#and Star Vs was still good…..

[dentpx]

The thing about Gravity Falls is like, I love it, I love it so much, but you really had to be there. It is a good show! But the theorizing as it was coming out was such a core component of what made it feel very special and engaging. Watching it as a cohesive unit today is just like, you’re pretty much just watching a good cartoon, which is still good in its own right but definitely not at the level it gets discussed at.

[short-wooloo]

The sith are not an oppressed culture forced underground by the Jedi

They're a deranged cult devoted to creating tyranny which they rule, murdering anyone they deem an enemy, and selfishly indulging in their wants no matter what it costs everyone else

Them being in hiding was their choice, they're a conspiracy, a shadow hiding within the society they are deliberately trying to destroy/warp into their image

[david-talks-sw]

"The idea of it..."

This is obviously a reference to the ol' argument:

"The Jedi weren't bad but the Jedi Order as an institution needed to go."

So as a quick reminder I thought I'd point out:

1) George Lucas describes the Jedi's eradication as a sad thing, not something sad-but-necessary:

"[The] Jedi getting killed through the Order 66 of the clones is just done as one of those kind of inevitable pay offs in terms of getting rid of everybody, the Emperor is getting rid of all his enemies, but there’s a certain inevitability of it all and a sadness to it.  - Revenge of the Sith, Director’s Commentary, 2005

2) Out of 770 George Lucas quotes, I've never seen him refer to the Jedi Order as "an institution" once.

He does refer to the Republic itself as an institution.

"[In The Phantom Menace one of the many storylines is] the story of a young queen who's faced with the total annihilation of a people, and how she can get a sluggish political institution to pay attention to what's going on." - Premiere, 1999

He might be referring to the Senate instead of the Republic as a whole, but the point stands: he's not talking about the Jedi.

Which tracks with what Lucas defined as Dooku's reason for leaving the Order: his disenchantment with the Republic/Senate, not the Jedi themselves.

But let's go slightly further:

The Jedi Temple was designed as a place of worship that would contrast with the corporate coldness of the Senate.

Also, the Jedi were originally designed as a more organized police force. As the script evolved, they were turned into peacekeepers, diplomats.

Mace's room was redesigned so as to not convey that the Jedi were mired in bureaucracy and protocol.

And when describing the political situation of the Prequels, Lucas doesn't blame the Jedi, but rather the corporations and Senate:

"But as often happens when wealth and power grow beyond all reasonable proportion, an evil fueled by greed arose. The massive organs of commerce mushroomed in power, the Senate became corrupt, and an ambitious named Palpatine was voted Supreme Chancellor." - Shatterpoint, Prologue, 2004

Wow, it's looking like not only is the "Jedi Order as an institution needed to go" narrative not a thing per Lucas, but

3) Lucas went out of his way to make it clear that the Jedi aren't the issue, here, the Republic/Senate is.

So how did we get this narrative?

Well, it comes from a generation of fans and Star Wars creators who were not the target audience.

You know the type. It's the kind who, when asked if they like the Prequel Trilogy, will respond that they liked...

... but not the execution.

AKA they disliked the Prequels, but then EU books and The Clone Wars came out and provided them with enough material to form a headcanon justifying why they didn't like the Jedi, despite wanting to: it's because the Jedi are meant to be disliked! Totally!

The Jedi failed as an institution is an idea that comes from authors who wanted to engage with the material (it IS Star Wars, after all) but not the narrative that George Lucas had crafted, whose work then influenced older fans who preferred the author's retconned version of the story to the original one.

The rest is history.

As Prequels producer Rick McCallum put it:

"The myth begins on paper. During preproduction, filming, and postproduction, the myth becomes visible through the work of hundreds of dedicated people. Following the film's release, the myth becomes public and the public makes it its own." - Rick McCallum, Mythmaking: Behind the Scenes of Attack of the Clones, 2002

[thunderandsage]

jadzia: *wears klingon battle armor*

me: *sweating* uh oh, this better not awaken anything within me…

[picklepie888]

So word got out that Nickelodeon has decided to cease production on a new animated show called Phoebe and Her Unicorn because, according to an executive, "female lead cartoons don't sell well." To show just how backwards and idiotic this statement is, here is a compilation of beloved animated series which were both created by women, and have a female protagonist.

[hurricanek8art]

I had to start trying to explain to my mom (strictly a movie/tv fan) why the Jedi are like this at this point in time, and it finally clicked in my head. The perfect way to explain how they're so rigid and strict and have such huge sticks up their butts at this point in time.

The Jedi of this generation are the result of generational trauma.

(Spoilers for episodes 1 and 2 of The Acolyte, Phase One of the High Republic books, and some barebones setting spoilers of Phase Three under the cut. Also a big wall of text because I never know when to shut up 🙃)

So I'm behind on Phase III of the High Republic books (got a few chapters into The Eye of Darkness when it came out, brain farted out on me on reading ability, haven't gotten back to it yet 🙃😖) but I know enough to know that things are really going bad. The Nihil are rampaging, the Nameless are turning people to stone, the Stormwall has cut off like a third of the galaxy from the rest of it. It's a lot! It's really bad! And we see how it's affecting our heroes. Avar and Elzar are reeling without Stellan. Vern's questioning about how the Jedi are responding to this threat throughout Phase I has led her to become a Wayseeker. Padawans like Bell, Burry and Reath have been elevated to Knighthood a lot sooner than any of them expected to be. All of them are incredibly traumatized.

But that's just the Jedi we've seen. The heroes, the big names. Imagine being a nobody at this time. An extra. A child.

Imagine being a youngling in this era. There are literal nightmares hunting you. People are dying right and left, they're being husked and turned to stone or just plain shot/stabbed/whatever. The outposts are being closed down and everyone's being recalled to Coruscant, and that's the ones who've survived so far. They knocked the Starlight Beacon out of the sky, something that was supposed to be impossible. And less than five years ago, this was a golden age of peace, of light and life and great works that were bringing the galaxy together, a united front. That's horrible, that is terrifying.

We as the readers know it's going to work out, because it has to, because this is a prequel. They don't know that. They're just kids, and the world has suddenly turned upside-down, and the galaxy is big and scary and dark.

So everything works out, the day is saved. But these kids, they have to live with this trauma for the rest of their lives.

And when they grow up, and they train Padawans, those Padawans are going to carry the lessons they learned onwards. There is no lesson a Master can teach in this era that isn't going to carry the grief of the Nihil or the Nameless. There is no lesson any Master will ever teach again, from the moment Loden Greatstorm was captured by Marchion Ro all the way to Luke's temple burning to the ground, that won't somehow, in some way, be touched by this. It haunts everyone, everything. Those lessons are passed on, and on, and on.

Yord Fandar is intense about protocal and following the rules and making sure he's the perfect Jedi, because a hundred years ago maverick Elzar Mann played fast and loose with the rules while he was stationed on Valo, and then the Nihil turned the Republic Fair into a bloodbath. Sol is worried about Osha's (so far) inability to put her grief to the side and remain objective in chasing Mae because Imri Cantaros lost control and nearly murdered the Nihil who caused the death of his master during the Great Disaster. Vernestra Rwoh is refusing to charge into this without talking it over with the Council because she remembers what happened when she kept information from them a hundred years ago.

These aren't isolated incidents because they happened to the heroes, every Jedi of that era has some story like this, where the lines blurred in the fog of war and they made or nearly made horrible mistakes out of fear. And now, every Jedi is going to want to rise above that. To not make those mistakes, because that past is past. It's peaceful again. They're better now. But that trauma's lurking under the surface, just like the Sith. The Nihil won't win, but the Order isn't going to, either. Because what the Nihil did changed them, permanently.

The plot of the High Republic books is supposedly unrelated to the show, because it's a hundred years later. But the plot of the High Republic books explains everything about the Jedi in this era of the galaxy. They're carrying the trauma and grief of an entire generation that was brutalized unlike anything the Order had ever seen before.

And the Sith have watched, and waited, as that trauma has become so internalized, so central to what the Jedi are. The Jedi might not even realize that's what's happened to them. But the Sith see it.

And now it's finally time to begin the grand plan.

[lil-oreo-crumbles]

I’m pretty sure this is a hot take/unpopular opinion in the Toffee fandom, but I’ve never been the fan of the theory/assumption that Toffee was framed for Comet’s death

I fully admit that the plot point was most likely thrown in there to completely demonize him in the eyes of the audience and make us sympathize with Moon (making his death more “deserved” (HEAVY airquotes) for general audiences), and it does feel random and out of character, but when you think about it, it does make sense why he’d be the culprit. You have to dig but he has at least two canon supported reasons for why he’d kill Comet Butterfly.

Now this isn’t commentary about if Toffee is taking orders from Seth, that’s a whole other conversation, but this is simply about the theory that Toffee didn’t have any part in her death (someone else did it) and he’s innocent of all charges.

I completely empathize with the theory, especially because the show demonizes him so much already and it’s just another scoop to add to the pile of “evil” he’s been boiled down to by the show, but Toffee was no doubt in my mind the one who made that blow on Comet.

And he’s SO fucking proud of himself too

“Hello Princess” HE LITERALLY GIVES MOON SUCH A SASSY LOW BLOW.

[creativesplat]

Inspired by @zephrunsimperium 's Henchmaniac Ford idea! He's got the gold nail guards and black and gold eyeliner!

[danothan]

everyday i log onto the internet i am forced to fisticuffs combat the halbarry default yaoi allegations. THEY’RE NOT A BASIC BRUNETTE/BLONDE JOCK/NERD DYNAMIC THEY’RE MORE THAN THAT (coping)

[astarlightmonbebe]

episode 5 has left me considering the different - and similar - ways taeyoung and kwonsook think about themselves, and how they respond to pain/violence.

kwonsook calls herself a monster, someone who goes crazy in the boxing ring. that monster, she says, was created by her father, and her father used abuse, violence, and emotional manipulation to create that monster. he didn’t treat her like human, so it’s no surprise that the way she talks about herself when she boxes is as if she’s discussing an animal: she gets cornered, gets scared for her life, and lashes out to kill. she calls herself a monster with resignation; it’s not what she wanted to be, but she knows it’s what she was. she ran away to escape that monstrosity, to live as a human, doing good things, but that part of her never really died.

taeyoung, too, calls himself a monster. he’s a SOB, he does thing no one with an ounce of humanity would do. he seemingly has no qualms about what he does, perhaps because he can always justify it to himself, always has an exit prepared for when things really get bad (until, i’m sure, he doesn’t). like kwonsook, taeyoung accepts the label of monster, accepts his own inhumanity, even if they are inhuman in very different ways. whereas kwonsook wants to break away from that monstrous part of her - she’s only returned so she can free herself from that part of herself permanently (and if she finds a way to box without a monster, then...) - taeyoung embraces it. it’s through being a monster that he’s found success, how he secures futures for his athletes, and how he’s able to ‘solve’ their (and his) issues. monstrosity was not imposed on taeyoung, but (due to what we know so far) is something he chose for himself (although the factors surrounding this part of his past are decidedly murky).

in this episode, taeyoung and kwonsook also demonstrate similar responses to violence and (emotional) pain. when taeyoung upsets kwonsook by working with her father behind her back, he offers her an outlet for her anger by punching him. later on, after ahreum has already slapped kwonsook, instead of lashing out, kwonsook offers to let ahreum hit her again if it will make her feel better. in parallel responses, both ahreum and kwonsook debate taking that opportunity to hurt, but decide not to (kwonsook because she’s taking a chance on taeyoung, or moreso giving him another one, and ahreum because she decides that she doesn’t owe kwonsook that, that kwonsook is beneath her in terms of boxing, no longer on her level). 

kwonsook learned to respond to pain at a young age. in boxing, you can’t flinch from the hit - you have to learn how to take the pain, absorb it, and get back up to hit again. outside of the rink, kwonsook absorbs the pain, but she doesn’t hit again. she’s experienced firsthand what her hits can do to people, and that terrified her. after all, she only boxed so that she could protect her mother. so when confronted with violence and pain, she takes the hit, because pain is what she knows and understands. it’s the emotions behind it that are hard for her. pain is easy for kwonsook, because she’s used to living through it, surviving it; beneath it, she’s always empty. she’s never really cared about boxing; it was what she had to do. the lee kwonsook that was a boxing genius was a monster she ran from, after all. but in order to break away from that monster, she has to come to understand the emotional investment of her fellow female boxers. before, they were just her opponents, never her friends, but now she has to face their own feelings about the sport, the passion they have for boxing that she never felt. like ara said, she didn’t feel happiness about winning, and kwonsook has never lost, so she’s never had to live with that humiliation, either. how her feelings will change in relation to boxing will likely be a reckoning for her.

taeyoung, on the other hand, is confronting his fair share of non-boxing sanctioned boxing. even though kwonsook is the boxer, it’s taeyoung who’s been touched by ‘true’ violence in this present timeline. his life is quite literally on the line, which has been shown again and again. he’s been ambushed by her father, threatened, blackmailed, and beaten up by chairman nam’s guys. he lives on the edge, anxious at every shadow, which is chewing him alive. to him, kwonsook’s anger is much easier to deal with. he knows she might hurt him, but his potential to hurt her is so much more (and if he does, in that case he’d find her anger justified, and probably let her beat him to death or something if what we’ve seen of his feelings for her is an indication of anything), and she might hurt him, but she’d never hurt him as much as other people in his life at the moment would (i.e. by killing him, or hurting the people he cares about). taeyoung is used to weathering the storm of other people’s dislike; he’s the scumbag, and he does bad things, deserves other people’s anger when it’s directed at him. 

both taeyoung and kwonsook want to resolve things through violence. i think it’s telling that despite being two emotionally aware people, they both consider other people’s feelings to be so easily taken care of. they want the quick, instant pain, and then they want to get it over with. because the violence is what they’re used to, and to a degree it’s what they both think they deserve. however, what lies beneath that, what doesn’t go away with a single hit, is much harder for them to confront and understand. 

[kyuohki]

Got tagged by @smaller-comfort for the WIP file count:

Rules: make a new post with the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPs.

Not gonna screenshot a lot of these bc Scrivener cascades weirdly and it'll be a pain to format.

Tagging: Anyone who would like to participate!

Under a cut bc this got *long* (33 fic! Admittedly some are stupid old)

Sea of Stars:

To Be Remade Series: - Race Against Time - Kintsugi Scorched Earth Series/Side Stories - Sacrifice - To Heel Bloodlines Series: - Brugaves - Erlina - Moraine - Moyara - The Twins - Warped Fate - Reunion - Change Bound for Greatness (College AU) Series: - Bottling Moonlight - Pivot - Sneaking In - Rescue A/B/O Fics (these are not connected) - To Submit - New Blooms Solo/Crack fics: - Gogo!Resh'an - Sunrise

.

Assassin's Creed: (a lot of these are abandoned ideas from the Kink Meme)

- Adopted - Glitch - AC-FF6_Between Balance and Ruin - Altair Cooking_fill - Gunslinger Girl AU_fratello01 - Kid Fic_Compromise - Pounce

.

Final Fantasy : (Old stuff, or worldbuilding)

- FF7_Deamon's Dream - FF6_Niether Here or There

.

Red vs Blue:

- O'Malley(Doc)/Church/Wash

.

Suikoden: (Old stuff, or worldbuilding)

- Light Weaving

.

Zelda:

- Linked Universe_Fae

.

Haibane Renmei:

- Tears of Light

[theworldasseeninbaybayin]

Tom: Say, say, say, what you want—

Marco: —but don’t play games with my affection—

Tom: —take, take, take, what you need—

Marco: —but don’t leave me with no direction—

[Tom and Marco swivel on the dance floor]

Marco: What can I do, girl, to get through to you? Cause I love you, baby!

Tom: Baby!

Marco: Standing here, baptized in all my tears—

Tom: —baby through the years, you know I’m crying—

Marco and Tom: Booo, hooo, hooo, oooh, oooh!

Tom: You never ever worry, and you never shed a tear—

Marco: —you say that my love ain’t real—

[Marco and Tom twirl round and pointedly look at Star]

Marco and Tom: JUST LOOK AT MY FACE, THESE TEARS AIN’T DRYING!

Star: [angrily glaring at both boys]

[kitnita]

nhl: jake oettinger goes back to the basics in NHL23 

so I gotta talk to you, just, as a goalie, I feel like goalies usually have some weird superstitions, some weird rituals. do you have any that stand out to you? 

one thing I do is I just kind of like — whatever period it is, that’s, like … I’ll, like, tap that, like on the, on the posts or on the boards before I go out. so that’s kinda my only weird, like, kinda dumb thing that I do. 

[pandoratheprocrasticreator]

.

[etunpeudevitriol]

What is it with Tally Hall's Good and Evil album and songs that go super hard towards the end? Like the beginnings are good too but I get to the end and I'm fully stimming

& - Big Bad Betty of the 'pocalypse etc. etc. It's a huge head bopper ending

You & Me - the "you turn away and around" part, especially when superimposed with lines from the chorus

Who You Are - another Rob song that superimposes catchy ending lines with some from the chorus

Hymn for a Scarecrow - so they circle AND FLY! (and fly, fly, fly until the keyboard goes insane and so do I) ((ok sure it's not at the end end but it's still towards the end and I want to count it so I'll count it))

The Trap - but it's ON! OOON! OOON! OOON! OOON! OOON! OOON! OOON! OOON! OOONNNNNN! (It feels like fireworks in my head, I want to listen to this part on repeat forever)

Out in the Twilight - Collect yourself and move into the street!! The rest of our entire life is free!! :D !!

Honorary mentions (I had to, cause they don't illustrate my point as well but they still somehow count in my heart)

Never Meant to Know - I can't fully count it cause it has a pretty standard bridge-into-the-chorus ending. But the bridge and the "There are some things we don't understand/ Reasons on the other hand" resolution bait have my tummy full of butterflies, so <3

Misery Fell - the instrumental bridge gives me the impression that it's gonna land into something a bit quicker paced. Still I like the extended chorus, reminds me of the last chorus in High Hopes by Pink Floyd, like a joyful collection of photos

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")