#company original broadway cast

[roth70]

More of Company in its 1970 Boston tryouts (click the pic for info of whats going on in the scene (please i spent too long writing on each one 😭))

[branwyn-the-half-witch]

Hadestown West End Recording

Hadestown West End recording is on Amazon - Hadestown Live From London! It’s a live recording rather than studio, and it’s not the full show, which is pretty heartbreaking. Would love to know the reason why it’s only a selection of songs??

UK release date: 6 Dec 2024 (confirmed to be global!)

From the inside cover:

‘This album almost didn't happen

Between the original studio album, the live off-Broadway recording and the OBCR, Hadestown and its evolution was already well-documented; we weren't sure we needed another. But the London company, with its feast of nationalities, accents and jaw-dropping performances, seemed to beg for immortalisation and the hunger for it from audiences was clear.

The choice came to a head when two of our original West End case members, Grace Hodgett-Young (Eurydice) and Dónal Finn (Orpheus) announced their departure from the company at the end of August. We made an 11th hour decision to record a few shows live and then pick and choose the songs that most vividly represented this extraordinary company and era of Hadestown. There was some back-and-forth about how many shows to record, and whether or not Grace and Dónal's final performance should be among them. Emotions might be high, we thought. Was it more humane to let them savor their last show "off the record"? We went ahead and taped it. Todd (from our producer team), whose language is usually radio-friendly, texted me at intermission, describing the show as “f** king definitive.”

"They have mania level energy" He said of the entire cast, "but they're putting it straight into clarity and patience and pure emotion.” ’

Track listing:

Some big omissions here, quite tragically for me no ‘Doubt Comes In’, RIP panic-attack!Orpheus.

Really hoping there is some other information we are missing, because it’s a little heartbreaking to not have the whole show with this amazing cast preserved forever and for everyone that couldn’t make it to London.

[atinystraynstay]

Steal The Show - Jung Hoseok

Synopsis: He was amazed by her. He knew how hard she'd worked for this moment, so being able to see her do her thing made him feel complete. She outshined the sun.

There was just one thing left he had to do.

Pairing: idol! Jung Hoseok x idol! fem reader

Genre: fluff, tiny bit of angst, friends to lovers

Word Count: 2.8k

——————————————————————————————————————————————————————————————————————————————————

"J-hope! J-hope! J-hope!" The sound of cheers made Hoseok's heart shake with excitement. If there's any place he loved the most, it was being on stage.

Hoseok was wearing a pair of baggy jeans, an olive green tee-shirt, a black hoodie, and a black and white bomber jacket. Tonight, he was performing on the street (with J. Cole) for the first time. He was excited to showcase this stage for not just for Army, but for everyone. Especially for you.

You initially met Hoseok when you both were at an all-intensive dance class in New York City. He was shooting a music video, and you were attending university for dance. He was impressed with your dancing abilities, stepping back to watch just you when it wasn't his turn to dance. You moved as if you were made out of water, very fluid yet so in control of your body. He was amazed.

At the end of the lesson, Hoseok asked if you wanted to grab lunch. To be honest, you didn't really hear of BTS before meeting Hoseok. You figured he was your average guy from Queens who loved to dance. However, watching the dance practice videos he showed you at the cafe next door, you were amazed.

You didn't think the K-pop industry was for you though. You originally were trying to make it on Broadway, that's why you decided to attend school in the city. You wanted to network and make connections, wanted to go to auditions when you had free time. The politics involved in the Western music industry turned you off completely.

When JYP announced they were doing auditions across America, you decided to take the jump. It also helped that Hoseok pushed you to just try out.

"I'm not saying I want you to become an idol. I'm not saying I want you to move here to Korea. Even though I'd love living in the same part of the world as you," he said over FaceTime, laughing. "But it doesn't hurt to audition! Worse case, the audition is good experience for the next one you do."

He was right there. You just needed to put yourself out there. You've only done a few casting calls for ensembles, but you wanted a challenge. You wanted to attempt to go for a lead. And to an extent, auditioning for a music company was a challenge. It was out of your wheelhouse, but Hoseok reassured you that the k-pop industry drew people from all over the world from all sorts of backgrounds.

And somehow, you made it past the first audition. You sang "Fast Car" to showcase your singing abilities, even though you come from a dancing background. You were then asked to freestyle a dance, which honestly was the easiest part of the audition. It probably was easy considering you and Hoseok often freestyled with each other over FaceTime when you were in your own respective dance studios.

-----------------------------------------------------------------------------

"Hoseok?"

He looked over his shoulder, a smile immediately on his face. He knew that voice anywhere.

"Y/n." You were wearing a light blue dress. There was a cutout in the shape of a heart surrounded by silver rhinestones. hugged around your thighs, showing off the white fishnet stocks. You wore a matching pair of white block-heeled boots that stopped short of reaching your knee. Your hair was down in curls, framing your face. You looked divine.

Before he knew it, you walked right up to him and hugged him tightly. He immediately wrapped his arms around you, holding you close to him. He got a smell of your perfume, something that he's grown very fondly over. It smelled like cherries and vanilla. A scent he favored resonated with you.

"I've been looking for you all over," you giggled. His heart swelled at the thought of you searching for him.

"Well know you've found me," he winked. "You ready to go kill it out there?" "And know that you're watching me? Of course."

Hoseok wasn't sure what the line-up was. He only knew that he was geared towards the end of the showcase. He always loved watching what other artists and groups came up with, sometimes making their usual performances extra special. Hoseok also liked being the one to watch smaller acts, giving them a source of encouragement as they were just at the start of their careers.

He also strategically placed himself here, right at the side of the stage, so he could watch you. Not only did he want to watch you perform, but he wanted to be the first and last person you saw before and after being on stage. He wanted to cement himself as your biggest supporter, in more ways than one. "Y/n, five minutes. Let's get you into position," one of the backstage crew announced.

That's how it always goes when it comes to performances like this. It was hectic all over. People were running around, making sure the appropriate stages were in place and artists were ready to go. It was one after the other, no real break until the last performance.

You looked up at him, a slight frown tugging onto your lips. You were hoping to have more time to catch up with Hoseok before taking to the stage.

"Promise to be here when I get back?" "Angel, I'm not going anywhere."

This time, he kissed you on your cheek before moving his lips to your ear. He could feel the eyes on him, not wanting to tell him to hurry up but also getting a bit antsy. Hoseok was a gentleman, so he could be quick.

"I'm always going to be here. Go rock that stage so you can return back to me."

------------------------------------------------------------------------------

I feel so much lighter like a feather with you out my life With you out my life

The crowd screamed as you were twirled around the stage. If anyone was born to be on stage, it was you. You were smiling wide during the instrumental part of your song, your backup singers the harmonies.

You were done by the stage extender, interacting with your fans. Truth be told, you were surprised people were that responsive to you. You felt like you were at the start of your career, still trying to build a name for yourself. Of course, you took nothing for granted.

Hoseok wasn't surprised. He has seen your rise to fame happen both in person and online. People were captivated by you, but he wanted to make sure you knew he was front of the line.

Right now, you were performing a song you had written to your ex-boyfriend. Hoseok remembered that night so vividly. He had never seen anyone write a song that quickly besides Yoongi. You used all your anger to channel into this particular song. Your ex doubted that you could make it, he didn't see your potential.

But Hoseok did. He knew you were a shining star. You just needed the right support system to boost your confidence and help you pursue you dreams.

And you were blessed to have someone like Hoseok in your life. Not even someone, a man like Hoseok. He made it easy for you to forget your ex boyfriend. He was the one who reassured you, uplifted you, and showed you love. You weren't sure if there was a chance of you two getting together, but you were a wishful thinker.

it feels so good not carin' where you are tonight And it feels so good not pretending to like the wine you like

Your hips were swaying as you strutted back up to the main part of the stage. The crowd went wild for you as you ran your hands through your hair, letting it fall back down to your back.

Once you were center stage, you glanced over your shoulder. You grinned to see Hoseok still to the side of the stage, watching you. You winked at him before looking towards the crowd again.

I slam the door

You kicked up your foot as you were closing the door. You wore a smirk. Here goes nothing. I hit ignore

With your back towards Hoseok, you bent over slightly. The amount of times you ignored texts and calls from your ex were too high too count. You knew one thing for sure though. You would always pickup for Hoseok.

Hoseok's eyes widened as he watched you. That's new. Was that intended for him? Were you responding to what he said to you before you were whisked away to get on stage? He bit his lip gently, a smirk on his lips. He was proud of how far you've come, both in your personal life and professional career. But he couldn't help but feel his ego swore as he thought you were showing off for him.

Well played, y/n.

I'm saying, no, no, no, no more I got you blocked Excited to never talk

You were standing up straight again. You popped your hip slightly. The hand not holding your bedazzled microphone also resting on your hip. You wore a smirk.

I'm so sorry for your loss.

------------------------------------------------------------------------------

The stage lights went dark as you bowed to the crowd. There was a loud roar of cheers, fans begging you to stay. You blew a kiss though before you were escorted off stage. Your mind was in the clouds, overjoyed by the outcome of your performance. That couldn't have gone any better!

There was just one thing left to do to truly make this a night to remember. Someone handed you a water bottle as your chest rose and fell rapidly, your heart racing from the performance and adrenaline rush you were experiencing. You grabbed the water, but kept your eyes locked forward.

From the moment you left the stage, your eyes were locked on Hoseok. You didn't have to go searching for him. He stayed as he promised. He wore a wide smirk as he waited for you, members backstage of the production and your manager checking in with you. "Y/n, we can either stay to watch the rest of the show or head back to the hotel." "I'm staying."

Once you finally were away from the staircase leading to the stage, the crowd around you began to disperse slightly. You passed the water bottle in your hand to your manage before you took off running towards Hoseok.

You weren't thinking straight. All you knew was that you needed to get to him. It was as if something had possessed you because before you knew it, you were jumping into his arms. He caught you easily, the two of you in a fit of laughter. "That was amazing, y/n! You are amazing," he said, grinning. You grinned back at him. Your hands rested on his shoulder as he twirled you around a bit. Everyone around you figured you had a close friendship. A very close one, indeed. But after the exchanges between the two of you, that was going to take a step up. You were sure of it, but just not in the eyes of public.

"Come on, I think we got some talking to do, sweetheart. I got a little bit before going on stage."

Hoseok gently set you back down to your two feet, but had a hand securely on your lower back. People eyed the two of you as you passed by. Artists that you admired, friends, and others congratulated you on a successful stage. All you could do was smile and bow politely, both out of breath but also trying not to stop too long for a conversation. You weren't trying to be rude. You just had other priorities.

His thumb caressed your lower back. You didn't have to question where you were going. You always put all your trust into Hoseok. He has prove time and time again his loyalty and his sincerity towards you. He was a rare find in a world that tended to be more cruel than kind.

After a few moments, mainly with you focusing on the feeling of his touch, you found yourself out of his dressing room. He pushed it open, motioning for you walk through the threshold first.

"Always the gentleman, aren't you, Hobi?"

He chuckled and shrugged, watching as you walked in first. Once he made sure you were safely in the room, he closed the door behind him. He locked in, not wanting to get interrupted again like before.

This time, he let his heart take over rather than his mind. He came up behind you, wrapping his arms around you from behind. You giggled in surprised, letting out a soft gasp as he lifted you up with ease. Wow, he's gotten stronger since the last time you saw him.

Carefully, he had you sit on the counter of the makeup vanity set up. His makeup team from the company already had done the makeup they needed to do earlier. They opt for a more natural look, seeing as this song was personal for Hoseok. And much to your happiness, you got his bare face all to yourself.

Your legs were slightly parted, allowing Hoseok to slip in between them. Biting your lip gently, you gazed up into his eyes. You were trying to cipher what could be going on in his mind. You were getting all the right signals from him to confirm your assumptions, but you wanted to make sure you weren't jumping to conclusions. One of your hands gripped the edge of the counter, the other hand resting on his forearm.

"Y/n, I think I'm done playing games," he murmured. One of his hands rested by yours. Not exactly touching, but your want to feel his skin on yours burned within you. His other hand lifted up to brush the hair out of your face. He tucked a few strands of your hair behind your ear. His hand then gently rested on your cheek.

The confidence you had on stage melted away. You could feel your body warm up, seeing how close you were and how alone you truly now. The chaos outside was white noise. All your attention was on Hoseok without any interruptions. He smirked seeing the shy side of yourself starting to appear once again.

He loved witnessing all the sides of you. While yes, you two were prominent in each other's lives, he wanted to learn more about you.

"I'm not sure I know what you're talking about," you said softly.

He scoffed. "Really? You don't remember that little stunt you pulled on stage? Come on, darling, you trying to tell me something?" "But what about you, Hoseok? What was that you told me earlier?"

He hummed, nodding his head. "That's the games I'm talking about. Why don't we cut to the chase, huh? Stop torturing ourselves?"

This time, you nodded in agreement. You were onboard to full send, to take this friendship into uncharted territory for the two of you. Yes, it was scary to take this friendship into a level that most friends don't go. However, if Hoseok was willing, so were you.

Wanting to take back a bit of control of the situation, you slightly tilted your head. Your lips hovered right underneath his. His breathing seemed to hitch, which caused you to smirk.

Look who is now turning soft.

Truthfully, you made him weak and he thrived off being your weakness. It was as if subconsciously you two always knew you had feelings for each other. Yet, for the sake of the friendship, you oppressed any feelings you had. You were at the point now that you were boiling over and it was all seeping out. Everyone else saw how you two stared at each other with hearts in your eyes. You both were just catching up to speed.

"How do you propose we stop torturing ourselves, huh? Tell me, Hobi. What's been on your mind?" "You're the only thing ever on my mind, y/n," he murmured.

The way his voice dropped an octave made you want to whimper. You felt small with him towering over you. He knew the little things to do to make you weak in the knees.

"I'd just like it if you no longer live in my fantasies and were actually mine. That way I can make every thought I have into a legitimate plan with you." "Then make it happen."

Hoseok's eyebrow raised yet he was intrigued. His hands moved to your hips, pulling you slightly closer to him until you sat right at the edge of the counter. Your legs wrapped around his waist, keeping him close to your as well.

He began lean in, his lips grazing yours. You both sighed in contact. So close yet not quite there.

Before his lips could fully press against yours, there was a knock at the door. "J-hope, 5 minutes!" Dammit! He smirked as he pulled away while your frowned, disappointed to not get to kiss him quite yet. You raised an eyebrow, surprised to see him not more disappointed. "All good things come with time. Just had to get one more game in before winning you over. I'll see you after my set."

------------------------------------------------------------------------------

Note: I originally got inspired from listening to Steal the Show by Lauv. since seeing Elemental a few months ago. I also have been obsessed with Sophia Carpenter's performances of Feather while she's been the opening act for Taylor Swift's Eras Tour in South America so my mind got a little creative haha

Hope you enjoyed it!!

[onlydylanobrien]

‘SNL 1975’ Finds Its Garrett Morris, Dan Aykroyd, Chevy Chase And John Belushi

By Justin Kroll, Anthony D'Alessandro January 30, 2024 10:00am

Lamorne Morris playing Garrett Morris, Dylan O’Brien playing Dan Aykroyd, Cory Michael Smith playing Chevy Chase and Matt Wood playing John Belushi

EXCLUSIVE: Lamorne Morris, Dylan O’Brien, Cory Michael Smith and Matt Wood have joined the cast of Sony Pictures’ SNL 1975 that will be directed by Jason Reitman and based on the real-life behind the scenes accounts of the opening night of Saturday Night Live. Morris will play Garrett Morris, O’Brien will play Dan Aykroyd, Smith will play Chevy Chase, and Wood will play Belushi. The original screenplay is written by Reitman and Gil Kenan.

On October 11, 1975, a ferocious troupe of young comedians and writers changed television forever. SNL 1975 is the true story of what happened behind the scenes that night in the moments leading up to the first broadcast of NBC’s SNL. It depicts the chaos and magic of a revolution that almost wasn’t, counting down the minutes in real time to the infamous words, “Live from New York, it’s Saturday Night!”

The screenplay is based on an extensive series of interviews conducted by Reitman and Kenan with all the living cast members, writers and crew. Reitman, Kenan, Jason Blumenfeld, Erica Mills and Peter Rice are producing.

Morris can currently be seen in FX’s fifth season of Noah Hawley’s hit drama series Fargo as North Dakota Deputy Witt Farr. He joined the cast of Netflix’s Unstable for season two opposite Rob Lowe. Prior to this, he starred as the titular lead in the hybrid live-action/animated Hulu series Woke, inspired by the life and art of cartoonist Keith Knight.

O’Brien was most recently starring in Ponyboi, which premiered as one of ten films in the U.S. Dramatic Competition at the 2024 Sundance Film Festival. Up next, he will be seen in the feature films Caddo Lake, from the writing-directing team of Logan George and Celine Held and producer M. Night Shyamalan, and Anniversary, a thriller co-starring Diane Lane, Kyle Chandler, Zoey Deutch and Phoebe Dynevor. His other credits include Searchlight feature Not Okay from writer-director Quinn Shephard, the critically-acclaimed crime drama The Outfit, opposite Mark Rylance, Zoey Deutch, and Johnny Flynn; Paramount’s Love and Monsters and the popular Maze Runner franchise

Best known for his role on as the Riddler on the popular Fox series Gotham, Smith can currently be seen as Julianne Moore’s son in Todd Haynes’ May December. He most recently starred as Varian Fry in Anna Winger’s limited series Transatlantic opposite Gillian Jacobs and Corey Stoll for Netflix. Smith has also worked with Todd Haynes in both Carol (as private investigator Tommy Tucker) and Wonderstruck.

Wood has appeared in the original Broadway cast of Spongebob Squarepants and as husky kid icon Augustus Gloop in the Broadway First National Tour of Charlie and the Chocolate Factory. Television credits include Law and Order: SVU, Instinct and Difficult People.

Morris is represented by CAA, Entertainment 360, The Lede Company, and Myman Greenspan Fox Rosenberg Mobasser Younger & Light. O’Brien is repped by William Morris Endeavor Entertainment, Principal Entertainment LA, and Lichter, Grossman, Nichols, Feldman, Rogal, Shikora & Clark. Smith is repped by Circle of Confusion. Wood is repped by BRS/Gage Talent Agency.

Source: deadline.com

[jbaileyfansite]

Ariana Grande interviews Jonathan Bailey for VMan Magazine (2024)

Jonathan Bailey’s acting career began at the age of eight when the prestigious Royal Shakespeare Company cast him in a role coveted by all little boys who like musicals: Gavroche in Les Miserables. Since then, he’s starred in contemporary plays, refined his iambic pentameter flow via several Shakespearian productions, and, in 2019, won the Laurence Olivier Award for Best Actor in a Supporting Role for his work in the gender-swapped revival of Company. In other words, Bailey is a theater nerd. 

This made his upcoming role as Fiyero Tigelaar in the movie adaptation of the Broadway hit, Wicked, all the more unbelievable to him. Over Zoom, with co-star Ariana Grande, Bailey admits that he’s only recently had the space to fangirl over the reality that he’s playing the lead in a musical that rocked his world when he first saw it at the age of 15. Tuning in from Thailand, he and Grande chat about his upcoming project, another adaptation, Jurassic Park, and the memories of Oz that he (reportedly) carries in his pocket.

Ariana Grande: Hi, good morning. What time is it for you?

Jonathan Bailey: It’s 8am. Feeling pretty fresh.

AG: You look beautifully fresh. Just for context, for people reading, Johnny, you’re currently in Thailand. What are you up to over there?

JB: I’m on a really long holiday in the jungle, pretending to run away from fake dinosaurs… Um, no, I’m filming Jurassic Park.  And there are massive links between it and Wicked because it’s got so many of the same crew.

AG: Yes!

JB: The bereavement of leaving Wicked behind has been sort of solved by the fact that so many of them are still here. So, I’m keeping the Wicked dream alive, but with dinosaurs. 

AG: That’s so beautiful. You’re so lucky to have a little piece of Oz with you still every day.

JB: I carry Oz in my pocket. 

AG: Yes. How is it going? 

JB: I am loving it. We’re doing a whole new version of the Jurassic Park franchise.

AG: What can you say about your character, about this new franchise?

JB: I can say that it’s written by David Koepp, who wrote the original. It feels like it’s in ultimate hands to bring it back to what the original achieved. (Jurassic Park) was the first film I went to see with my whole family, and I was way too young, I was terrified. There is a similarity between doing this and Wicked, I also saw the original run of Wicked in London. 

AG: I would love to touch on Fellow Travelers, which was such an emotional and expansive project. What was the process of taking on a character like Tim, whose story is told over several decades? 

JB: Fellow Travelers will always be something that I’m incredibly proud of. For me it [was] the most fulfilling creative, emotional, and spiritual thing I’ve done. Tim and Hawke (leads in Fellow Travelers) are allegories. So many men that lost their lives. It’s never lost on me, all the other actors that couldn’t come out or were vilified for being caught having sex in toilets. All the horrific ways in which a pure thing like man-on-man love has been misconstrued.

AG: It was absolutely palpable. 

JB: I had this amazing weekend in Bangkok and I met this group of Malaysian dudes who were just so brilliant. They were doctors and they were really bright, intelligent, kind, sweet men who were having such a brilliant time. We ended up having dinner and, after a few drinks, they were telling me that they come over from Malaysia to Bangkok because they can’t be out to their families.

AG: My God.

JB: It’s so painful.

AG: I was gonna say, this leads us beautifully into The Shameless Fund, your foundation that you launched actually this week, congratulations. How does it feel that it’s finally out there in the world?

JB: It’s been a labor of love for about two years. When the second series of Bridgerton came out, I was suddenly aware of an increased platform, especially the fact Bridgerton is viewed in multiple territories where being gay is different. So, I just sort of fused the two together—

AG: It’s a beautiful way of making sense of it all. 

JB: Thank you for being an icon and an ambassador for the Shameless Fund.

AG: I’m so proud of you and I love you and your heart so much. Okay, moving on. I was wondering what things have helped you recharge your human battery?

JB: I’ve adapted my life slightly. I don’t live in a city anymore, I do a lot of swimming and gymnastics, which is something that I’ve done [since] I was younger. I [also] think it’s friends, which I know is such a sort ofeye roll [answer]. I’ve got amazing friends, they’ve always been there and I’ve been friends with them for so long.

AG: And me, for 2 years. 

JB: I’ve spiritually known you for 20 years.

AG: Yeah, 100. Let’s move on to Wicked. How did you prepare for the role of Fiyero? 

JB: I mean, it’s a complete dream come true. The preparation started when I listened to the soundtrack when I was like 15. And I remember viscerally; it sent ripples through culture. Also, I remember hearing the orchestration. I hadn’t really heard the synth-meets-full-orchestra-meets-syncopation.

Something about it just completely grabbed me. My best friend from school, me and him went to go and see it together—we were soulmates through school. And it was so funny that, like, two lads just went with it. I think the themes of Wicked have probably expanded, and that’s what I’m really excited about with the film.

AG: Yeah, it feels like it needs to be now more than ever before, perhaps.

JB: I went to go meet Jon (Chu, director). We chatted for about two and a half hours and it was really emotional. The one thing that we talked about with Fiyero: everything is so easy to him. How do you tell the story of someone who seemingly doesn’t care? What’s he frustrated by? We discussed it and found quite a human thing, I think. And, obviously, with our film, it represents extreme privilege and it’s about his bubble needing to pop. 

AG: I think our characters share that in a big way, Elphaba comes along and pops both of our bubbles. Perhaps for the first time we both are able to look at things differently. And it’s not that we’re not loving, heartful people. It’s just that we’ve never had to look outside of what affects us until we meet her.

JB: Exactly. And anyway, it was Jon. Basically, the answer to every question about Wicked is Jon Chu. Don’t you think?

AG: Yeah, I do. I think we were very spoiled to have done this with him. It felt like a teeny, little secret student thing—its intimacy. It felt so small and private until all of a sudden, we were outside, and the Daily Mail was hand gliding over our set—oh, he should play the pterodactyl in your film. 

JB: I think he’s actually hovering over right now.

AG: Can you explain what this was, please? 

JB: It was a man on a massive kite, floating around with his legs hanging down.

AG: I couldn’t believe my eyes. Well, firstly because I don’t have the best eyes. But secondly, because there’s no way. There’s no way! I was like, ah, guy on a hand glider.

JB: With a GoPro. With a GoPro on his toes.

AG: With a GoPro on his toes. Was your experience filming Wicked at all what you expected it to be?

JB: There were certain elements of it that I was incredibly impressed by and I think that is because of the love and care of Mark Platt and Jon Chu. Obviously we’ve grown up loving theater and musical theater, I always felt attached to that wonderment. I think my expectation might have been that somehow in the making of something, you lose that. But we were on those incredible sets. 

AG: Oh my gosh. Best in the world.

JB: I think I was in Wicked fan survival mode for the last 18 months. I’m starting to really get excited about it.

AG: It takes a certain amount of time to grieve something like that. I mean you’re already in Thailand and a whole different person, but it’s interesting how it takes a while and then it hits you.

Source

[twodoorsnotone]

Something I love about the StarKid fandom is they’re always welcoming to new members.

No one is ever like ‘ugh new people in the shows? why isn’t it [insert name here]’ they’re just like ‘yay new members this will be great I bet we’ll love them!!!’

I feel like a lot of responses to change in fandoms are hostility-until-proven-otherwise. So it’s so lovely that in the StarKid fandom, based on a theatre company which is arguably more stagnant in comparison to, say, Broadway (by which I mean the model is based off using primarily the same small pool of actors, rather than new actors for every role), is often more positive to newcomers and change than in some MT fan spaces (*cough* people who constantly negatively compare actors with original casts).

Idk it’s just nice

[darerendevil]

*SPOILERS*

Aaron Schimberg kept it brief in his introduction before A Different Man had its world premiere January 21 at the 2024 Sundance Film Festival: “This is the one time I have to be able to show a film without anybody knowing anything about it.” A hush fell over the Eccles audience as the writer-director said that. It’s true. There’s before you see A Different Man, and then there’s after. The before is full of anticipation for the complex drama starring Sebastian Stan, Adam Pearson, and Renate Reinsve. The after is a rush of heart-clenching realizations about your own sense of self-worth, the true values of society, and questions about the ownership of your identity and story — even if you aren’t sure you want to own it yourself.

Edward (Stan) is an actor...

with a facial disfigurement who sticks to himself, doesn’t fix the leak in the ceiling of his apartment, and books parts in training videos for companies to learn how to treat people with disabilities just like everyone else. When his doctor tells him of a new experimental procedure that can “cure” his appearance, he decides to try it so he can be treated normally, like the people in the horrific training videos he shoots.

As Edward’s facial growths start to peel off — in a scene one can only describe as a moving Francis Bacon painting — instead of feeling relief, he still feels the need to hide who he is from everyone. That includes his playwright neighbor Ingrid (Reinsve), who has thrust herself into Edward’s orbit without fully letting him into hers.

His solution? To fake his own death and reemerge as a new “normal” guy hastily named Guy. This shedding of his skin seems to be working — he gets a new job as the most shiny of real estate agents and has a new, fancy loft apartment — until he sees that Ingrid has followed through on her goal to write a play with a part for him. Unfortunately, the play is about him, her dead neighbor, and their relationship through her eyes.

This is where A Different Man starts to fold in on itself in a brilliant meta statement about representation and authorization within the entertainment industry.

“[The film] is playing with various disability tropes,” explains Schimberg during the post-premiere discussion. “Like the sad disfigured man in his apartment, and playing around with those elements.” Since Edward’s story starts with that trope, it leaves the viewer uncomfortable and upset when we see Ingrid using these same tired storylines. It proves that she never really knew Edward, but had no problem using his disfigurement to push through a play about her being a “good person.”

But, wait, weren’t we introduced to Edward in the same fashion? The film doubles down on this complication by having Edward-presenting-as-Guy beg his neighbor to let him play her version of himself within her off-Broadway show. Even with the face of an actual Hollywood movie star, Edward is bending his life around the preconceived notions of others. His desire to be both the before and after Edward is complicated further when Oswald (Pearson), an effervescent and charming man with similar facial disfigurements as the original Edward, enters the theater during rehearsal and proceeds to take his role and his relationship with Ingrid away.

On the subject of casting this complicated weave of an identity story, Schimberg recalls how thorny that was even within his own singular vision: “I thought you’re caught in a bind because some people said that casting Adam was exploitative, and then on the other hand casting a Hollywood star and putting him in prosthetics is also the opposite of what we think of as representation, even though it’s still very commonly used. So I was caught in a bind and I just thought: I’m going to do a movie that does both. I’m going to have a Hollywood actor in prosthetics, I’m going to have Adam be Adam and see what comes of it and build some kind of path forward.”

That path forward is a masterful film filled with tension. But while it might seem like the struggle is going to be between Edward and Oswald, A Different Man’s only true tension is within Edward himself. Stan excels as he wrestles with embarrassment and longing for his former face. Every time someone comments on Oswald’s appearance to Edward while he’s passing as Guy, you can feel the hot anger within him because they assume he agrees with their vile opinions. “Suppression is a really bad thing,” Stan says, passionate about his character and this creative journey. “That was my take on [why Edward hid his true identity]. But I think, sometimes, when you spend so much time denying yourself you don’t have the courage in those moments to speak up.”

“That was kind of the hook we gave to Sebastian,” Pearson continues. “Yeah you don’t know what it’s like to have a disfigurement, but you do know what it’s like to not have privacy and to have your life constantly invaded, for better or worse.” Stan nods his head emphatically, “Public property, right?”Pearson nods back at him down the line. “Yeah, those are the kind of chats we had to get it right.” He pauses and chuckles.

“I’m glad it wasn’t a physical battle because I would have lost that one.”

[operafantomet]

Do we know how many (and if so, which) casts Gillian Lynne personally taught outside of the original London and Bway companies?

That is a good question, and something I have paid too little attention to. My GUESS is that she was at all the original / early productions, if only for a day. She would also have trained the associate and / or resident choreographer for the production.

So yes, she would have instructed the original and many later West End and Broadway casts, as seen here with Sarah Brightman:

Then the early productions around the world - I assume both Tokyo, Stockholm, Toronto, Vienna, Hamburg etc. Here she is with Marina Prior (Christine) in Melbourne:

And probably the US sit-down productions and tours. Here with Davis Gaines (Phantom), Lisa Vroman (Christine), Raymond Saar (Raoul) and Hal Prince (director) for the San Francisco production:

I also think she adored Sierra Boggess, cause she was present and working whenever Sierra Boggess was present... For Las Vegas:

...for the RAH celebrations...

...and for Paris...

(Sierra Boggess has also addressed that they had very good chemistry, and that she learned a lot from Gillian Lynne)

But I also know Denny Berry (original swing on Broadway, and later associate choreographer and production dance supervisor) has had a lot of responsibility in keeping Gillian Lynne's original vision alive. She has worked with POTO on four continents according to her own bio, in the US, in Hamburg, Sao Paulo, Buenos Aires, Cape Town, World Tour, Australia etc. In an interview in 2016 she said that "The detail in choreographer Gillian Lynne’s movement is well-known. And those of us who must pass it on, never, ever forget the beats and the meanings of every count.” Denny Berry was also married to Steve Barton, original Raoul, which makes the link to the original staging extra strong. Here's a photo of her rehearsing the Oberhausen cast, with Elizabeth Welch in the middle (Masquerade):

And one from Hamburg, with Rachel Anne Moore as Elissa / Carlotta (Hannibal):

Another original Corps de Ballet, Patricia Merrin who was in the original West End cast, has also worked as associate choreographer on Phantom and kept an eye on many a production, in Stockholm, Copenhagen, Moscow, the World Tour etc. Here she is in Cape Town, instructing Cat Lane and the Corps de Ballet there:

And for no reason at all, two bonus photos of Gillian Lynne on stage, just because. One is with Andrew Lloyd Webber and Zoë Curlett during the curtain call in West End:

And another with Hugh Panaro on Broadway:

[sparrowsortadrawzzz]

LEMME JUST RANT ABOUT URINETOWN FOR A SECOND NOW THAT MY ROLE IS OVER CUZ ITS SO GOOD-

see the crazy thing about urinetown is the paralells. like, we don't see Hope as this master manipulator, yet...she is???? she went to the most expensive university in the world for it?????

it first occurs in follow your heart, she practically plays with his feelings to get him to like her back (see her validating his feelings and using the "Why, my heart was saying the same thing just the other day!!" card), and from there, yes, the two are genuine, but you gotta admit, in follow your heart is she does use a bit of a persuasive direction.

then we see her manipulate again in the end when she leads the poor to UGC headquarters and. yknow. kills everyone 💀 she eventually becomes worse that her father by denying them any other option than. die from lack of basic needs, and leads their demise. ALSO SHE COULDVE AT LEAST LISTENED TO THE RESEARCH?? CONTINUED IT??? AND SAVED EVERYONE LIKE BOBBY AND CALDWELL WANTED?????? anyways-

also, Caldwell and Bobby were the same at one point. they had to have been. a poor boy in the midst of crisis has dreams to help the people of his community, so he rises up with the support of his people, and becomes a martyr...sounds like two people, doesn't it?

ALSO², PENNY AND CALDWELL ARE SO TRAGIC????? this young woman (who is perhaps a prostitute just to get by) and (probably) poor boy are in love, and once the water table drops and keeps dropping, they take a chance to give into their feelings and have their night together, which leads to their daughter Hope being born, and once that happens Caldwell has possibly already started his revolution, company, and rise to the top. so he takes their daughter (possibly so that she doesn't have to go through what he went through as a child), makes her promise to never tell Hope who she is, and becomes this hard, cold shell of a man he used to be, becoming someone Penny doesn't even recognize anymore. she doesn't love Cladwell, she loves Caldwell, the dreamer who once cared for all the people. and that's probably why she calls him such, to try and get her beloved back.

also erm lockstock how dare you just reject barrel like that-

HARRY AND BECKY ARE TOGETHER???? AND ARE ACTUALLY RABID??????? couple goals <33 /j

who tf is tiny tom, like, is he Harry and Becky's kid????

im obsessed with imagining what Penny and Caldwell were like before UGC

REMEMBER WHEN OUR NIGHT WERE STARRY????

arent you sorry..? (translation: "Are you sorry about loving and listening to me?")

..sure, I'm sorry.. (translation: "You probably want me to say I'm sorry for loving you because you no longer love me, and regret me.")

im not sorry.. (translation: "I STILL FUCKING LOVE YOU AGHHH-")

JUUUST UNNNNSOUNDDDD (translation: "WE STILL LOVE EACH OTHER AND NOW ONE OF US HAS TO DIE-")

all the original broadway cast photos are 2001 crunchy 😭

HAIL MALTHUS

making fun of and calling out the government and twisted cops >:)

the harmonies make me wanna ascend

okay that's all for now 💀💀💀

[mariacallous]

In 1971, legendary British actress Judi Dench played Portia in a production of Shakespeare’s “The Merchant of Venice.” In her book about the playwright published this spring, Dench is candid and straight to the point about the play, which centers on a Jewish moneylender: “I think it’s a horrible play.” 

Dench, who would usually joyfully skip to the theater, added that she found herself dreading each performance. “All the characters behave so badly,” she wrote. “Nobody really redeems themselves.”

Written more than 400 years ago, the portrayal of Jews in “The Merchant of Venice”  — namely, the infamous, vindictive Jewish moneylender, Shylock, who demands a literal pound of flesh from the Christian merchant, Antonio — was called “profoundly anti-Semitic” by preeminent literary critic Harold Bloom. The play was even a favorite of Nazi Germany, where, between 1933 and 1939, it was performed 50 times.

And yet, it continues to be performed around the world  — including here in New York with a new, off-Broadway production of “The Merchant of Venice” that will open at Classic Stage Company (136 E 13th St.) on Friday, Nov. 22. 

Given the climate of rising antisemitism since Oct. 7, 2023 — hate crimes targeting Jews in New York City have surged over the past year, according to NYPD data — staging the play in present-day New York City seems like an unusual choice, at least at first glance. But according to director Igor Golyak, his version of “Merchant” — a play Shakespeare wrote as a comedy — challenges Jewish stereotypes by doubling down on them. 

“The purpose of this comedy is to have the audience understand how easy it is to fall into hate,” Golyak told the New York Jewish Week following a rehearsal of the play last week.

Golyak’s “Merchant” offers a meta, comedic and, at times, cartoonish take on the original story. Billed as a “contemporary, spirited” production, it’s set in the present-day, in a nightclub/late-night talk-show setting with a camera pointed at the cast. Antonio (played by “Grey’s Anatomy” star T.R. Knight) welcomes the audience in a humorous fashion: “Tonight, we give you Shakespeare in a new time, a modern time,” he says. “So gone are the fancy tights, and gone are the boys playing women — we have actual real women!” 

“It’s a hard play,” Knight admitted, echoing Dench. 

“[The play] is filled with so much vile, racist ugliness,” he said, adding that ��a straight version of ‘Merchant of Venice’” would “border on the impossible” to pull off.

However, as executive producer Sara Stackhouse points out, “We’re doing this version of ‘Merchant of Venice’ in the context of Oct. 7, and what happened in Amsterdam, and the election and a real rise in hatred and antisemitism around the world.” (Israeli soccer fans were attacked after a game in the Dutch capital earlier this month.)

According to Golyak, Shakespeare intended “The Merchant of Venice” to be a straightforward comedy in which good defeats evil. The problem? In the play, “evil” is presented as a loathsome Jew — a detail that was likely far more palatable in 1590s England, which had expelled its Jews 300 years earlier, than to present-day audiences. 

Golyak, who is Jewish and originally from Kyiv, Ukraine, leans into — and by the play’s conclusion, undercuts — the original script’s clear-cut, good-versus-evil plot by exaggerating its use of tropes. For example, as he contemplates loaning money out to Bassanio (José Espinosa) in Antonio’s name, Shylock the villainous Jew (Richard Topol) dons Groucho glasses and a vampire’s teeth and cape, while the Christian heroes at one point slip into Batman masks to defeat him.

“Batman, Superman, you know they’re the quote-unquote righteous ones,” Golyak said. “Of course, I’m being ironic, but that was the initial intention of the play.”

Golyak added that, centuries ago, the actor playing Shylock would don a red wig to echo traditional portrayals of Judas with red hair. And Shylock’s monologues — like the iconic, “Hath not a Jew eyes?” — which are nowadays typically portrayed in an emotional, human light, were once fodder for the audience’s laughter. 

“He was this comic villain,” Golyak said. “So we are going with that until the play turns on itself.”

Over the years, directors have altered the script of “Merchant” to confront its offensive aspects for contemporary audiences. An adaptation that ran last year at the New Ohio Theatre, for example, reimagined the play by focusing on the idea of white supremacy. The previous year, a “Merchant” production in Brooklyn tackled anti-Black racism.

Golyak’s take, however, acknowledges not just the hatred within the play, but also the ease with which audiences can become complicit in that hatred. Nearly every scene has comedic elements, like Antonio’s frazzled, bumbling introduction, or the game show played by suitors/contestants to win over Portia, which lull the audience into a state of enjoyment. “Everyone is having fun, everyone is laughing together,” said Golyak, “and then we fall into supporting the hate.” 

“This play is a comedy, and it’s a blast — until it’s devastating,” Stackhouse concurred. 

Golyak and much of the cast recently worked on “Our Class,” a dark play about the 1941 Jedwabne pogrom, that was performed at BAM in January. For his next work, he wanted to try something lighter — and thus he landed on “The Merchant of Venice.” “I wanted to come at the same theme of antisemitism from the opposite angle, but ultimately arriving at the same depth,” he said.

Broadway veteran Topol said playing Shylock is “a little bit scary for [him] to do” as a Jew. But the role has long been on the bucket list for Topol, who played Tubal alongside Al Pacino’s Shylock in the 2010 production of “The Merchant of Venice” at Shakespeare in the Park. “I’m stealing as much Al Pacino as I can,” he said. 

Shylock’s journey of losing his daughter — who marries a Christian — and losing the money loaned to Antonio leads to a twist ending hinted at by Golyak and cast members that forces the audience to reflect on their own laughter throughout the show. Like in the original, Shylock succumbs to the Christians, but “how we express it is different,” Golyak said. 

Alexandra Silber, who stars as Portia, is no stranger to the theme of antisemitism — she’s played a number of “harrowing Jews” in her career, including Rachelka in “Our Class” and both Hodel and Tzeitel in “Fiddler on the Roof” (twice each). And while she expressed concern over rising antisemitism — pointing to last week’s neo-Nazi demonstration outside a community theater production of “The Diary of Anne Frank” in Michigan — Silber also acknowledged the role that humor can play in combating it. 

“Jews are better than anybody in the world at laughter,” she said. “I think the shoulder shrug, the joyous dancing, the religious ecstasy and the cultural community that laughs together, is why we’ve been able to bear it all.”

[weclassybouquetfun]

The play's the thing (aka a look at some of James Lance's theatre roles).

OF KITH AND KIN

THE DEAD MONKEY

JEEVES AND WOOSTER IN PERFECT NONSENSE

CELEBRITY AUTOBIOGRAPHY

*A reading at Edinburgh Fringe where James read an excerpt from former Mr. Katie Price, Peter Andre's autobiography, Richard Burton's (which a reviewer said "Lance was brilliant as the libidinous Welshman as well as Eminem. It's the latter staging that Jason Sudeikis' uncle George Wendt performed, as well as SHRINKING costar Michael Urie.

More Roles

INGREDIENT X

PYTHONESQUE

What did the critics say, "James Lance juggles Eric Idle and Terry Gilliam and somehow manages to morph physically as well as vocally. A teeny hint of Frankie Howerd in his Eric Idle does no harm at all."

"The cast all have fine talents for mimicry, not least James Lance who plays a sleazily indignant Eric Idle, a laconic Terry Gilliam and a superior David Frost – occasionally more than one of them at once – to hilarious effect."

KALEIDOSHOW

ORDINARY DREAMS (with this TEACHERS costar Adrian Bower)

*Preview of the play.

Notice that he's wearing the same shirt and almost the same cardigan in the video and the after-party pictures that were taken a year apart. The two pictures were like looking at one of those "Spot The Difference" games.

PIRANDELLO'S HENRY IV

THE INLAND SEA

THE BACK ROOM

*Probably one of the first time he acted with Patrick Baladi who he he would go on to appear in NO HEROICS, SENSITIVE SKIN and TED LASSO.

If I had a nickel for every time James Lance played a gay Spaniard, I'd only have two nickels which isn't a lot but yadda yadda yadda.

QUEEN CHRISTINA

ELEGIES FOR PUNKS, ANGELS AND RAGING QUEENS

*James was part of the original company and played the role of Dwight.

GLEE's Kevin McHale played Dwight in a charity Zoom event and it was fitting because the casting note for Dwight read, " A typical, young, Broadway-chorus-boy type, Southern accent can work."

[balanchine-ballet-master]

The Story of the Original "Tea" Dancer

There was a delightful story in the Times on February 4th about George Lee, on whom Balanchine created the Tea variation in The Nutcracker. Here it is.

From Ballet to Blackjack, a Dance Pioneer’s Amazing Odyssey

George Lee was the original Tea in “George Balanchine’s The Nutcracker.” A documentary filmmaker found him and a lost part of ballet history in Las Vegas.

By Siobhan Burke Feb. 4, 2024

Among the blaring lights and all-hours amusements of downtown Las Vegas, in a sea of slot machines at the Four Queens Hotel and Casino, George Lee sits quietly at a blackjack table, dealing cards eight hours a day, five days a week, a job he’s been doing for more than 40 years.

Lee, 88, was likely in his usual spot when the filmmaker Jennifer Lin was sifting through old photos at the New York Public Library for the Performing Arts in 2022, wondering what had become of a dancer with a notable place in ballet history. Pictured in a publicity shot for the original production of “George Balanchine’s The Nutcracker,” in the role known as Tea, was a young Asian dancer identified as George Li.

For Lin, a veteran newspaper reporter turned documentarian, the picture raised intriguing questions. In 1954, when the photo was taken, it was rare to see dancers of color on the stage of New York City Ballet, the company Balanchine co-founded. Who was this young man, this breaker of racial barriers, this pioneer? Was he still alive? And if so, what was he up to? “I became absolutely obsessed with trying to find out what happened to George Li,” Lin said in a video interview.

In just over a year, that obsession has blossomed into a short film, “Ten Times Better,” that chronicles the unexpected story of Lee’s life: from his childhood in 1940s Shanghai, where his performing career began; to a refugee camp in the Philippines, where he fled with his mother, a Polish ballet dancer, in 1949; to New York City and the School of American Ballet, where Balanchine cast him in “The Nutcracker” to “Flower Drum Song” on Broadway, his first of many musical theater gigs; and ultimately, to Las Vegas, where he left dance for blackjack dealing in 1980. (He changed the spelling of his last name in 1959, when he became a United States citizen.)

The film will have its premiere on Feb. 10 as part of the Dance on Camera Festival at Film at Lincoln Center. Lee, who last visited New York in 1993, will be in town for the occasion, an opportunity for long-overdue recognition.

“So many years I haven’t done ballet,” Lee said over coffee at the Four Queens on a recent Sunday, after his shift. “And then suddenly Jennifer comes and tries to bring everything up. To me, it was like a shock.”

George Lee today. He has been a blackjack dealer in Las Vegas for more than 40 years. Photo: Saeed Rahbaran for The New York Times

But Lin’s interest has been welcome. “Jennifer is so perfect, she knows exactly everything,” he said. “She knows my background more than I do.”

Lin was not the only one who had been searching for Lee. In 2017, while organizing an exhibition on “The Nutcracker,” Arlene Yu, who worked for the New York Public Library at the time and is now Lincoln Center’s head archivist, was puzzled by the relatively few traces of him in the library’s vast dance collection.

“I think I’d tracked him down to 1961, but after that, it was really hard to find anything,” she said. “Whereas if you look at some of his peers in ‘The Nutcracker’ in 1954, they went on to careers where there was a lot more documentation.”

Lin’s fascination with Lee emerged through her work on another film, about Phil Chan and Georgina Pazcoguin, the founders of Final Bow for Yellowface, an initiative focused on ending offensive depictions of Asians in ballet. The role of Tea, a divertissement historically rife with such stereotypes—in Balanchine’s canonical version of “The Nutcracker” and others—has been a flashpoint in those efforts. Chan, too, had been struck by the 1954 images of “The Nutcracker,” which he came across during a library fellowship in 2020.

“I’m like, wait, there’s actually a Chinese guy,” he said — as opposed to a non-Chinese dancer with the saffron makeup or heavily painted eyes or even the artificial buck teeth worn in some old productions. “Who is this guy? And why do I not know about him?”

The "Tea" variation in The Nutcracker at City Ballet in 2015. The dancers are Ralph Ippolito, Claire Von Enck, and Baily Jones. Photo: Andrea Mohin for The New York Times

Lee, in his heyday, was a dancer to know. At just 12, he was already winning public praise. In a preview of a recital of the King-Yanover School in Shanghai, the North China Daily News called him an “extremely promising young Chinese boy, whose technique is of a very high standard.” A reviewer wrote that he “already may be said to be the best Chinese interpreter of Western ballet.” (Lee saved these newspaper clippings and shared them with Lin when they eventually met.)

Born in Hong Kong in 1935, Lee moved to Shanghai with his mother in 1941, when Shanghai was under Japanese occupation. During World War II, his father, a Chinese acrobat, was in Kunming in western China; he died in an accident on his way to visit Lee in 1945.

Lee’s mother, Stanislawa Lee, who had danced with the Warsaw Opera, was his first ballet teacher; as a child, he would follow along with her daily barre exercises. Shanghai had a significant Russian population, and with that a robust ballet scene. To earn money, Stanislawa arranged for her son to perform in nightclubs—“like a polka dance, or Russian dance, or sailor dance,” Lee said. The clubs would pay them in rice.

Little George Li in his Shanghai days. Photo: George Lee private collection via the NY Times

Fearing the Chinese Communist Party’s takeover in 1949, the two evacuated to the Philippines. An expected four months as refugees turned into two years. In 1951, an American friend of Lee’s father sponsored them to come to New York, where he introduced Lee to the School of American Ballet, City Ballet’s affiliated school.

As Lee narrates these twists and turns in the film, one memory anchors his recollections. Before they immigrated, his mother issued a warning. “You are going to America, it’s all white people, and you better be 10 times better,” he recalls her saying. “Remember that: 10 times better!”

The footage of Lee in his 20s suggests he took that advice to heart. In television appearances — with the company of the ballet star André Eglevsky, and in a number from “Flower Drum Song” on the Ed Sullivan Show — his power and precision dazzle.

“He was good; he was really good,” Chan said. “Clean fifth, high jump, polished turns, stick the landing—the training is all there. He’s already 10 times better than everybody else.”

In a 1979 interview heard in the film, the former City Ballet soloist Richard Thomas, who took over the role of Tea, raves about Lee’s peerless acrobatic jumps: “He was wonderful! Balanchine choreographed a variation for him that none of us have ever been able to equal.”

As Lee remembers it, Balanchine spent 15 minutes with him in the studio. “He said, ‘What can you do good? Show me what you can do good,’ so I show him something,” Lee said. “I did things like splits and double turns, down and up, turn again like a ball, and that’s it. He picked up some things and put them together.”

George Li as a student at the School of American Ballet. Photo: George Lee private collection via the NY Times

He recalled that during a “Nutcracker” dress rehearsal, the City Ballet makeup artist put him in full yellowface, and Balanchine insisted he take off the makeup. “He is Asian enough! Why do you make him more?” he remembers Balanchine saying. Lee was costumed in the Fu Manchu mustache, queue ponytail and rice paddy hat often associated with the role, now widely critiqued as racist caricatures. But he said he didn’t take offense. “Dancing is dancing,” he said.

Lee performed in “The Nutcracker” as a student; he was never invited to join City Ballet. But he clearly excelled in his classes and onstage. For that, he credits his strong foundation of Russian training in China — and his mother’s exacting standards. He can still see her standing in the studio doorway at the School of American Ballet, observing closely.

“She was watching the class and then would go home and tell me, ‘You did this wrong or that wrong, you got to do it this way,’” he said. “So I really worked hard, and I was good.” (His favorite teacher at the school was the demanding Anatole Oboukhoff: “He always wanted more, and that’s why I liked him very much.”)

To make a living Lee turned to musical theater, performing in shows like “Baker Street” on Broadway and the cabaret “Carol Channing with her 10 Stout-Hearted Men,” which opened in London. He pieced together jobs for more than 20 years, often unsure of what would come next.

Lee in flight in a production of “Flower Drum Song” in Las Vegas in the early 1960s. Photo: George Lee personal collection via the NY Times

He was dancing in a Vegas revue, “Alcazar de Paris,” now in his 40s, when a blackjack dealer friend suggested he go to dealer school. “I can’t dance all my life,” he remembers thinking. He decided to give dealing a try and soon landed a job at the Four Queens. Aside from four years at another casino, he has worked there ever since.

In December 2022, he got a voice mail message from Lin. With her reporting skills and some crucial assists from Yu, she had determined that he lived in Las Vegas. Of the five phone numbers she found for George Lees, four led nowhere; his was the last she tried.

When they finally connected, she put her other project on hold to focus on his story; she and her small creative team had a final cut by November. “George is 88, and I wanted him to be able to enjoy this moment, where people recognize him for his dancing,” she said.

As he prepares to return to New York, Lee said he felt gratified, most of all, for his mother.

“I’m proud for her that I didn’t let her down,” he said. “It makes me feel better to look up at her and say: ‘Look, mother, now you see what’s happening, what you did for me. You gave me all the good foundation, everything. Through you, I’m here now.’”

George Lee today. Photo: Saeed Rahbaran for The New York Times

[broadwaydivastournament]

Broadway Divas Tournament: 2A

Donna Murphy (1959) “DONNA MURPHY (Anna) received the 1996 Tony Award, as well as Drama Desk and Outer Critics Circle nominations for her performance in The King and I. She also received the 1994 Tony and Drama Desk Awards for her portrayal of Fosca in Stephen Sondheim and James Lapine’s Passion. Last summer she was featured as Dorothy Trowbridge in Mr. Lapine’s Twelve Dreams at Lincoln Center (Drama Desk nomination). Other Broadway Credits include: Edwin Drood in The Mystery of Edwin Drood, The Human Comedy, and They’re Playing Our Song. Off-B’way: The Whore in Michael John LaChuisa’s Hello Again (Drama Desk nom.), Rose in Song of Singapore (Drama Desk, Outer Critics Circle noms.), Hey Love; The Songs of Mary Rodgers, Privates on Parade, Showing Off, Birds of Paradise, A…My Name is Alice, Little Shop of Horrors. Regional work includes Miss Julie (McCarter), Pal Joey (Huntington), Williamstown, Portland Shage Co. and Goodspeed. She made her feature film debut in Jade, and co-stared (sp) in “Someone Had to Be Benny” for HBO. Other TV includes: Francesa Cross on Stephen Bocho’s “Murder One,” “Law & Order,” “A Table at Ciro’s” (PBS Great Performances), “Another World” and the American Playhouse Production of Passion. Ms. Murphy can be heard on the original cast recordings of Passion (Grammy Award), and Hello Again, and is featured on Leonard Bernstein’s New York on Electra/Noneshuch.” – Playbill bio from The King and I, December 1996.

Mary Beth Peil (1940) "MARY BETH PEIL (Anna Leonowens), before joining the 1982 Los Angeles production of The King and I, received national acclaim for her television portrayal of Alma Winemiller in Lee Hoiby's opera Summer and Smoke (based on the Tennessee Williams play), produced by PBS and the Chicago Opera Theatre. As a member of New York's Theatre for a New Audience she has apperaed in many productions of Shakespeare. A Graduate of Northwestern University and a First Prize winner of the Metropolitian Opera Auditions, Mary Beth has been featured in opera and musical theatre with such companies as The Metropolitan Opera National Company, the New York City Opera, the Lake George Opera and the Minnesota Opera. She has appeared as soloist with the New York Philharmonic, Honolulu Symphony, Buffalo Philharmonic, the New York Young Concert Artists and the Cincinnati Area Artists Series. Favorite musical theatre roles that she has performed include Rosabella in Most Happy Fella, Magnolia in Show Boat and Kate in Kiss Me, Kate." - Playbill bio from The King and I, March, 1985.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"We have Donna Murphy as Dolly. We have Donna Murphy as Aurelia. What are we doing to get Donna Murphy in a Mame revival so she can hit the Jerry Herman trifecta? I need this woman back on a stage immediately and genuinely, I cannot tell you how much money I'd be realistically willing to shell out. And on a more personal note? What do I have to do to get Donna Murphy to look at me like she wants to devour me whole? The things I want to do to this woman... She has chemistry with every single person she crosses paths with. I need her carnally."

"Mary Beth Peil's hair deserves a Tony Award of its own. She started going grey almost twenty years ago and never looked back. A grey-haired octogenarian who's actively out here being hot and sexy and showing skin is quite possible one of the hottest things in the world. Let me reiterate: I want to fuck this old woman."

[arqueete]

Spring Awakening Broadway: Where Are They Now? (Part 1)

It's been 18 years since Spring Awakening first opened on Broadway and 15 years since the original production closed. I decided to do some digging on what everyone who performed in that production is doing these days.

Part 1 covers the original cast, while part 2 will cover replacements.

Jonathan Groff Melchior

Went on to several prominent roles on TV shows like Glee, movies like Frozen, and musicals like Hamilton (pictured.) He is currently in Merrily We Roll Along on Broadway.

Lea Michele Wendla

Notably starred in the TV show Glee and has released several albums. She was recently seen in Funny Girl on Broadway (pictured.)

John Gallagher, Jr. Moritz

Went on to star in several other Broadway shows including American Idiot. He has released an album under the name Johnny Gallagher. Recently appeared in Swept Away (pictured), a musical based on the music of The Avett Brothers.

Lauren Pritchard Ilse

Has a music career under the name LOLO and was notably featured on the Panic! At the Disco song "Miss Jackson" in 2013.

Jonathan B Wright Hanschen

Had a few acting credits on TV shows like Gossip Girl (pictured), now seems to be pursuing voice over work.

Gideon Glick Ernst

Has appeared in several other Broadway shows and was nominated for a Tony Award for Best Featured Actor in a Play for his role in To Kill a Mockingbird in 2019 (pictured.) Some recent credits include the movie Maestro and a recurring role on the TV show The Marvelous Mrs. Maisel.

Skylar Astin Georg

Has had a variety of screen roles with musical elements, like the movie Pitch Perfect and the TV shows Crazy Ex-Girlfriend and Zoey's Extraordinatory Playlist. He currently stars in the TV show So Help Me Todd (pictured.)

Brian Charles Johnson Otto (u/s Moritz)

Appeared on Broadway again in the ensemble of American Idiot (pictured.) Was recently on tour singing backup for Allen Stone.

Lilli Cooper Martha

Has been in several other Broadway shows including SpongeBob SquarePants and Tootsie (pictured) for which she and was nominated for a Best Featured Actress in a Musical Tony in 2019. She most recently provided voice acting for the TV series Hazbin Hotel.

Remy Zaken Thea

Has appeared in several off-Broadway shows, most notably Freckleface Strawberry The Musical (pictured.) Now owns a professional tutoring company in New York called Andersen Education.

Phoebe Strole Anna (u/s Wendla, Ilse)

Has appeared in several off-Broadway shows, most recently Kung Fu (pictured.) She is doing a lot of audiobook narration.

Christine Estabrook Adult Women

Continues to do a lot of TV work, most recently on the show Penny Dreadful: City of Angels (pictured.)

Stephen Spinella Adult Men

Continues to work in theater, film, and TV including a return to Broadway in The Velocity of Autumn and currently in Harry Potter and the Cursed Child (pictured.)

Frances Mercanti-Anthony (u/s Adult Women)

Went on to appear in Broadway plays including Jerusalem. Now doing theater education work for organizations like Paper Mill Playhouse, Rutgers University, and New England Music Camp.

Rob Devaney (u/s Adult Men)

Appears to have moved away from acting around 2009 and now has a career in UX design.

Krysta Rodriguez Ensemble (u/s Wendla, Ilse, Anna, Martha, Thea)

Has performed in several other Broadway shows including The Addams Family and the revival of Spring Awakening. She was most recently touring in Into the Woods (pictured) and will appear in the Kennedy Center production of Bye Bye Birdie this summer.

Jennifer Damiano Ensemble (u/s Ilse, Anna, Martha, Thea)

Has performed in several other Broadway shows including American Psycho (pictured) and Next to Normal, for which she was nominated for Best Actress in a Featured Role in a Musical Tony in 2009. Most recently appeared in Black No More off-Broadway.

Robert Hager Ensemble (u/s Melchior, Hanschen, Ernst, Otto, Georg)

Went on to join the 1st national tour of Spring Awakening as Hanschen. Has since appeared in several other Broadway shows and the national tour of Fun Home (pictured.) He is also writing his own musicals. Siluetas, for which he wrote music and lyrics, will be premiering at Power Street Theatre in Philadelphia this summer.

Gerard Canonico Moritz (replacement), Ensemble (u/s Moritz, Hanschen, Ernst, Otto, Georg)

Was in the show until it closed, by which time he was playing Moritz. Has appeared in many other Broadway and off-Broadway shows including Groundhog Day and Be More Chill (pictured), and is currently on Broadway in Almost Famous.

[synergysilhouette]

Plotting out "Kingdom Hearts" (Disney movie)

The final film in my Reinvention era is here! Make sure to check out the OG post with summaries (that I'll probably edit in hindsight to better fit the fuller posts) here.

Background

The idea of a "Kingdom Hearts" anime was scrapped in 2003, and the series never surfaced again until a couple decades later. The idea was mentioned in passing, but the biggest issue was the confusing nature of the story (particularly the "you didn't know the full story" aspects of it) and uneasiness about making it a "Disney extravaganza" by having the plot revolve heavily around Disney characters. This inspired someone to pitch a version of the story that was completely original (replacing Disney characters' roles with original characters) and forgoing aspects that laid the groundwork for future installments, as if KH1 had been an open-and-shut storyline. Given that the franchise is still ongoing and reached larger success thanks to 2019's KH3, there was hesitancy in regards to audiences confusing the potential film and the video game franchise as a shared universe, but after their success with Hayao Miyazaki's "Kitsune" under their company, they are eager to further entice their Japanese fanbase again. So the story is worked in a vein (ironically) similar to Final Fantasy, opting for a modern fantasy tale with an anime-inspired 2D art style. Given their success with "Arcane," Disney manages to get Pascal Charrue and Arnaud Delord as directors, with Jared Bush writing the script and Seth Kearsley making additional story implements. It's said that Tetsuya Nomura was consulted here and there for finalizing character details, and there is emphasis on keeping the characters Japanese (with their home of Destiny Islands being a tropical version of San Fransokyo). The idea of making it a musical is not really met with opposition, but who to use. When Disney decides they'd like to use "Simple and Clean," "Sanctuary," and possibly "Face My Fears" and "Don't Think Twice" (as additions to the soundtrack rather than taking the place of the actual songs), Hikaru Utada hears about this and gets in contact with Disney. After a bit of back and forth, they agree to let her be the mind behind the music in order to give it a pop-meets-JPop flair, particular since "Khoeli" used pop artist songwriters and "Midnight Masquerade" used pop-influenced Broadway music. There's also a bit of an exhaustive decision of whether or not to use the same voice cast as the video games, and the fact that most of the cast has remained unchanged up to now has made the decision somewhat difficult, as Disney can't really fall back on the "they've had so many VAs up to this point, what's one more?" excuse.

Plot

Off the shore of the country of Radiance, there's a tropical paradise known as the Destiny Islands. There lies Sora, who together with his friends Riku and Kairi, go down different paths to achieve their dreams, unwillingly thrust in an ancient battle of darkness and light. If Sora hopes to rescue his friends from this conflict, he must understand that no light can exist without shadows, and no darkness can exist without the contrast of light.

Characters

Sora Uenaka--A dreamer and somewhat of a slacker, Sora is raised by his mom to believe that anything is possible, but to not forget your friends in the quest to achieve your dreams. As such, he's always been inseparable from his best friend Riku and Kairi, who arrived to Destiny Islands when he and Riku were kids. His biggest dream is to travel, so he works hard at various jobs and at school to make sure he can save up enough to go on vacation with his friends for the summer. When a darkness overtakes the island, he is eventually bestowed with a keyblade, a weapon of local mythology that is said to be born from falling stars and unfufilled dreams--which Sora is super confused about, but he goes along with it in order to rescue his friends. As a tribute to classic video game openings, a chain hang from his pants that hold circular stained glass pendant. It's also noted that while Sora isn't a heart of pure light like Kairi, he does repel darkness without realizing it, and doesn't notice that his shadow has a mind of it's own. Out of the seven "Hearts of Light," he gravitates towards Calla (inspired Belle), a sheltered intellect who craves exploration and helps him with understanding the goals of Master Xehanort. Sora represents the balance of dark and light. It's noted that only Sora wields a keyblade here while Riku and Kairi use magic, but while the keyblade is the main source of returning hearts from darkness, it's not the only way; it's just the easiest and much less exhaustive.

(Note: his fashion is close to this anniversary art, but the film version uses more red dominance.)

Riku Kikuchi--Raised in a well-to-do family, Riku has always succeeded at everything he desired, being academically and athletically competent. But the monotony of the island bores him, and he desires something greater. However, the wrong being heard his dreams, and granted his wish, giving him the power of darkness in order to travel the world. But while the darkness threatens to overtake him, he still keeps his friends and family close to his heart, even if he fears they're dead or no longer want anything to do with him. He listens to the darkness--named Xehanort--who tells him that Kairi can make all his dreams come true. Kairi, sensing the darkness, flees, and Riku misinterprets this as her being disgusted with his power, leading him to wear a suit of armor to disguise his appearance. He represents an overabundance of darkness, and his brief unity with Xehanort allows him to contain the darkness for Sora to seal the door to Kingdom Hearts.

(Note: Riku's fashion in the film is similar to the anniversary art, but has blue dominance.)

Kairi Hirawa--A young woman who came to Destiny Islands with her grandmother (who is hinted at being Aqua, and thus why Kairi wears a wayfinder necklace) and little brother Ienzo, she eventually becomes known as the "Heart of Light," born with a powerful magic that unlocks doors of infinite power. Sensing it taking over Riku, she flees, using her grandmother's stories to guide her on her path. Her power allows her to connect her thoughts and feelings to others, and prevents her from becoming a Heartless as a result of her light. Riku misinterprets her avoidance as having become disgusted with his power, but the evil spurring him on will stop at nothing to claim her. She represents the existence of light without shadow. It's eventually revealed that while one can be born a HoL, a person can also become one, but it's much more rare, though Sora becomes one after sacrificing his light to bring back Kairi and seal the door to Kingdom Hearts with his two closest friends. In order to avoid Riku feeling like a third wheel, Kairi's relationship with the boys is depicted as platonic.

Xehanort--A mage who fell to darkness when trying to study the human heart, his dabbling with magic eventually became corrupted by primordial darkness, giving him the power to take the hearts of others, creating the Heartless. Ienzo discovers his notes on the subject while working in Radiance, the mainland that Destiny Islands are off the coast of. While he gets his hooks into Riku, they unknowingly create a bond, and Riku can see the loneliness in his heart, though he is too prideful and blinded by darkness to ever admit to it. When he is defeated, the trio note that he was the poor product of isolation and curiosity, and Sora says that if he has light in his heart, it will find it's way "somewhere far beyond, but still under the same sky."

Songs

Dawn of Destiny--An ancient story told by Kairi's grandmother about the beginning of the world, of foretellers and organizations, of how time takes and shifts things around, but in the end, there is a continuous struggle of light versus dark. She reminds Kairi that there is no meaning of one without the other, and that to solve problems, you must have a "foot in both worlds."

Wayfinder--Sora, Kairi, and Riku discuss their families and lives with each other, and Kairi promises to make wayfinder necklaces for the boys, as she believes that they'll bring them good luck, as well as the fact that they look similar to the local paopu fruit, which ties together the destinies of those who eat one together.

See You Later--During a disastrous storm, Sora finds Riku on the small island they go to relax on, and finds him in a trance, renouncing their home and wanting to venture beyond. Sora attempts to find Kairi on the island, but she flees, trying to tell him about Riku but is unable to before the darkness overtakes the island.

Heartbeat--Sora befriends Calla, a beautiful young woman in Radiance who's trying to uncover the reason for the darkness overtaking the country, and she eventually discovers an ancient legend of "Hearts of Light," people of pure hearts who have an archaic magic able to open the door to Kingdom Hearts, the original light that separates the world from darkness. Her husband Orson discourages her interest, correctly surmising that she shows signs of being a Heart of Light and her life being in danger.

Without You--Riku contemplates his role with Xehanort, becoming more suspicious that he's being used, but Xehanort manipulates his vulnerability, making him believe that no one thinks he can do anything on his own, and that by freeing himself of the shackles of his former attachments, he can get stronger. But wait, if he doesn't have his attachments, what's the point of doing this? What does "something greater" mean if you have no reason to share it with?

A Little Curiosity--Ienzo keeps in contact with Kairi and informs her of Xehanort's notes that he found. The laboratory he now works in used to be a castle that Xehanort used as his lair for his own magical experiments, and where he became corrupted by darkness.

Heartbeat (Powerful Friends Reprise)--After being tricked into giving his heart to Xehanort in exchange for Kairi's safety, Sora becomes a heartless, snapping Riku out of Xehanort's hold and fully unlocking Kairi's HoL powers, opening the door to Kingdom Hearts. However, when she takes the beaten Riku and the Heartless Sora, she and Riku take Sora's keyblade in hand and inspire light to come out of Kingdom Hearts, destroying Ansem.

Hope you enjoyed this little ride! Lemme know if you have any questions about my idea for this film or any of my other RE posts. And while this is the end of the Reinvention Era (though theoretically it could go on, or have a downspiral and a new era would be born later), I did want to post some of my original ideas from other REAL Disney eras. I'm starting off with the post-renaissance ideas. Stay tuned!