis, Val Junior, Valmir do Côco, Zoraide Coleto, Jonny Mars, Alli Willow, James Turpin, Julia Marie Peterson, Brian Townes, Charles Hodges, Chris Doubek, and Lia de Itamaracá

NOMINEES:

BLOODY NOSE, EMPTY POCKETS- Casting by: Bill Ross IV, Turner Ross. Ensemble: Michael Martin, Cheryl Fink, Marc Paradis, John Nerichow, Lowell Landes, Ira J. Clark, Bruce Hadnot, Pete Radcliffe, Felix Cardona, Al Page, Rikki Reed, Pam Harper, Shay Walker, Tra Walker, Trevor Moore, Kevin Lara, David S. Lewis, Kamari Stevens, Sophie Woodruff, and Miriam Arkin

EMA- Casting by: Alejandra Alaff. Ensemble: Mariana di Girólamo, Gael García Bernal, Santiago Cabrera, Paola Giannini, Cristián Suárez, Giannina Fruttero, Josefina Fiebelkorn, Mariana Loyola, Catalina Saavedra, Paula Luchsinger, Paula Hoffman, Antonia Giesen, Susana Hidalgo, Eduardo Paxeco, Natalie Bakulic, Amparo Noguera, Diego Muñoz, Claudia Cabezas. Paula Zúñiga, Trinidad González, Claudio Arredondo, Gastón Salgado, Josué Rojas, Maykol Lara, Francisco Martínez, and Emilio Edwards

EMMA.- Casting by: Jessica Ronane. Ensemble: Anya Taylor-Joy, Angus Imrie, Letty Thomas, Gemma Whelan, Bill Nighy, Edward Davis, Rupert Graves, Miranda Hart, Myra McFayden, Esther Coles, Suzy Bloom, Suzanne Toase, Nicholas Burns, Josh O’Connor, Johnny Flynn, Lucy Briers, Mia Goth, Anna Francolini, Connor Swindells, Christopher Godwin, Vanessa M. Own, Isis Hainsworth, Hannah Stokley, Charlotte Weston, Chloe Pirrie, Oliver Chris, Rose Shalloo, Amber Anderson, Callum Turner, and Tanya Reynolds

MINARI- Casting by: Julia Kim. Ensemble: Alan S. Kim, Han Ye-ri, Noel Cho, Steven Yeun, Darryl Cox, Esther Moon, Ben Hall, Eric Starkey, Will Patton, Youn Yuh-jung, and James Carroll

[insanityclause]

Sara Krulwich/The New York Times

A Director Making His Mark in More Ways Than One

LONDON — The director Jamie Lloyd was giving me a tour of his tattoos. Not the Pegasus on his chest or the skeleton astronaut floating on his back, though he gamely described those, but the onyx-inked adornments that cover his arms and hands, that wreathe his neck, that wrap around his shaved head.

When I asked about the dragon at his throat, he told me it had been “one of the ones that hurt the least,” then pointed to the flame-licked skulls on either side of his neck: his “covert way,” he said, of representing drama’s traditional emblems for comedy and tragedy.

“I thought maybe it’d be a little bit tacky to have theater masks on my neck,” he added, a laugh bubbling up, and it’s true: His dragon would have eaten them for lunch.

It was early December, and we were in a lounge beneath the Playhouse Theater, where Lloyd’s West End production of “Cyrano de Bergerac,” starring James McAvoy in a skintight puffer jacket and his own regular-size nose, would soon open to packed houses and critical praise.

Running through Feb. 29, and arriving on cinema screens Feb. 20 in a National Theater Live broadcast, “Cyrano” — newly adapted by Martin Crimp, and positing its hero as a scrappy spoken-word wonder — capped a year that saw Lloyd celebrated on both sides of the Atlantic.

In London last summer, his outdoor hit “Evita” traded conventional glamour for sexy grit, while his radical reinterpretation of Harold Pinter’s “Betrayal,” starring Tom Hiddleston, was hailed first in the West End, then on Broadway. Ben Brantley, reviewing “Betrayal” in The New York Times, called it “one of those rare shows I seem destined to think about forever.”

When Time Out London ranked the best theater of 2019, it gave the top spot jointly to all three Lloyd productions, saying that he “has had a year that some of his peers might trade their entire careers for.”

Lloyd, who is 39, did not spring from the same mold as many of those peers. There was for him, he says, no youthful aha moment of watching Derek Jacobi onstage and divining that directing was his path. Epiphanies like that belonged to other kids, the ones who could afford the tickets.

If there is a standard background for a London theater director — and Lloyd would argue that certainly there used to be — that isn’t where he came from, growing up working class on the south coast of England, in Margaret Thatcher’s Britain.

The first time I laid eyes on him, chatting in the Playhouse lobby after a preview of “Cyrano,” he was the picture of working-class flair — the gold pirate hoops, the pink and black T-shirt, the belt cinching high-waisted pants.

He looks nothing like your typical West End director. Which of course is precisely the point.

What’s underneath

“It’s quite often said of him,” McAvoy observed by phone, once the reviews were in, “that he strips things away or he tries to take classical works and turn them on their head. I think he’s always just trying to tell the story in the clearest and most exhilarating way possible.”

The “X-Men” star, who put the number of times he’s worked with Lloyd in the past decade at a “gazillion,” calls theirs “probably one of the most defining relationships that I’ve had in my career.”

Yet Lloyd himself is on board with the notion that his assertively contemporary stagings pare back stifling layers of performance history to lay bare what’s underneath.

Like the tiger and dragons that he had emblazoned on his head just last May, though, the unembellished nature of his shows — as minimalist in their way as his tattoos are the opposite — is a relatively recent development.

Lloyd’s first “Cyrano de Bergerac,” starring Douglas Hodge in 2012, was also his Broadway debut. It was, he said, “absolutely the ‘Cyrano’ that you would expect,” with the fake nose, the hat, the plume, the sword-fighting.

There is, granted, sword-fighting in the new one — but the audience has to imagine the swords.

Lloyd’s productions, including a lauded revival of Stephen Sondheim and James Lapine’s “Passion” in 2010, long marked him as a hot young director on the rise. But he sees in some of his previous work a noisy tendency toward idea overload.

The pivot point came in 2018, with a season that the Jamie Lloyd Company — which he formed seven years ago with the commercial producing powerhouse Ambassador Theater Group — devoted to the short works of Harold Pinter. The playwright’s distillation of language forced Lloyd to match it with his staging.

That immersion led to what the director Michael Grandage — one of Lloyd’s early champions, who tapped him at 27 to be his associate director at the Donmar Warehouse — called Lloyd’s “absolute masterpiece.”

“I had quite a lot of ambition to do a production of ‘Betrayal’ in my life,” Grandage said. “And then when I saw Jamie’s, I thought, ‘Right, that’s it. I don’t ever, ever want to direct this play.’ Because that’s, for me, the perfect production.”

Playing dress-up

Charm is a ready currency in the theater, but Lloyd’s is disarming; he seems simply to be being himself, without veneer. Like when I fact-checked something I’d read by asking whether he was a vegan.

“Lapsed vegan,” he confessed immediately, with a tinge of guilt about eating eggs again.

Pay no attention to any tough-guy vibe in photos of him; do not be alarmed by the sharp-toothed cat on the back of his head. In conversation, Lloyd comes across as thoughtful and unassuming, with an animated humor that makes him fun company. If he speaks at the speed of someone with no time to waste, he balances that with focused attentiveness.

His father, Ray, was a truck driver. His mother, Joy (whose name is tattooed on his right forearm, near the elbow), cleaned houses, took in ironing and ran a costume-rental shop, where young Jamie would sneak in to dress up as the children’s cartoon character Rainbow Brite.

“It’s very embarrassing,” he said, squelching a laugh.

Seeing professional theater wasn’t an option then for Lloyd, whose grown-up passion for expanding audience access — one of the things he has made himself known for in the West End — grew out of that exclusion. His company has set aside 15,000 free and 15,000 £15 tickets for its current, characteristically starry three-show season, which will also include Emilia Clarke in “The Seagull” and Jessica Chastain in “A Doll’s House.” At the 786-seat Playhouse, that adds up to just over 38 full houses.

Lloyd, who was studying acting at the Liverpool Institute for Performing Arts when he decided he wanted to direct, found his way to theater as a child by acting in school shows and local amateur productions. Twice he was cast as a monkey; in “The Wizard of Oz,” thrillingly, he got to fly.

The details of his early days have always been colorful — like having a clown as his first stepfather, who performed at children’s parties under the stage name Uncle Funny. But Lloyd is quick to acknowledge the darkness lurking there.

“It sounds a little bit like some dodgy film, because he was actually a really violent man,” he said. “And there were times where he was very physically abusive to my mum. There was a sort of atmosphere of violence in that house that was really uneasy. And yet masked with this literal makeup, but also this sense of trying to entertain people whilst enacting terrible brutality behind the scenes.”

This is where he locates his own connection to Pinter’s work.

“A lot of that is that the violence is beneath the surface,” he said. “And on the top there is this sort of, what I call a kind of topspin, a layer of cover-up.”

Long relationships

Lloyd was still at drama school when he staged a production of Lapine and William Finn’s “Falsettoland” that won a prize: assistant directing a show at the Bush Theater in London. Based on that, Trevor Nunn hired him, at 22, to be his assistant director on “Anything Goes” in the West End — a job he did so well that Grandage got word of it and hired him to assist on “Guys and Dolls.” While Lloyd was doing that, he also began directing in his own right.

The costume and set designer Soutra Gilmour, who has been a constant with Lloyd since he cold-called her for his first professional production, Pinter’s “The Caretaker,” said theirs is an easy relationship, with a “symbiotic transference of ideas.” Even their creative aesthetics have evolved in sync.

“We’ve actually never fallen out in 13 years,” she said over mint tea on a trip to New York last month, just before “Betrayal” closed. “Never! I don’t even know how we would fall out.”

Of course, the one time she tried to decline a Lloyd project five years ago, because its tech rehearsals coincided with the due date for her son’s birth, he told her there was no one else he wanted to work with. So she did the show, warning that at some point she would have to leave. Now, she says, he understands that she won’t sit through endless evening previews, because she needs to go home to her child.

Lloyd and his wife, the actress Suzie Toase (whose name is tattooed on one of his arms), home-school their own three boys (whose names are tattooed on the other). Their eldest, 13-year-old Lewin, is an actor who recently played one of the principal characters, the heroine’s irresistible best friend, on the HBO and BBC One series “His Dark Materials,” whose cast boasts McAvoy as well.

Enter the child

Lloyd’s interpretation of “Betrayal,” a 1978 play that recounts a seven-year affair, imbued it with a distinctly non-’70s awareness of the fragility of family — the notion that children are the bystanders harmed when a marriage is tossed away.

Its gasp-inducing moment came with the entrance of a character Pinter wrote to be mentioned but not seen: the small daughter of the couple whose relationship is imperiled. In putting her onstage, Lloyd didn’t touch the text; it was a simple, wordless role. With it, he altered the resonance of the play.

To me, it seemed logical that Lloyd’s production would have been informed by his experience as a husband and father — and maybe also as a child in a splintering family. How old had he been, anyway, when his parents split up?

“Five,” Lloyd said. “The same age as the character would be.” He paused. “Oh God, yeah, fascinating. I’d not thought about that. Exactly the same age.”

If that fact was of more than intellectual interest to him, he didn’t let on. He volunteered a memory, though — of being a little one “amongst these kind of big giants, and I guess what we can now see as the mess of their lives.”

Blazer-free

Doing “Betrayal” in New York, Lloyd was struck by how eager Americans were to chat about his tattoos. Still, he told me after I texted him a follow-up question about them, he hadn’t expected his appearance to be such a talking point in this story.

It’s not just idle curiosity. It’s about what the tattoos signify in a field where, in Britain as in the United States, the top directors tend to have grown up very comfortably. It’s about who is welcome in a particular space, and who gets to be themselves there.

For a long time after Lloyd started working in the theater, he wore a blazer every day: a conscious attempt to conform in an industry where he felt a nagging sense of difference.

“Every other director at the time was from an Oxbridge background,” he said, “and looked and sounded a particular way. I spent a long time pretending to be like them.”

It was a performance of sorts, with a costume he donned for the role.

It was only about seven or eight years ago — around the time he left the Donmar and started putting together his own company — that he stopped worrying about what people might think if he looked the way he wanted.

“My dad had tattoos” was the first thing he said when I asked him about his own.

“I guess it’s partly getting older,” he mused, “but it’s just sort of going, ‘You can’t pretend to be someone. You’ve got to be who you really are, in every way.’”

The tattoos that have gradually transformed him are from a different aesthetic universe than his recent work onstage. Yet the impulse, somehow, is the same.

In shedding the blazer, in inking his skin, Lloyd has peeled back layers of imposed convention to show who’s underneath.

And should you spot him at the theater, where he is hard to miss, you’ll notice that he looks just like himself.

[myownbestblog]

Hello, Little Girl (Revival)

HELLO LITTLE GIRL (Revival) Show: Into the Woods Character: Wolf, Little Red Ridinghood, Wolf 2, 3 Pigs (silent) Time Period: Once Upon a Time Style/Mood: lustful, hungry, inappropriate, seduction, cat and mouse, convincing, reluctant, deceit, smooth, predator, prey, immorality, smooth, Fred Astaire, shifty, pedophilia Character Type: smooth, conniving, deceitful, lusting, corrupting, lustful, lust, hungry, corruption, charming, deceiving, manipulative, scheming, sly, crafty, dishonest, cunning, untrustworthy, devious, fraudulent, immoral, immodest, licentious, ravenous, pleasant, deceptive, unscrupulous, clever, predator, pedophile, depraved, corrupt, greedy, voracious, predatory, unprincipled, dodgy, amoral, tricky, trickster, fraud, con artist, shifty, suspicious, inappropriate, seductive, convincing; young, innocent, brash, survivor, youthful, child, childlike, awakening, naïve, gullible, hardened, impulsive, troubled, daughter, granddaughter, inexperienced, coming of age, hasty, petulant, impetuous, rash, foolhardy, fighter, tough, kid, unexperienced, inexperienced, immature, green, adolescent, grandchild, energetic, susceptible, trusting, believing, wishing, thoughtless, hungry, active, bouncy, peppy, animated, comedic, bouncing, spirited, juvenile, lively, playful, sprightly, perky, funny, thoughtless, inconsiderate, lost, foolish, violent, angry, vicious, forceful, troubled, anxious, worried Age: young adult/adult/older adult; child/teenager/young adult; young adult/adult/older adult; any age Vocal Type: Baritone, Mezzo, Baritone Popularity: Into the Woods is a well-known show. Composer: Stephen Sondheim Race: not specified Famous Performers: Robert Westenberg, Chuck Wagner, Clive Carter, Gregg Edelman Christopher Sieber, Nicholas Garrett, Johnny Depp; Danielle Ferland, Molly Ephraim, Suzie Toase, Sarah Stiles, Lilla Crawford Type of Song: Duet Notes: You may find the right cut in this song if you wanted to use this for a solo audition piece using the Wolf part. You are unlikely to find something of value in the Little Red Ridinghood part in this song. Video Link:��https://www.youtube.com/watch?v=ZQ_aa08vJck

[narcbrain]

Andrew Scott to star in Noel Coward play in the West End

Andrew Scott to star in Noel Coward play in the West End

Dublin actor Andrew Scott has been cast in a new production of Noel Coward’s “laugh-out-loud sex comedy” Present Laughter at London’s Old Vic.

The Sherlock star will appear alongside Indira Varma, Sophie Thompson, Luke Thallon and Suzie Toase in the play, which will be directed by the theatre’s artistic director Matthew Warchus.

Warchus said: “Originally titled Sweet Sorrow, Noel Coward’s most…

[fuckyeahgreatplays]

Nevermind you guys who want a Henry to your Natalie, I want a Francis to my Dolly.

[beccafuller]

Vote James Corden!

Could everyone please vote for James Corden as he has been nominated for a broadway.com Audience Choice Award for 'Favourite Comedy Performance'. The show he is in, called One Man Two Guvnors, is also nominated for 'Best New Play', so if you could please vote for both it would be very much appreciated! 

Both James and the cast have worked so hard and deserve the awards so much! They have been fully committed day in day out and their dedication to the show has been outstanding. Thank you! X

http://www.broadway.com/AudienceChoiceAwards/2012-ballot/

[lucydoesntlivehere-blog]

[broadwaycom]

A photo sneak peek at the raucous farce ONE MAN, TWO GUVNORS

[fuckyeahbritishtheatre]

Claire Lams, Jemima Rooper and Suzie Toase in One Man, Two Guvnors, National Theatre

Photo by Johan Persson

[myownbestblog]

I Know Things Now

I KNOW THINGS NOW Show: Into the Woods Character: Little Red Ridinghood Time Period: Once Upon a Time Style/Mood: upbeat, innocent, youthful, sweet, development, loss of innocence, confused, afraid, lost, brave, learning, storytelling, bright, fear, danger, trust, scary, regrets, harsh world, bravery Character Type:  young, innocent, brash, survivor, youthful, child, childlike, awakening, naïve, gullible, hardened, impulsive, troubled, daughter, granddaughter, inexperienced, coming of age, hasty, petulant, impetuous, rash, foolhardy, fighter, tough, kid, unexperienced, inexperienced, immature, green, adolescent, grandchild, energetic, susceptible, trusting, believing, wishing, thoughtless, hungry, active, bouncy, peppy, animated, comedic, bouncing, spirited, juvenile, lively, playful, sprightly, perky, funny, thoughtless, inconsiderate, lost, foolish, violent, angry, vicious, forceful, troubled, anxious, worried Age: child/teenager/young adult Vocal Type: mezzo Popularity: Into the Woods is a well-known show. Composer: Stephen Sondheim Race: not specified Famous Performers: Danielle Ferland, Molly Ephraim, Suzie Toase, Sarah Stiles, Lilla Crawford Type of Song: Solo Notes: Video Link: https://www.youtube.com/watch?v=FgrpRnKMmQw

[myownbestblog]

Last Midnight

Show: Into the Woods Character: Witch (minor interjection by Baker, Little Red Ridinghood, and Cinderella) Time Period: Once Upon a Time Style/Mood: anger, frustration, scary, call-out, mean, dark, rage, fury, resentment, wrath, creepy, chilling, powerful, power, forceful, fierce, commanding, authoritative, bitter, bitterness, hate, desperate, desperation, dynamic, strong, unnerving, unsettling, callous, malicious, harsh, cruel, severe Character Type: mother, magic, kidnap, kidnapper, garden, gardener, witch, protective, overprotective, overbearing, abuse, abusive, caring, shielding, jealous, domineering, selfish, controlling, arrogant, bossy, haughty, manipulative, envious, resentful, cruel, self-serving, overreactive, authoritative, proud, arrogant, conceited, scheming, calculating, spiteful, angry, frustrated, practical, short-tempered, mean, punishing, harsh, hard, forbidding, loving, narcissistic, commanding, imposing, confident, conniving, violent, hurt, vain, shrewd, malicious, nasty, mean, unpleasant, impatient, irritable, quick-tempered, callous, unkind, strict, severe, sad, tough, hostile, dark, fond, devoted, tender, forceful, power, powerful, fierce, ferocious, vicious, astute, smart, wise, malevolent, deep, affectionate, dynamic, aggressive, judicious, maternal, parent, morally grey husband, father, working, worker, poor, childless, barren, hopeful, hope, fairy tale, widow, empathetic, sympathetic, kind, concerned, determined, determination, caring, compassionate, teamwork, independent, reluctant, weak, loner, dreaming, wishing, wish, searching, longing, weak-willed, conscience, kind, son, baker, desperate, legit, anxious, worried, despairing, protective, thoughtful, gentle, considerate, troubled, afraid, disturbed, unwilling, hesitant, moral, ethical, mild, wise, stubborn; young, innocent, brash, survivor, youthful, child, childlike, awakening, naïve, gullible, hardened, impulsive, troubled, daughter, granddaughter, inexperienced, coming of age, hasty, petulant, impetuous, rash, foolhardy, fighter, tough, kid, unexperienced, inexperienced, immature, green, adolescent, grandchild, energetic, susceptible, trusting, believing, wishing, thoughtless, hungry, active, bouncy, peppy, animated, comedic, bouncing, spirited, juvenile, lively, playful, sprightly, perky, funny, thoughtless, inconsiderate, lost, foolish, violent, angry, vicious, forceful, troubled, anxious, worried; princess, wistful, contemplative, pensive, melancholy, reflective, longing, ingenue, confused, exasperated, conflicted, curious, desperate, independent, servant, regal, clumsy, good, pure-hearted, intelligent, thoughtful, meek, wise, lost, dreamer, idealist, romantic, loving, kind, smart, gentle, compassionate, benevolent, moral, virtuous, quick-thinking, resourceful, clever, bright, caring, generous, wishing, nice, monarch, royalty, annoyed, frustrated, distressed, domestic, awkward, frantic, humble, timid, shy, submissive, sensible, loving, realist, wife, tender, devoted, daughter, mourning, fair, young, optimistic, optimist, positive, positivity, imaginative, distraught, troubled, indecisive, hesitant, uncertain, cautious, pure, legit, lover, survivor, dreamer, sister, fairy tale Age: adult/older adult; young adult/adult; child/teenager/young adult; teenager/young adult/adult Vocal Type: Mezzo Popularity: Into the Woods is a well-known show. This is a more well-known piece. Composer: Stephen Sondheim Race: not specified Famous Performers: Bernadette Peters, Cleo Laine, Julia McKenzie, Vanessa Williams, Hannah Waddingham, Donna Murphy, Meryl Streep; Chip Zien, Ian Bartholomew, Stephen DeRosa, Clive Rowe, Mark Hadfield, Denis O’Hare, David Harris, James Corden; Danielle Ferland, Molly Ephraim, Suzie Toase, Sarah Stiles, Lilla Crawford ; Kim Crosby, Kathleen Rowe McAllen, Jacqui Dankworth, Laura Benanti, Helen Dallimore, Jessie Mueller, Lucy Maunder, Anna Kendrick Type of Song: Solo with a removable interjection. Notes: There are two versions of this song. Both will be linked. Video Link: https://www.youtube.com/watch?v=N87Mk5GUmtg (original) (includes “You Fault”)

https://www.youtube.com/watch?v=IEa599dP3Ck (revival)

[myownbestblog]

Hello, Little Girl

Show: Into the Woods Character: Wolf, Little Red Ridinghood Time Period: Once Upon a Time Style/Mood: lustful, hungry, inappropriate, seduction, cat and mouse, convincing, reluctant, deceit, smooth, predator, prey, immorality, smooth, Fred Astaire, shifty, pedophilia Character Type: smooth, conniving, deceitful, lusting, corrupting, lustful, lust, hungry, corruption, charming, deceiving, manipulative, scheming, sly, crafty, dishonest, cunning, untrustworthy, devious, fraudulent, immoral, immodest, licentious, ravenous, pleasant, deceptive, unscrupulous, clever, predator, pedophile, depraved, corrupt, greedy, voracious, predatory, unprincipled, dodgy, amoral, tricky, trickster, fraud, con artist, shifty, suspicious, inappropriate, seductive, convincing; young, innocent, brash, survivor, youthful, child, childlike, awakening, naïve, gullible, hardened, impulsive, troubled, daughter, granddaughter, inexperienced, coming of age, hasty, petulant, impetuous, rash, foolhardy, fighter, tough, kid, unexperienced, inexperienced, immature, green, adolescent, grandchild, energetic, susceptible, trusting, believing, wishing, thoughtless, hungry, active, bouncy, peppy, animated, comedic, bouncing, spirited, juvenile, lively, playful, sprightly, perky, funny, thoughtless, inconsiderate, lost, foolish, violent, angry, vicious, forceful, troubled, anxious, worried Age: young adult/adult/older adult; child/teenager/young adult Vocal Type: Baritone, Mezzo Popularity: Into the Woods is a well-known show. Composer: Stephen Sondheim Race: not specified Famous Performers: Robert Westenberg, Chuck Wagner, Clive Carter, Gregg Edelman Christopher Sieber, Nicholas Garrett, Johnny Depp; Danielle Ferland, Molly Ephraim, Suzie Toase, Sarah Stiles, Lilla Crawford Type of Song: Duet Notes: You may find the right cut in this song if you wanted to use this for a solo audition piece using the Wolf part. You are unlikely to find something of value in the Little Red Ridinghood part in this song. Video Link: https://www.youtube.com/watch?v=8NAuqQ-h7vA