#especially the studio cast parr

[dreamcatcherfication]

If You Knew Me, Would You Still Love Me?

Ooooh man this was an angsty one. Anon requested “You deserve so much better” with angsty Parr and Howard, and boy did I deliver. I hope you all like this one, I really enjoyed writing it! Sorry for any spelling/grammatical errors, I was up until 3AM last night screaming about how gay I am for Courtney Stapes.

Writing Masterpost

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Trigger Warnings: Disassociation, abandonment issues, anxiety

There were times when Cathy Parr didn’t know what to do with herself. There were times when all the fire she felt - all her passion - drained and she was left empty and unfeeling. She never felt the need to tell any of the queens, it usually resolved itself before things got too bad, but there were times when she couldn’t stand to get up and perform to crowds of people, telling a story that haunted her everyday. She had felt her depressive slump coming on the night before, so she notified one of the alternates so they could fill her role.

That left Cathy with an unscheduled offday that she would spend with Kitty. Kitty’s offday had been scheduled weeks in advance, so she already had her own plans for what to do. There was no way Cathy could refuse when Kat came up to her with those puppy dog eyes and asked if she’d join her on her offday escapades. 

The plan was to start at the park, then go to lunch at Nando’s before returning home to cuddle and watch a movie. Kat was so excited for the day, and it made Cathy feel terrible because she could not muster up the same enthusiasm Kat felt. Instead, Cathy had to force the smallest smile to even convince Kitty that she was alright.

Originally it had been Kitty’s idea to walk to the park, but Cathy convinced her it would be easier to drive, especially if they were going to go to a late lunch afterwards. Of course, Kitty agreed, letting Cathy take her to the sunny park. It was a Saturday so lots of people were out and about, walking their dogs or going on jogs. It was a scene straight out of a movie, and Cathy hated every bit of it. The sun was too bright and there were too many people watching her, probably judging for all she knew. “Cathy look!” broke her out of her thoughts. Kitty was pointing at a small white dog running around with its owners.

The owners noticed Kat and smiled, waving her over. Hopefully, Kat turned to face Cathy, silently asking for permission. “Go on,” Cathy encouraged, doing her best to hold in a tired sigh. Without waiting another second, Kat bolted to the couple and started petting their dog, asking all sorts of (mildly) invasive questions.

Watching on for a moment, Cathy blinked but made no movement forward. And then she cursed herself, remembering that she left her phone in the car after entertaining Kat’s rambles. It had completely slipped her mind, the smartphone safely tucked in the side panel out of sight. Groaning softly, Cathy realized she would have to go and get it in case there was any sort of emergency. The queens had learned the hard way more than once the importance of having a phone on hand. 

Chewing the inside of her cheek, Cathy started internally debating. She could leave Kat alone with the nice couple and their dog, and hopefully she wouldn’t even notice Cathy had left. On the other hand, Kat could run off while Cathy wasn’t watching, and they’d have no way of contacting each other (Kat had left her phone at home). Making up her mind, Cathy turned heel and walked back to the queens’ car in search of her phone.

Meanwhile, Kitty hadn’t noticed Cathy’s disappearance as she continued to play with the dog. The nice women were telling her stories about their dog as the Kitty played with it. That was until one of the women got a text message and her face dropped. “Babe, it’s time for us to go.”

Smiling apologetically at Kitty, the other woman said, “Sorry, we have to go. Maybe we’ll see you around sometime.”

“Bye!” Kitty waved as they led the excitable dog out of the park to wherever they had to go. After the couple was out of sight, Kat spun around and called, “Cathy, we can go no-'' she cut herself off, noticing the lack of other reincarnated queens around. “Cathy?” Spinning her head in a circle, Kitty could not catch hide or tail of where Cathy had gone. “Cathy?” Her voice grew louder and panic started to set in.

Sure, Kitty wasn’t lost or anything, but the fear that Cathy had left her all alone was worse than being lost. Being abandoned in the park, Kat couldn’t stop the rush of emotions. It was stupid, she knew, to get so freaked out over something so small, but it felt so much worse than something small. So many times Kat had been abandoned by the people she thought cared about her, and she couldn’t even fathom Cathy doing the same. All alone, she was all alone. All alone, all alone, all alone. 

As for Cathy, she was making her way back into the park, her phone securely nestled in her jacket pocket. Her casual walk was interrupted when she returned to find Kat curled up in a ball under a tree. Furrowing her eyebrows, Cathy felt the first bit of actual emotion start to flit by. Was Kitty okay? Where did the couple go?

Without changing her pace, Cathy came to stand next to the younger queen. “Kitty?”

Glancing up with tears in the corners of her eyes, Kat mumbled out, “Cathy?”

“Yeah, I’m here,” Cathy frowned, still not sure what was wrong with Kat.

There were quite a few emotions that passed over Kat’s face. Surprise, relief, fear, frustration. “You left me!”

Leaning back, Cathy continued to frown. “I went to the car to grab my phone.”

“You left me alone! I thought you abandoned me!” Kitty cried, gaining the attention of a couple passersby.

Noticing that people were starting to look, Cathy’s anxiety set in. “Kat, we’re in public -”

“So? You left me alone in public and said nothing! What was I supposed to think?”

Standing up, Cathy tried to get Kitty up as well. “Look, I don’t think you want to make a scene, so maybe we should go to the car and -”

“No!” Kitty once again cut Cathy off. “No,” she said a little quieter. Even as she was yelling at Cathy, Kat didn’t want to anger her by being too loud. “Cathy, why did you leave? I didn’t know if you were coming back.”

The hint of fear behind Kat’s words broke through Cathy’s unfeeling barrier. “Of course I was coming back,” Cathy whispered. “Why would you ever think I wouldn’t come back for you?”

“Because!” Kat yelped. “Because everyone else has left, so why not you?” Cathy attempted to pull Kat into her arms, but the girl refused. She stood up and glared at the writer. “You wanted to go to the car? Fine, let’s go.” Marching off, Kat headed back in the direction of where Cathy had parked earlier. 

Glancing around at the people who were watching, Cathy wished she was Anne who would be able to tell them to mind their own business. But Cathy wasn’t Anne, so instead she chased after Kat all the way back to the car.

Kitty was sitting in the backseat, her arms crossed as she stared at the ground, subtly wiping tears from her eyes. Sliding in next to her, Cathy resisted the urge to pull Kat into a hug. “Look Kitty, I didn’t mean to leave you alone.”

“You’re just as bad as them,” Kitty spit.

Feeling an icy coldness grip her heart, Cathy stuttered, “W-what?”

“All the others. You’re an emotionless liar. Do you think I didn’t notice how you’ve been acting? You don’t care anymore.”

Biting her lip, a part of Cathy couldn’t help but agree. A lot of the time she did lack the emotions that the others had. She had become numb to everything and stopped understanding the point of feeling. “You deserve so much better.”

When the words sunk in, Kat started to sober up. “What?”

Nodding and moving her eyes to Kitty’s sunken face, Cathy repeated herself. “You deserve so much better than someone like me who doesn’t understand you. I can try as much as I want, but I’ll never be able to see things the way you do.”

The reality of what Kitty had accused the writer of started to reach the girl, and her eyes blew open. “Cathy, I didn’t mean it like that -”

“No, it’s fine,” Cathy said monotonously, shrugging. “I don’t feel things the way you do. I believe they call it,” she clicked her tongue, “dissociation, although sometimes I can’t remember the exact terms.”

Quietly shifting closer to Cathy, the teen asked, “What does that mean?”

“It means,” Cathy sighed, “that sometimes there’s a disconnect between my thoughts and emotions and actions. I’m numb,” she explained, her voice staggered over the different syllables.

“You’re not numb,” Kitty spoke in confusion.

“Yes I am. You even said you noticed it yourself.”

“You’re not numb,” Kitty stated more forcefully. “If you were numb, how would you be so passionate about women’s rights? How would you be able to fight so fiercely to protect Anne when that historian was saying terrible things about her? How would you get up every day and sing about the man you once loved and tell your story to hundreds of people? You’re not numb Cathy. You might feel like you’re emotionless, but I’ve seen you.”

The way Cathy felt her heart beat at Kat’s words was strange. It hurt, yet it felt warm in her chest. “Weren’t you telling me how emotionless I am just a moment ago,” Cathy tried to get rid of the feeling. Even if it felt nice, it was foreign and it scared her. She was used to the peaceful numbness of dissociating, and she would fight to stay that way. Cathy had dug herself into this hole, tricking herself into believing she deserved to feel this way - or rather not feel this way. If disassociation wasn’t the answer, then what was?

“I was frustrated and angry. I tried to get you to hurt. I…” Kitty choked on her words. “I’m sorry Cathy.”

Cathy blinked. “I forgive you.”

“Do you?”

Attempting a light laugh, Cathy forced a smile. “Duh, I’ll always forgive you Kitty-Kat.”

There was still hesitation on Kat’s face. “I wouldn’t forgive me. Please, don’t forgive me because you think it’s what I wanna hear. Forgive me if you really mean it.”

Opening her mouth, Cathy was about to assure Kat she forgave her, but nothing came out. She tried again, but no words were forming. “I…” eventually, Cathy settled with, “I don’t know. I’m not mad at you Kitty, I could never be. But…”

“My words hurt.”

Immediately, Cathy wanted to defend herself. She wanted to wave off Kat’s concern and act like she was fine and the words were meaningless to her. But truthfully… “Yeah, they did.”

The two broke eye contact and focused on different parts of the car. “You know, sometimes I try ‘n turn my emotions off too.”

“Really?” Cathy asked, not quite believing that Kitty, arguably the most emotionally driven of all the queens, attempted to dissociate.

Tapping her fingers on her knees, Kitty hummed in confirmation. “Whenever I try to  - dissociate is what you called it? Whenever I try to dissociate, I always have to stop myself. Because my emotions make me who I am. Without them, what am I?” Cathy didn’t respond, pondering the question herself. “What am I?” Kat pushed again, waiting for a response.

“I don’t know,” Cathy muttered, flexing her fingers in disgust. 

Leaping forward, Kat pulled Cathy into a hug. “You are a talented, amazing, accomplished woman Catherine Parr. And I love you for it.”

For some inexplicable reason, Cathy found herself genuinely chuckling in delight. “I love you too Kat, I love you too.”

“I don’t want to wait for cuddles,” Kat said, pulling Cathy closer. “Can we stay here?”

Patting Kitty’s back, Cathy indulged the girl. “Yeah, yeah we can.”

And it was true. Cathy Parr and Kitty Howard were in no rush to leave anytime soon.

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

Tag List:

@annabanana2401

@boleynhowards

[a-little-slice-of-fandom]

Anne's characterization is bad. She's without a doubt the most intelligent and analytical queen. She single handedly manipulated the most important men of England to break up with the most important organization in the world. She'd not be a "chaotic gremlin", she was a master at social rules and managed to not sleep with the king while still keeping him interested for 10 years. She did not became a queen on accident and I hate that her song make it sounds like things just sorta happened to her:)

So this has been in my inbox since yesterday, but then everything with that one annoying anon happened so I wanted to wait to post this.

(Also before people come for me I’m first and foremost an English student. Discussing characters, what makes them likeable, their subtext etc is literally what I do to pass the time. I see this from a dramatic perspective, not a historical one, but as six is a musical it’s important to view both the history and the dramatic elements as equally important)

So firstly I wouldn’t say the character is bad. She’s not historically accurate, she’s probably the least historically accurate out of all the queens...but as a character she’s actually really good. I mean, she’s the the definition of “loveable asshole” and rarely do you see female characters written like that. Mostly they’re just labelled as bitches. Boleyn is spiteful, competitive, silver tongued, unapologetic and aggressive when she wants to be. But she still manages to be a generally likeable character. And she’s never villainised for being the way she is, that’s just her personality. Boleyn could have easily been portrayed as the villain of six...but she isn’t. She’s just a woman. Yes, she’s all the other things I listed, but she’s got her sense of humour, her relatability and her moments where her facade completely breaks. I always love how Vicki did the “what was I meant to do” before shouting “he’s actually going to chop my head of!” Vicki sounds genuinely TERRIFIED at that moment, and it’s such a cool contrast to her very mean-spirited version of the character. And I don’t know, I like that?

But I will address the “chaotic gremlin” Boleyn as well. This idea is a fandom thing that comes from the megasixes, where Millie would often act very chaotically and because a lot of people didn’t have access to the show and were just going off the album and the megasixes, people assumed that’s how Boleyn is in the script. But she’s really not, at least, when you look deeper into the script. In the actual show, while Boleyn can cause chaos but she’s not always defined by this chaotic spirit. Millie Boleyn isn’t actually that chaotic, in fact she’s one of the more balanced Boleyns. I’m not denying that as time has went on, there haven’t been chaotic Boleyn’s, but that’s more due to actresses feeling they have to conform to the fandom expectation in my opinion than the script itself. The most distinct versions of Boleyn are Ashleigh and Christina, from the student and studio casts respectively. Because they weren’t confined to the fandom expectation, they have some of the most interesting versions of the character. Ashleigh especially feels refined and calculating.

Lastly, I’m just going to talk about this idea of manipulation. Because the queens are trying to manipulate the audience. Think about it: this is a competition to see who will be the leading lady of the band and the audience are supposed to decide. So the queens, in theory, have to play to the audience and get them on their side. They have to make the audience like them.

Some queens are really bad at playing to the audience. Seymour garners a lot of goodwill from Heart of Stone and gets the audience on her side...but she forgets to keep the audience on her side. I mean, she’s so insanely petty and she literally gets up in Aragon’s face and screams at one point. Seymour isn’t good at playing to the audience. Parr makes no effort to play to the audience before her own song. She doesn’t want anything to do with the competition, and while her efforts to keep the competition fair may gain her some points with the audience, it isn’t anything groundbreaking. All of parr’s iconic lines come after IDNYL, after the competition has been shattered anyway. Cleves does play to the audience, but in a different way. She’s not going to play misery poker, but rather is laughing along with the audience, hyping herself up and letting everyone have a good time. I mean, she often compliments the audience members and dances with someone. She knows she won’t win the competition (and frankly, she doesn’t want to) but she still will have a good relationship with the audience and make them like her.

At the end of the day, the queens are trying to manipulate the audience to like them. But who is the best queen at manipulating the audience? Who plays to them constantly and is constantly hammering how how relatable they are? Boleyn...and also Howard but for the purpose of this discussion it’s Boleyn.

Boleyn is constantly playing to the audience, manipulating the situation and making them like her. She’s got the catchiest song firstly. She’s one of the most casual queens to the audience “My name is Catherine of Aragon” vs “I’m that Boleyn girl” for example. She pulls Aragon to the forefront of DLUH specifically to make fun of her, taking the wind out of Aragon’s sails and undermining No Way. After Seymour and Howard’s emotional songs? Boleyn instantly swoops in to make jokes at their expenses and get the audience to laugh along with her. She’s always playing to the audience. She never lets it slip from your mind that she’s the most relatable queen, and that you should like her. That’s pretty smart if you ask me!

Also Boleyn is the best at manipulating the other queens as well, and can read the social situation between the other queens the best (along with Cleves but Cleves just feels like she doesn’t want a fist fight on her hands). Boleyn always knows exactly what to say to push someone’s buttons, but also knows when to back off to make sure the audience still root for her (unlike Seymour). She only gets super aggressive after AYWD, when she’s realised that there’s another queen who is equally relatable as her, but more sympathetic. And then she starts to panic.

In regards to don’t lose ur head, it’s actually another tricky discussion because a lot of it can be read as sarcasm or Boleyn making fun of herself. Courtney Bowman is literally the most sarcastic Boleyn out there, to the point where none of her song comes off as serious. “Politics? Not my thing” often comes off as a blatant lie for many of the boleyns, and like I said, we know that she’s great at manipulating the situations in the show so clearly she is good at politics? The thing is, we can’t just take what the characters say in their song as 100 percent true...we need to look at their actions as well. And again, if Boleyn wants to be seen as relatable, she doesn’t just want to go saying about how she was super sneaky and a great social player. That’s counter intuitive! The competition is to make the audience think you had the worst time, and Boleyn understands that! She’s literally manipulating the truth so you like her more!

And lastly, Toby and Lucy have both discussed how they sort of regret what they did with Boleyn, and I’m totally aware that I might be reading way to much into all of this. But I don’t know...I think that, at least as a character (not an accurate representation of the historical Boleyn) Boleyn can be good.

[musicalgifs]

If you could restage Six (so same basic script with different set, costumes, choreography etc. and possibly minor script changes) What would you change?

so i just typed out a MASSIVE answer to this and then accidentally pressed back and now it’s all gone, so i’m gonna try and retype it but it won’t be as detailed, sorry!

costumes:

if it was a current production, i would keep the majority of the costumes the same. the exception to that is i would get rid of the parr peplum. i’m NOT trying to start discourse again here, i just personally don’t like parr being in a skirt and it looks out of place to me.

i’d probs keep the orange ones though, i’m not a fan of them but i have no reason for that.

i’d have more variations for the orange and pink costumes (pink parr pants. i would like to see it.)

also probably at least two more alt costume colours, i’m not sure what. maybe yellow and some shade of green? because then you’d have similar but different colours to all the principal costumes.

if this was a future (like 10+ years) production, i would keep the colours the same but update the costumes to reflect what big popstars are wearing at the time.

i’d have them in flats, if possible, or at least lower heels. i’m not a dancer so i have no idea if the heels are like actually necessary to the kind of dance they do, but i think it’s ironic they have a line about the dangers of high heels and still have them dance in them.

set:

there’s really not much i’d change, the simple set works so well because it’s supposed to feel like a concert. with that, i think for the bigger venues they could maybe have screens like they do at a concert? like that kinda thing wouldn’t be necessary for the arts, but when i was right at the back of the lowry i could barely see them so that could be a solution.

choreography:

i’m not a dancer, like i said, i don’t really know much about it. there’s a couple of things that aren’t rlly dance, though:

boleyn would wink on the ‘not my thing’ line (i think some might do that already?) bc i’ve always seen it as a joke but people get sooo mad about it so i think it should be made more obvious

i feel like this one would be optional depending on how the performer wanted to portray the character but i think it would be interesting to have howard do air quotes on ‘going on thirty’. it would change the meaning of the line from howard saying herself that she’s mature enough to do this to howard being told by mannox that she’s mature.

script:

i would somehow have howard singing ‘every tudor rose has its thorns’, she was the one who was referred to by henry as a ‘rose without a thorn’, it’s only right.

i would go back to the seymour monologue and heart of stone from the studio cast, i feel like that’s the most coherent characterisation of seymour and the one that makes it most obvious that she’s an abuse victim (i mean it’s still super obvious to me but the amount of people who call her boring or reduce her and heart of stone to a ‘mother’ song says it clearly isn’t to everyone). also i’m not a huge fan of the ‘you’ve got a good heart’ line, especially when it comes right after anne singing about being beheaded.

i’d also bring back the previous ending, before the ‘fake competition’ thing. it’s only a few lines, but i preferred the old one bc it left it up to interpretation, people could still believe the competition was fake and it just wasn’t so in your face about it, or they could believe it was real (i prefer that version bc i don’t like watching events playing out and then being told it was all an act).

that’s all i can think of atm! i’ll probs think of more things later but these are the biggest ones lmao.

[mira-nicodiangelo-grey]

Keith, Alex and Nico in SIX

SIX The Musical band - random multi fandom edition. I’m just playing around here. I had to change a coupla things to fit into SIX’s all-female cast and to spread diversity.

Just a thought

SIX The Alternates with Keith from Voltron, Nico from PJO and Alex Fierro from Magnus Chase.

Mikeila “Kei” (Keith) Kogane- Kei is a well established nonbinary actor (worked for Disney and Dreamworks) got called up to do the job since they just got done with a big one. They read the music and heard a quick demo and fell in love with Aragon. Their agent Shiro assistant Pidge arranged the audition. The audition process was long but they eventually got the roles of Aragon and Parr. As Aragon, Kei is bold, fierce and unapologetic. That’s what they love about No Way. It just speaks volumes to Kei. As Parr, Kei is unafraid, ready to take risks for the sake of art and feminism. Their musical inspirations include Shakira and Selena Quintanilla. They’re a big fan of reggae and lowkey, pop but don’t tell them you know that.

Alessandra Christina “Alex” Fierro is genderfluid and a new graduate from the Acting Studio school in Milan. After a few odd jobs here and there, like small films and theatre Alex was looking for something big. One day she fell across a poster for this up and coming band/musical, SIX. She thought, alright, bet! And signed up for auditions. She originally auditioned for Howard and Parr. She didn’t get it but the casting directors loved her too much so they had her sing for the other queens. Eventually Alex was hired to Alternate for Boleyn and Cleves. Boleyn fits her mischievous spirit and fun loving nature perfectly and Cleves is just Alex’s role model. She claims to want to end up like her. Her favourite colors are green and pink, luckily she gets wear one of them for the show. She hates green peppers with a passion and she has a dark secret involving a clip, a paper bag and her boyfriend Magnus who may or not have stolen a bike and egged the police.

Nikolina “Nico” Di Angelo is a trans nonbinary who originally quit acting to pursue other paths. She has a fascination with the monarchs of England, especially Henry VIII. She has performed on more than one occasion his famous Greensleeves in public. When her friend Annabeth caught wind of SIX’s auditions, she urged Nico to go through with it despite knowing she had given up acting. After her incessant whining, Nico agreed. But Nico auditioned a little late and couldn’t get in. All the roles were filled up. Until one of the alternates had to drop because of a spat involving one of the creatives. So now, Nico is in charge of Howard and Seymour. Nico felt a connection to Seymour, feeling like she understood her the most having lost her own mother at a young age she always cries when listening to Heart of Stone. Nico had more trouble connecting with Howard. Eventually Nico grew attached to Howard, her struggle and the pink hair. Nico was the first to get Swingo and has a video on Cameo and YouTube of her performing all SIX songs including MegaSIX.

The three alternates makes the most mischief. Especially Alex and Nico who love to terrify the cast and creatives.

They hang out almost 24/7 outside the theatre.

They dream of starting a new band together.

Kei’s personal style is more grunge, lots of flannels, beanies. Alex is almost like a K-pop star, very chic, very modern. Nico looks like a movie star with the leather jacket, necklace, boots and tight-fitted heans.

The three love doing challenges and dumb things on Instagram live. They use Alex’s account. Kei doesn’t like using theirs (mostly because they can’t remember their password and are too proud to change it) and Nico disabled hers, saying she prefers using Tunblr and Twitter to troll the bigots and phobes.

They’ve often talked about doing their own cast recording fro SIX on YouTube with them performing their original roles. They’ve already done SIX (the song) live the three of them so this isn’t much of a stretch.

Kei sometimes likes to dress and walk around pretending to be a guy named Keith. They even have a voice ready for it.

They’re the only one with a husband, Shiro. Alex has a boyfriend and Nico is too oblivious for her own good.

She has someone on her radar and the guy is clearly in love with her it’s just Nico doesn’t get the signals he’s giving out.

Nico is always asked to say “gay rights” whenever she appears on Alex’s instagram lives.

Alex sometimes pretends to be an Australian who opened up a salon with a specialty for the K. Howard lewk. Nico is a frequent customer and Kei is responsible for catering.

[someprincecalledarthur]

my ideas for six the musical the movie

 i think someone said some time ago that a six movie filmed in the style of a documentary would work really well, and I 100% agree with that

so it’s just the six origin story as it happens, but it cuts to the queens being interviewed, performing, and doing more promotional stuff sometimes

bonus points if the songs are spaced out in the story roughly as they are in the musical (big songs like aywd and idnyl have some foreshadowing going on)

it would take place in london, as the first six production took place there (although there might be a mid credits scene of the london queens meeting the other queens similarly to into the spiderverse)

the cast would be made of a mix of different queens from west end and UK tour, or from whatever cast is performing in the UK around the time of the film’s making and release

as six mentions briefly, cathy goes out and finds the queens

similarly to the musical i can’t see them going too far into the logistics of how the queens and the liw came back to life and how they understand modern english (i like the idea of them just automatically talking in modern slang then having no idea why they said that or what it really means except for a general Vibe) BUT there should be some scenes of them exploring modern england and having a bit of a culture shock 

some scenes in this sequence may include anne and kitty finding out that chokers are a thing, the queens researching what happened after their death (bonus points if there’s a historical spoiler alert joke), and the queens finding out about modern music and being intrigued (especially kitty)

some time passes, and they’re trying to earn money to stay afloat in a variety of different ways (jane, aragon and cathy take tours of the tower of london, kitty plays music at cafes and stuff (though refuses to step foot in bars) and anne and anna try to become instagram influencers (with limited success) (they eventually join kitty as musicians)

it’s cathy who has the idea of writing their real story down and releasing it, but aragon and anne have the idea of making it a play. kitty is indirectly responsible for making it a musical, through introducing the queens to their “queenspiration” music and eventually getting them all hooked on an idea for a pop musical

the liw are characters here instead of easter eggs like in the show, but they’re still pretty minor and very secondary to the queens

toby and lucy have stan lee-esque cameos

also, if you look closely at a bunch of scenes, you can see former or current six actresses in the background

in addition the alts/swings are just random actresses in this interpretation (maybe cameos from actual six alts)

the movie follows the queens from their first meeting to their opening week on west end 

it would include their tryout performances before making it onto west end (and they actually wear the student cast and studio cast costumes in the early performances before their final outfits)

maybe a brief scene of their 1st uk tour outfits with the oversized aragon wig (there’s a scene of her attacking it with scissors to make it more manageable), the silver cleves costume, and the notorious bin bag parr sleeves, before a huge reveal of their final costumes on opening night

other fun concepts include:

aragon and anne having great banter

kitty and cathy both learning about stuff together

more character development for jane that isn’t just “mother”

cathy writing her entire first draft of IDNYL at midnight fuelled on coffee (anne joins her halfway through and writes the “grouping us is an inherently comparative act” line, then a few nights later the same thing happens, but everyone is there and they write haus of holbein)

a reference to Heelys 

the making of the six songs (i mean, they can’t have had them that good the first try, right?) (bonus points if the original drafts are the arrangements as seen in the student run and the studio run)

kitty comes home with her bright pink ponytail one day and the queens, not knowing about hair dye yet, have absolutely no idea how or why she did it

the following period of hair exploration is how anna got her hair cut short, and how anne discovered spacebuns

when characters are introduced, an instrumental variation on their song plays in the background (think the acoustic snippet of No Way in the musical before the Anne Boleyn Interlude)

except the lead up to anne’s introduction is literally just the instrumental to the anne boleyn interlude instead of dluh

in addition, the LIW riffs introduce them, aragon and anne’s first interaction has a version of Wearing Yellow To A Funeral, etc

more emotional scenes of the queens coming to terms with their past trauma

and finally, the most important part of all:

the megasix is played during the credits

[theabsolutemost]

I have some thoughts on if/when Six Broadway makes a cast recording and how they should go about it.

SPOILER WARNING in case you haven’t seen the show yet and don’t wanna know about stuff that isn’t directly on the recording?? (Probably don’t need to do this but just to be safe)

Honestly, I think there’s a pretty good chance of us getting a Broadway OCR since the show has changed quite a bit since the studio cast. (Especially considering the Americanization of some of the British slang)

Here’s some random thoughts...

As for the songs that aren’t on the studio recording that they should/shouldn’t include:

*Ex-Wives (reprise) - YES

I LOVE the reprise and feel like they should include it. It gives the audience a better idea that this is a “competition” between the queens, and it’s just really fun to listen to.

*The One You’ve Been Waiting For - NO

You probably could leave this one out, tbh. Not that I wouldn’t love for it to be included, but it makes more sense to jump from Queen to Queen after Ex-wives.

*Wearing Yellow to a Funeral - NO

Don’t get me wrong, I also love this bit, but they probably won’t include it, since it’s more of a scene than a song. I feel like it’s kind of like the Laurens Interlude in Hamilton, where the writers are leaving some things out as a surprise for dedicated listeners to the soundtrack when they finally see the show.

*Megasix - YES YES YES!

Of all the songs on this list, this one should 100% be on the cast recording. Especially considering they haven’t been letting the crowd film it on Broadway. If the unions/whoever are making this decision say this song can’t be filmed because it’s part of the show, then it should be on the cast recording!

The Alternates:

Nicole, Mallory, and Courtney Mack should be heavily featured on this album!!! It would be awesome if they sing backup for all the songs (like when all the Queens are singing together).

Six is well known for its alternates, and the Broadway alts especially have been there since the very beginning of this production! It only seems fair to give them their time to shine, as they are as much a part of the cast as the principals.

What I would really like to see is a “Alternate Massive” Megasix in addition to the principal Megasix. I’m thinking:

Nicole as Aragon/Cleves

Mallory as Seymour/Parr

And Courtney as Boleyn/Howard

In a perfect world, I’d love for the alts to also have solos on the album as “bonus tracks” so to speak. (At the very least: Mallory’s Heart of Stone, Nicole’s Get Down, and Courtney’s All You Wanna Do, since I believe those are the queens they’ve each played the most.)

So my ideal Six Broadway recording would be:

Ex-Wives -All Queens

Ex-Wives (reprise) - All

No Way - Adrianna Hicks

Don’t Lose Ur Head - Andrea Macasaet

Heart of Stone - Abby Mueller

Haus of Holbein - All

Get Down - Brittany Mack

All You Wanna Do - Samantha Pauly

I Don’t Need Your Love - Anna Uzele

Six - All

(Note on Six - I feel like it should open with Parr’s acoustic “we’re one of a kind, no category...” because it’s very sweet!)

Megasix - All

Heart of Stone (Bonus Track) - Mallory Maedke

Get Down (Bonus) - Nicole Kyoung Mi-Lambert

AYWD (Bonus) - Courtney Mack

Megasix (Alternate Massive)

TL/DR: If they’re going to make a Six OBCR, I say go big or go home! The original studio recording is super short, and they could afford to put the additional songs/alternate covers of main songs to beef it up a bit. However it happens, I love the Broadway cast and feel like they absolutely deserve to have their own recording!

Let me know what you think and if you have any additional ideas!

[highkey-lowkey-as-hell]

WATT/Six

This turned into more of a series of drabbles tbh. Disclaimer: I have no fucking idea how theater works. @thatoneroboticskid

~~~~~~~~~~~~~~~~~~~~~~~~~~

Chess could see the exact moment Kate no longer regretted trying out for the North American tour of Six.

Her best friend hadn’t expected to actually make it in. She’d only come to auditions because Chess was, and she was free and bored that day. Then she’d been called back, and then they told her they wanted her to be the first cover for Boleyn and Parr, and Chess had convinced her to accept.

Kate was dragging her feet the entire way to the studio for their first read-through, and Chess had given up telling her it would be fun and was ignoring her by the time they got there. Kate immediately shut up once they entered the room, and Chess glanced over to see her staring at someone - a girl with shoulder-length brown hair, leaning against the far wall on her phone - with a rainbow pin on her jacket.

“Shit, she’s cute,” Kate whispered to Chess.

“Then go talk to her.”

“What? No! Chess-” Kate tried to protest, but Chess was already shoving her forward and the mystery girl had noticed and it was too late to turn back now.

Chess watched Kate stumble haphazardly through a conversation with the mystery girl until someone tapped her on the shoulder and she turned to see an over-eager redhead.

“Hi! I’m Riley, I’m Anne Boleyn! Who do you play- OH MY GOD THAT’S EVA SANCHEZ!” The redhead - Riley - left as quickly as she had come, leaving Chess more than a little bewildered. She was replaced by a tall, dark-skinned girl who was rolling her eyes.

“I’m Cairo. Sorry about Riley, she’s a big fan of Eva’s.”

“Chess.” They shook hands. “Just so you know, I think my best friend’s about to slit your friend’s throat for interrupting that trainwreck of a conversation.” Kate was, in fact, glowering at Riley, who was fawning over Eva and squealing about how big a fan she was.

“She's a fan, too?”

“More like she thinks she’s cute.” Chess managed not to laugh as Kate returned to her.

“That went horribly,” she grumbled.

“I noticed. Kate, this is Cairo. Cairo, Kate.”

“Hey. I’m Catherine of Aragon, you?” Cairo held out her hand for Kate to shake.

Kate shook it, looking like she was analyzing Cairo. “I'm the first cover for Boleyn and Parr.”

“Riley’s the principle Boleyn,” Cairo commented.

“She’s also getting on my nerves,” Kate grumbled. “I was this close to getting her number, Chess! This close!” She held up her thumb and pointer finger, which were basically touching. “And then Riley came out of nowhere and ruined my shot!”

“There will be other chances,” Chess soothed.

“But am I going to have the guts to talk to her again? No!”

“She’s watching us,” Cairo commented.

“She is?” Kate froze, looked back at Eva, and then turned accusing eyes on Cairo. “No, she isn’t.”

“You’re right, she isn’t, but it was fun watching you panic.”

Chess decided that was a good time to remove Kate from that conversation before they had to track down a new Catherine of Aragon, so she excused them and pulled Kate over to the side of the room, where Chess could study their fellow cast members and Kate could continue to stare at Eva.

When she counted nine women (including her and Kate), their director entered the room and started passing around their scripts, and Kate had to pay attention, which she clearly was sour about.

They walked home together after that rehearsal, and Chess listened to Kate whine about being interrupted by Riley while she highlighted her lines, already looking forward to this new role.

~~~~~~~~~~~~~

Mattie was nervous.

Yeah, that was the word for it.

She was the youngest of the cast, apparently, and she’d listened to the studio cast recording of her solo and wow, it sounded hard. She was frankly starting to have second thoughts about this. And the other cast members… some of them looked so mean. Especially the girl who introduced herself as the actress for Catherine of Aragon, and the one who said she was the first cover for Boleyn and Parr.

But that night, as she read the script with a cup of hot cocoa and her favorite fuzzy blanket, she started to warm up to the idea of Katherine Howard.

Several weeks later, when they were off-script, they started to meet with the choreographer and learn the dances, and they met with the costume designers to get their sizes for their costumes, and one night, practicing her choreography for Don’t Lose Ur Head, Mattie started to get really, really excited.

One day, all nine of them met at the costume designers’ studio to try their costumes on for the first time, and Mattie could barely contain her excitement. Even Cairo and Kate, the mean-looking ones she’d noticed the first day, were grinning as they inspected their new costumes.

Mattie, personally, loved hers. She loved the clear plastic skirt and the spiky ponytail and she could barely wait until she got her hair dyed pink next week so she could see her entire K Howard look.

And she started to make some friends in the cast, too. Obviously, they all became a big group of friends, but she got really close with Reese and Farrah, the other two swings.

Opening night, in San Francisco, was in three weeks now, and Mattie was now very, very excited.

~~~~~~~~~~~~~~~~~~

Reese knew she wasn’t supposed to be there, but she was going to take what she could get. She was going to wear her black swing costume and she was going to sing Heart of Stone and Get Down and she was going to be adored by the queendom.

She volunteered for their cast’s first Instagram takeover. Didn’t get it. Didn’t get the second one, either. The third one was the first week or so of June, so they gave it to Kate and Eva, the most openly LGBTQ+ members of their cast. In fact, she didn’t get it until the seventh takeover, but she milked every second of it that she could.

She went on as Cleves for their last performance of their first week, and there was surely no better thrill than this. No better thrill than saying “Divorced,” in a dramatic voice, no better thrill than joking “it was just so… tragic,” no better thrill than shouting “Get your phones out, you’re gonna wanna film this!”

As exhausted as she was when they all walked offstage, she would’ve given anything to go back onstage again. She took her makeup off and thought while Kate, who had been on for Boleyn that night, ranted about something cute Eva had done during Megasix and Farrah, who hadn’t been on that night but watched from the lighting booth, yelled at her for being stupidly in love. She thought about how many people had been cheering for her, how many people adored her for being their black-costumed alternate.

That night, before heading back to their hotel, the whole cast met onstage for a big group hug, and Reese walked on a cloud all the way to her room.

~~~~~~~~~~~~~~~~

Eva had done so much research so she could accurately portray Catherine Parr that it made her head hurt. But those hours poring over books and Wikipedia and other shit were all worth it when she held her fist in the air among a downfall of confetti and heard those cheers.

It was also worth it to get to hang out with Kate, of course.

She could barely sleep the night before their first performance, so she scrolled through the Six tag on Tumblr and grinned into her pillow every time someone posted about how excited they were for this new cast, or posted about how they were looking forward to seeing it, or posted an edit that included her cast. She paused at one post, her heart hammering as she wondered how many people had seen it.

When the hell are Kate Dalton and Eva Sanchez from the new Six cast going to start dating?

All of the replies and reblogs agreed, and Eva found herself scrolling down the notes, wondering if Kate had seen this and kind of hoping she had.

The first time she carried on the Catherine Parr tradition of taking someone’s phone during the Megasix, the smile from the lucky fan made her grin even more, and she didn’t stop smiling the rest of the night (especially when Kate dropped by her dressing room to say “you guys did really great tonight,” which she knew referred to her and Mattie and Annleigh, but Kate was staring at her while she said it, and holy shit Eva was gay).

On the bus to Seattle for their next set of shows, Kate sat herself down next to Eva, and by the time they reached their new hotel, Eva was updating her relationship status on social media. Kate was on as Parr that night and Eva had that show off, so she watched next to the sound booth and cheered on her castmates and also gave out a few hugs to a couple fans that noticed her and came up to say hi.

She also heard shouting from the swings’ dressing room, and then Kate and Annleigh switched because “Farrah’s getting on my nerves, and Annleigh handles her best.” Eva didn’t mind, because now she could shamelessly flirt with Kate while they got ready.

The queendom freaked out that day.

~~~~~~~~~~~~~~~~~~~~

Farrah saw right through what Kate was planning, but if it meant she didn’t have to hear another word about how pretty Eva’s eyes were, she’d willingly go along with it.

Now that she’d gone on for both of her roles, she could say pretty fairly that she preferred Howard. She loved the roast speech and she loved her song and she loved that high ponytail, to the point where she almost wished she was principle Howard. Almost.

Now that she didn’t have to listen to Kate’s holy-shit-I’m-extremely-gay-for-Eva-Sanchez rants, she could turn her focus to her stepsister, who clearly had a crush on their lighting expert, the guy who followed them around to every lighting booth to lead their specific lighting patterns and Farrah needed to stop using the word lighting.

So she locked them in the lighting booth together.

She got a little bit yelled at by her cast members (except for Kate and Eva, who were suspiciously absent), but it was worth it when she unlocked the door and found them making out.

“Heyo,” she said calmly, barely restraining herself from laughing when they jumped apart.

“Farrah!” Annleigh scolded.

“What? I locked you in here, now I’m letting you out. Chess, you said this was what I was supposed to do, right?”

“Yeah, it was. Annleigh, we’ve got to go get ready, and Clark, can you track down Kate and Eva? We need both of them and nobody knows where they are.”

“In a closet,” Farrah snickered.

“Farrah.”

“What?”

[jq37]

Ok thoughts on Six on Broadway fresh out of the theater (2/16; 3PM show):

First and most importantly it totally lived up to the hype that I've been trying and failing to not build up in my head since last year. And this might be the hypest audience I've ever been in. Everyone in line was talking like they already knew what was up and I saw a good amount of people in like crowns and space buns and stuff. And every single time a Queen got burned during the show, everyone “OOOOOOH”-ed like we were on Wild ‘N Out or something. 

While I was in line, I’m 95% sure I saw Toby Marlow sprint past me and then return 10 minutes later with a slice of pizza. 

I got a pin and I asked the dude for an Aragon pin and he was like, "Is that queen of the castle?" Like lol buddy welcome to your first weekend working at Six.

Before the show starts, they play pop songs but I assume with the keyboard set to organ or harpsichord sounds. The two songs I recognized were Truth Hurts and Havana.

If you’re here looking for intel on the seating situation, I had seats second from the top and way to the left and I still saw everything fine (and I am not a tall person) so I wouldn’t worry too much about where you’re sitting.  

Like I said before, it's such a hype show. Like even if you've heard the soundtrack or seen the show through ~other means~ I promise you're not ready.

Right when the show starts, they project out these Tudor rose projections into the audience which is a nice touch. It’s such a nice looking set in general with the lights in the back and the band up on stage. I really like how highlighted the band members are in this show as compared to other shows I’ve seen. It’s a hard job and I bet it’s nice to get the props. 

“Live in Consort” is the best pun in Six because it’s a reach but said with such confidence that you have to give to to her. 

"Donde esta my crown?" is already a funny line but it’s even funnier when you picture two British 20-somethings conceiving of the line.

Any time Aragon waves at the crowd, which is a lot, she Princess Diary waves which I love. 

A lot of people have had a lot to say about the American accents and it's honestly ridiculous. Like, we're already taking these historical figures so out of their original context that could hardly be the straw that breaks the camel's back. Like, Kathrine Howard can sing a Brittney Spears song but it has to be in a British accent? Come on. And I actually think some songs (like No Way and Get Down in particular) sound a little more natural in an American accent considering the artists they’re taking inspiration from.

I can’t believe they do this show without a break. This is like 90 minutes of pure cardio. It’s, “I’m getting exhausted watching you,” choreo. They didn’t stagedoor after and, tbh, good. Go lay down before the 8pm show please. That’s 100% what I’d be doing.

I have heard the Anne Boleyn intro before but it’s a million times funnier watching her actively peace out as she’s being talked about and then take a selfie and quickly stash her phone before the song starts. 

They really scrubbed as many of the “mate”s out of the show as possible which I get but I feel like I would have just left them alone since it’s such a common British-ism that I feel like people know. 

I was led to believe that in “Wearing Yellow to a Funeral,” Anne is cut off from calling Aragon a massive bitch but lol that was def a hard C and not a B they stopped her after. 

“What a weekend,” is also a killer line imo. 

Still wild that Elizabeth is never mentioned in this show except indirectly when Anne says when she had a daughter Henry killed her. 

Heart of Stone has def grown on me since I first heard it and Abby Mueller is obv amazing but it’s still weird to hear after a song about how this dude literally decapitated someone (“You’ve got a good heart?” Jane, what? Citation needed) and I think it’s good that it’s basically undercut immediately by the, “Severed head,” line by Anne. Also, I lowkey spent most of the song preparing for the cut to Haus of Holbein. 

I was not prepared for the cut to Haus of Holbein. 

Literally, I could not wipe the stupid grin off my face during the entirety of Cleves’ pre-HoH speech because I knew exactly the nonsense that was about to happen and it still surpassed my expectations. 

If I didn’t already know that Boleyn’s line was, “the whole of the Holy Roman Empire,” there is no way I would have understood any of that. The German accents during that scene truly do sound like they were told, “Do literally whatever,” and it’s so funny. 

Cleves’ throne rising out of the stage so she can sit in it is such a Moment.  

Brittney Mack’s operatic riff or whatever it’s called during the slow-mo part of Get Down is so, so, so fill the room amazing. Man it was so good. Also, I 100% did not realize that on the “take my fur” line, they breakaway rip her little jacket off and it’s this cool sparkly bodice piece under. Based on audience reaction, neither did they. 

I feel like everyone always talks about Boleyn’s energy in this show and they should because they’re right but--speaking for the Broadway cast--she’s for sure second to Cleves in terms of raw energy. 

During the roast, I think to Aragon, Howard strokes her cheek with the back of her hand which is super funny, as is her shaking her fists at the sky after the, “When will justice be served,” line to Jane.

Not a Surprise: I also Wasn’t Ready for All You Wanna Do. 

AYWD is the song I was most curious to see audience reaction to (w/ HoH being a close second) because, you know, it’s an ostensibly fun song except that it’s awful. But I think the mood of the audience kinda followed Howard’s. When she was joking around, everyone kinda felt like they had permission to joke around too--like there’s a part in the choreo that happens more than once where they put her hands on her and she shrugs them off and the first time it happened there was a laugh but when it happened again during the third verse when she’s clearly Over It and dancing in a really rote and exhausted way, no laugh.

(Sidenote: The juxtaposition of Cleves and Howard--arguably the most and least successful Queens--is always to interesting to me. The placement of such a “I’m so Dope,” song next to a, “My life was trash,” song. And, now having seen it, there’s a part in the Get Down choreo where all the other queens have their hands all over Cleves in a hyping her up kinda way and, as, in contrast, Howard is getting touched constantly in AYWD and it’s Bad.)

(Double sidenote: During verse four of AYWD, there’s a part where everyone walks in front of Howard and they duck so they don’t block her and Andrea like basically didn’t duck at all. It was lowkey super funny). 

Anyway, the breakdown was rough. By which I mean extremely good but rough to listen to. Like, I know it’s a part of the song so I knew it was coming but I’m so used to the studio version that listening to her full on sob through the last chorus was A Lot. You could feel the air sucked out of the room. Huge props to Sam Pauly.

So, iirc, in the West End version of the show, post Howard’s song is the fight which dissolves into literal hair pulling/having to break people up. In this version, it doesn’t got that far. They get to comparing miscarriages and the Cleves breaks it up and tells Parr it’s her turn. Then, she gets an intro to an upbeat sounding song that we never actually hear because she can’t bring herself to sing it. Then she goes into the same (or at least a similar) speech about, “We shouldn’t do this,” which leads into IDNYL.

When Katherine does the, “Katherine de Valois, I mean I don’t know,” line, Cleves looks at her like, “Bitch what?”

When Boleyn gives the, “Everyone notices that Jane can’t dance,” line, I didn’t catch Jane’s reaction like I wanted to because Aragon immediately breaks into a sidebar with her like, “Right? That’s totally true.”

During Jane’s verse in Six, everyone is actually pretty down with the Tudor Von Trapps line and then she says Royaling Stones and loses everyone. 

I didn’t realize that they did the same couples choreo during the Six that they do for Ex-Wives but I like that a lot. Very circular. 

It is extremely hard to not sing during a show like Six, especially once you’ve conditioned yourself for the past six or so month to start spitting out lyrics the second you hear any of these songs start. I really really hope they have Sing-A-Long tix at some point because I am willing to shell out for that and I think a lot of people in that audience would have as well.

Some random dude at a light say me holding my playbills and asked how I liked the show because he’d good things which, if an omen for the show’s prospects, is a good one. Opening weekend is probably not a fantastic gauge of show longevity because of course all of the hypest fans would be out now but if it can keep up this energy then man they’re gonna have a hit (well, a further hit). 

[nitrateglow]

For the character meme: Jack Griffin, Jack Torrance, Harry Roat Jr, and Jonathan Brewster, please!

Favorite thing about them: His gleeful arrogance. Plus he’s got such style. If I was invisible, I would not think to put together such a stylish outfit.

Least favorite thing about them: I mean, he does want to kill people and take over the world. He could really put his talents to better use and be more like Violet Parr.

Favorite line: “HERE WE GO GATHERING NUTS AND HAAAY, NUTS AND HAAAAY, NUTS AND HAAAAAAAAAAAAAAAAAAYYYYYYYYYYYYYY”

brOTP: Jack and science.

OTP: I think his relationship with Flora is actually really sweet. She’s the only person who can make him stop murdering and plotting for five minutes.

nOTP: None

Random headcanon: He got major frostbite when running around nude in the snow, only he’s too badass to complain about it.

Unpopular opinion: None!

Song I associate with them: “I’m the Invisible Man” by Scatman John because I am an unoriginal person sometimes

Favorite picture of them:

Iconic.

Favorite thing about them: Uh.... well.... he makes funny faces?

Okay, before he goes totally bonkers, I do think he wants to be a better father for Danny than he is. That scene in the bedroom where Danny asks “would you ever hurt me and mom,” I do think Jack was trying to go through the motions of being a good dad, but he just-- doesn’t feel it. And eventually, he stops trying.

Least favorite thing about them: Being horribly abusive to his wife and child. The way he treats Wendy even before homicide enters his brain is just so hard to watch.

Favorite line: “YOU’VE HAD YOUR WHOLE FUCKING LIFE TO THINK THINGS OVER!”

brOTP: Jack and Floyd.

OTP: NONE.

nOTP: Jack and Wendy. I feel so bad for that woman. I imagine she was desperate when she even started dating him.

Random headcanon: Jack married Wendy out of obligation when she ended up pregnant with Danny. I think Danny was an accident and that Jack probably dated Wendy because she was easy to seduce and she hung on his every word, which gave his ego such a boost. However, he didn’t want to marry her and when she ended up pregnant, she made him feel like they had to get married and that he had to set more writing time aside to be a better provider for their family, so this is why he resents her so openly.

Unpopular opinion: I do think Jack Nicholson goes maybe a bit too overboard even early on in the movie. But then again, his over the topness is so entertaining that I can’t complain too much. But then again, the fact that he’s already being a massive monster in the hotel the moment everyone else vacates does make sense. Now that he and his family are alone, he doesn’t feel the need to even pretend to be civil to Wendy.

Song I associate with them: Both “Midnight and the Stars and You” and on a slightly related note, “Walking in a Winter Wonderland.”

Favorite picture of them:

He makes the movement of eyebrows a high art, I tell ya...

Favorite thing about them: How his intelligence is his biggest asset. While the studio wanted to cast more physically intimidating people like George C. Scott or Rod Steiger, I love how Arkin’s Roat is just an average height/weight guy who is powerful because he’s quick on his feet and resourceful. Much like how the Joker would not last in a fistfight with Batman, Roat would totally get his ass kicked by Mike and Carlino (together or alone) if he weren’t the smartest guy in the room. I gotta appreciate that, being a Ravenclaw.

Least favorite thing about them: He’s a murderer/pusher/blackmailer/rapist/con-man/arsonist.

Favorite line: “They had comic book minds, so we did it their way, right until the end. And then, topsy-turvy-- me topsy and them turvy :D “

brOTP: Roat and whoever stocks the plastic gloves at Hammacher Schlemmer.

OTP: Roat and Lisa. I mean, it doesn’t turn out well since they’re both treacherous and greedy, but they certainly seem like they would have interesting dates, don’t they?

nOTP: Roat and anyone else. Like, I’m afraid if I pray for more Wait Until Dark fic to exist, fate will just give me extremely OOC, poorly written Roat/Susy or Roat/Mike fics with terrible summaries like “The end of the movie wasn’t the only time Roat penetrated Mike from behind nudge nudge wink wink.”

Random headcanon: He got Geraldine after getting into a fight with another thug when he was a teenager still a bit green when it came to the underworld. He killed the guy and collected Geraldine as a trophy to commemorate his first official kill.

Unpopular opinion: None. He is the perfect trash. Though a more meta unpopular opinion might be that I am morbidly fascinated with the fact that Quentin Tarantino played this character. It was a panned performance but I would love to see it just the same, especially what he did with the disguises.

Song I associate with them: “Theme for Three” from the film, pretty much anytime it plays. Even though it’s supposed to apply to all the con-men, I mainly associate the unstable melody and off-key pianos with Roat-- it really fits his f’ed up personality.

Favorite picture of them:

Because anytime he licks his lips, it just does things to me.

Favorite thing about them: He just totally owns how violent he is. Like, he gives no freudian excuse, no tragic event that twisted him. He’s just there and bad and badass and you better know not to mess with him. I also love how much he clearly loves his criminal work.

Least favorite thing about them: Well, going after Mortimer isn’t very nice. And the scene where he ties Mortimer up so he can torture him is actually a really terrifying scene in an otherwise hilarious, light movie.

Favorite line: “He wouldn't have died of pneumonia if I hadn't shot him! “

brOTP: Jonathan and Einstein. All his threats to Einstein aside, I love how odd a pair they make. You mentioned them listening to Christmas music on the radio while driving, and I just love that image-- Einstein peering through the dark, humming along, and Jonathan scowling and hating it, but he’s too tired to harp on Einstein about everything so they just drive on.

OTP: None in the movie, though I loved that one fic with a certain OC character...

nOTP: I’m sure somewhere, on someone’s hard-drive or in someone’s twisted mind, there is a fic shipping Jonathan with Mortimer. This person needs Jesus very badly.

Random headcanon: After his surgery, he just hates Boris Karloff since he so often gets compared to the guy. He refuses to look at any movie the man is in and often says he wishes he could kill him just from the frustration of comparison. Though when he was younger, he did enjoy The Black Cat, especially the flaying scene.

Unpopular opinion: None.

Song I associate with them: “Psycho Killer”

Favorite picture of them:

Look at them. Look how mischevious they look. Like they’re going to toilet paper roll a house and not gruesomely maim and murder Jonathan’s family members.

These were all such fun to write. Thanks!

[cine-films-movies]

The Incredibles 2  (2018)

Running time    118 min. Country    United States United States Director    Brad Bird Screenwriter    Brad Bird Music    Michael Giacchino Cinematography    Animation Cast    Animation Producer    Pixar Animation Studios / Walt Disney Pictures Genre    Animation. Adventure. Action | Superheroes. Family Relationships. Sequel. 3D. Pixar

Synopsis / Plot    In “Incredibles 2”, Helen is called on to lead a campaign to bring Supers back, while Bob navigates the day-to-day heroics of “normal” life at home with Violet, Dash and baby Jack-Jack—whose superpowers are about to be discovered. Their mission is derailed, however, when a new villain emerges with a brilliant and dangerous plot that threatens everything. But the Parrs don’t shy away from a challenge, especially with Frozone by their side.

Awards    2018: Golden Globes: Nominated for Best Animated Feature Film    2018: BAFTA Awards: Nominated for Best Animated Film    2018: Critics Choice Awards: Nominated for Best Animated Feature    2018: Annie Awards: 11 Nominations including Best Animated Feature & Directing    2018: National Board of Review (NBR): Best Animated Feature    2018: Chicago Film Critics Awards: Nominated for Best Animated Feature    2018: Satellite Awards: Nominated for Best Animated Feature    2018: Producers Guild Awards (PGA): Nominated for Best Animated Film

https://www.filmaffinity.com/en/film596458.html

[magnusmadssen]

Disney Pixar Revolution at Wellington City Libraries!

The Pixar revolution has arrived at Wellington City Libraries and just in time for the wintery-est of school holidays. It is an exciting time with the release of Toy Story 4, produced by Pixar Animation Studios and released by Walt Disney Pictures,

Check out the teaser trailer reaction below! …. Even the toys can’t wait for the movie to be released!

So to celebrate the release of the forth instalment of the lovable classic where toys come to life, why not go down to your local library and check out some other DVDs released by the same companies, such as:

Brave.

Be brave and grab life by the horns with Merida, the feisty, Scottish  princess and skilled archer who dreams of following her own path living her own life, even if it mean defying the traditions and expectations of her family and people. However when her pride gets in the way and a spell is cast upon her mother, Merida must use her wits and skills to “mend the bond caused by pride” and save the day “highlander” style.

  Cars Trilogy.

Take a ride on the wild side with Lightening McQueen and the gang in Cars 1, 2 and 3, that chronicles the secret life of race car driving, from the race car’s point of view. This is a movies that boys will enjoy, especially boys into cars and formula one racing.

        Finding Nemo.

Go back to where it all began where Marlin goes on an epic quest from the great barrier reef to Sydney in order to find and save his son, Nemo, while meeting and encountering new friends on the way such as surfer turtles that live to 150 years old, vegetarian sharks who have regular meetings and of course, Dory herself!, a good-hearted and optimistic regal blue tang with short-term memory loss.

Finding Dory reunites the friendly but forgetful blue tang fish, Dory, along with her friends, Marlin and Nemo on an epic quest to find Dory’s family. The questions that hangs on everyone’s lips are what does she remember? Who are her parents? And where did she learn to speak whale? Favourite moments in the film include Dory as a baby – Boy, she’s adorable!, Marlin and Nemo’s encounter with the seals, Still can’t get the ‘OFFOFFOFFOFF’ aka the seal talk out of my head, Dory making new friends with Hank, an octopus with seven tentacles and who, for a guy with three hearts is very bad tempered, Dory reuniting with her childhood friend, Destiny and the odd cameo of previous characters from Finding Nemo.

  The Incredibles 1 and 2.

The secret life of superheroes comes to life with the Parrs aka The Incredibles, where you watch them balance secret identities, families and saving the day. Overall, both films are funny, action packed and will keep you entertained for hours on end.

Inside Out.

What happens when your emotions go into overdrive? They manifest in the form of Joy, Sadness, Fear, Anger and Disgust. This film is set in the mind of a young girl, Riley Andersen, where the five personified emotions try to lead her through life as her parents  move the family to a new city. Some very funny moments in the film, especially when Anger loses his temper, Disgust’s sarcastic and cynical behaviour and finding what role Sadness plays in our lives (Spoiler: Very important role).

    Also check out the amazing books, ranging from official movie/character guides, stories and comics adapted from the Pixar movies such as:

Disney Pixar storybook collection.

This audiobook features retellings of all seventeen Disney-Pixar feature films such as Toy Story, Finding Nemo and much more!

Disney Pixar Character Encyclopedia.

Dive into the wonderful world of Disney.Pixar with this colourful, fact-filled guide to your favourite Pixar characters. Find out more about the greatest and funniest heroes, villains, sidekicks and oddballs from across all 21 movies- including the newest characters from Toy Story 4. For ages 7- 9.

Cars 3 : the essential guide.

Describes the memorable and ever-popular characters, including race car Lightning McQueen, plus key locations, themes, and iconic moments from the movie.

Incredibles 2 : heroes at home.

“Trying to help… Violet and Dash are part of a Super family, and they try to help out at home in two adventures! Can they pick up groceries and secretly stop some bad guys? And can they clean up the house while Jack-Jack is ‘sleeping?’ Find out in these Super stories! Also included in this volume are a variety of activities, and a special feature on how comic books come to life!” — From publisher’s description.

Incredibles 2 : the official guide.

“Discover everything you wanted to know about brave superheroes, dastardly villains and cool vehicles from Incredibles 2, the awesome new sequel to Disney-Pixar’s smash hit movie, The Incredibles. When a new villain hatches a brilliant and dangerous plot, the Parr family and their old friend Frozone must find a way to work together again – which is easier said than done, even when they’re all Incredible. This book covers all the memorable and ever-popular characters, plus key locations, themes and iconic moments from the movie.” — Amazon.com.

Coco : the essential guide.

Explore the art of the Disney movie Coco! Despite his family’s baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector. Follow along with word-for-word narration as, together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.

Toy Story: Woody‘s Augmented Reality Adventures.

Bring the world of Toy Story, one of the most beloved animated films of all time, off the pages of the book and into your room with Augmented Reality! Since it was first released, Disney/Pixar’s Toy Story has been a global phenomenon. For ages 6+

Disney Pixar Revolution at Wellington City Libraries! syndicated from https://paintballreviewsgun.wordpress.com/

[a-little-slice-of-fandom]

Unpopular Opinion: Look, I know they aren't really characters, they're just the musicians, BUT GIVE THE LADIES IN WAITING SOME SASSY ONE LINERS! These ladies often overlapped with all the Queens, not just the ones they're assigned in the show, and it just would have been nice, in my opinion, to hear some funny one-liners from them

(This post got messed up when I posted it, meaning I had to rewrite a lot of it so some of it may be worded weirdly! Sorry for the confusion!!!)

Okay this is actually one I disagree with, but not for the reasons you think.

I understand why people like the ladies in waiting, and I’m really glad that as a fandom we pay just as much respect to the band as the actresses. The LIW form a very important part of six and without them there would be no show to speak of, and so many other shows don’t treat the bands with enough respect. Also I totally get why people like using them in fanfics. While a short show of just 6 characters works just fine, the LIW give fanfic writers the opportunity of adding in characters for the queens to interact with while still sticking to the shows canon. I have absolutely no issue with people treating the ladies in waiting as characters, even if they just don’t personally interest me. At the end of the day, it’s all just personal preference to what characters we like and as long as we’re respectful to one another then it’s all good.

However, I do take some issue with this idea that the ladies in waiting having lines for a variety of reasons practical reasons.

Firstly, the ladies in waiting don’t have lines because they weren’t even originally a part Six. In fact...people often forget that the ladies in waiting are probably one of the newest additions to the show. While Six debuted in 2017 with the student cast, and they had a full band rather than ladies in waiting. In January 2018, the studio cast made their debut, but again they used a full band rather than sticking to four ladies in waiting. It wasn’t until the U.K. tour in the summer of 2018 that six began to use the four band structure that you see in all the shows that we have now. But the ladies in waiting were still not named within that version of the script. There was no mention of any ladies in waiting until January 2019, by which point Six had already shown itself to work brilliantly as a musical with a small cast of characters and a small band. It was tightly written, funny, light hearted (mostly), catchy musical and it worked as that. It flourished on the premise of giving 6 well known but not well understood women in history a voice.

But the script can be changed. We know the script is open to being changed, because it’s happened before! Old lines have been taken out, queens get lines swapped around, new parts have been added in etc. The Aussie and Us run have different scripts from the U.K. versions. But the problem doesn’t just lie with adding in lines...it lies with the structure of the show.

The structure of the show is what stops the ladies in waiting having lines. Six is an incredibly short musical. It’s only 75 minutes long. 70 minutes if you take out the Megasix. 65 minutes if you take out things like clapping and applause. And that is not a lot of time, especially when you’re dealing with six characters. Most shows don’t manage to have one fully fleshed out character in that space of time..never mind 6 of them. And while six does succeed at having 6 very likeable and funny characters..adding four more to that it going to throw the balance off a whole lot. Writers are actively discouraged from trying to have more than 7 main characters because it’s any more is too many, and that’s in shows with like 3 hour run times, never mind just over an hour.

And the problem is that some of the queens are already getting sidelined due to the structure of the show! Cleves, Howard and Parr don’t have nearly as many lines as Aragon, Boleyn and Seymour. And in the most likely scenario, a script change doesn’t mean the show is going to get extended, which then means all you’re doing is taking away lines from the queens, some of who don’t have many lines to begin with. Parr is virtually silent until IDNYL. Where would these extra lines for the ladies in waiting go?

But even if the show was to get an extra ten minutes of run time...wouldn’t that run time be better used fleshing out the queens (who are the main focus of the show) rather than trying to give musicians funny one liners? Again, characters like Cleves and Parr are already getting the short end of the stick, especially Cleves who loads of people mischaracterise using dangerous stereotypes. If I had the option for giving the queens extra lines or adding in lines for the ladies in waiting then I’m sorry...I’d have to pick the queens. That’s not because I hate the ladies in waiting or don’t think they deserve the love, but it’s because from a structural standpoint it makes more sense. I say that as someone who studies plays and their structure and how characters a built.

Do I understand the appeal of giving the ladies in waiting lines? Absolutely. Do I respect that some people would kill for this to happen? Totally! I’d kill for the jazz elements of six to come back, along with the violin in DLUH and for gods sake please give Cleves more lines. These things would all be nice! But at the end of the day, structure and practicality must always come first. The show must work from a structural point of view first and foremost, and everything else must come afterwards.

[musicalgifs]

Hi! I really want to get more into Six, but I don't know where to start. I've heard bits of some songs, so of course I should listen to the whole cast recording, but other than that, are there any blogs or anything you can recommend? It sounds like there have been changes in the show and stuff, I want to learn more about that, and definitely wanna learn more about the costumes (like what are alt costumes for example). idk I just feel like I'm very late to this fandom and wanna catch up

hey!

so the basic gist that you need to know is that there have been 10 productions so far, in order: student cast, studio cast, first uk tour, west end, north american tour, bliss, second uk tour, breakaway, australian tour, and broadway. the first three aren’t running anymore, but the rest are. (theoretically. they WOULD be running if not for corona and are likely to start again). if corona hadn’t happened, there would also be a third cruise ship production, getaway, from april.

for changes, i would recommend listening to (in order): student cast, studio cast, first uk tour, west end (pre july 2019), and then any production post-july 2019 but the north american tour did it first, and then broadway. some of the changes are really big and noticeable: the student cast has v different lyrics to the studio cast, and there are some changes between studio cast and uk tour, and then after that it’s mostly just changing some lines and rearranging scenes (and one fight scene was cut i think). there’s no big differences between broadway and other current productions

if you need audios it’s super easy to get into trading, especially for six, and if you dm me off anon i can help you out there!

for costumes: alternate costumes are what the alternates (also called swings/standbys depending on production, basically the understudies) wear. they were designed to be a kind of fusion between the costumes of the two queens that alternate would cover, for example the orange costume was aragon/parr and you can kinda see that. now they don’t always follow that pattern, and broadway and bliss 2.0 no longer have alternate costumes.

i don’t really like recommending blogs because there’s soo many and i always end up forgetting someone and then feeling really bad about it but since you specifically asked about costumes, @six-costume-refs talks a lot about the costumes and so does @lightleckrereins! and if you wanna know anything else, feel free to ask!

[englishmansdcc]

Last night at the El Capitan Theatre in Hollywood, the red carpet was rolled out for the world premiere of INCREDIBLES 2.  Some of the voice talent and filmmakers from the movie showed up including Craig T. Nelson, Holly Hunter, Sarah Vowell, Huckleberry Milner, Catherine Keener, Bob Odenkirk, Samuel L. Jackson, Sophia Bush, John Ratzenberger, Jere Burns, Brad Bird (writer/director), John Walker (producer), Nicole Paradis Grindle (producer), Michael Giacchino (composer).

While we weren’t in attendance (we wish we were though), below are some pictures (along with more info) of the event courtesy of their press release.

Later tonight (June 6th 2018) there will be a Q&A with cast and filmmakers from THE INCREDIBLES 2. Both live streams will be available on their official Facebook, Twitter and YouTube channels.

The movie is set to be released on June 15th in the United States.

Incredibles 2 World Premiere

Hosted by Hollywood’s El Capitan Theatre tonight, the red-carpet event welcomed filmmakers and voice talent, including Craig T. Nelson, Holly Hunter, Sarah Vowell, Huckleberry Milner, Catherine Keener, Bob Odenkirk, Samuel L. Jackson, Sophia Bush, John Ratzenberger, Jere Burns, Brad Bird (writer/director), John Walker (producer), Nicole Paradis Grindle (producer), Michael Giacchino (composer). Special guests included Allison Holker & Stephen Boss, Kerrie Walsh Jennings, Jana Kramer, Mario Lopez, Molly Sims, Patton Oswalt & Meredith Salenger, Pete Wenz, Tiffani Thiessen, Wiz Khalifa.

From ABC: Aubrey Anderson Emmons, Jason George, Marcus Scribner.

Disney Channel: Caitlin Reagan, DeVore Ledridge, Elie Samouhi, Ethan Wacker, Madison Hu, Maxwell Simkins, Olivia Rodrigo, Marieve Herington, Sarah-Nicole Robles, Milo Manheim, Jenna Ortega. Domee Shi, director of Pixar’s new short “Bao,” was also on hand, alongside “Bao” producer Becky Neiman-Cobb and composer Toby Chu.

Sponsors of the world premiere include The American Egg Board, Alaska Airlines, ADT, Best Western, Bounty, Frigo Cheese Heads, Juicy Juice and Kleenex Brand.

Tune in TOMORROW for a special Q&A with “Incredibles 2” cast and filmmakers, presented by IMAX at AMC and Disney•Pixar. It will be live-streamed from Los Angeles on Facebook, Twitter and YouTube . Hashtag: #Incredibles2Live #IMAX

INCREDIBLES 2

DISNEY•PIXAR

Website:  http://disney.com/incredibles2

YouTube: https://www.youtube.com/DisneyPixar

Instagram: https://www.instagram.com/theincredibles/

U.S. Release Date: June 15, 2018

Voice Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell, Huck Milner, Samuel L. Jackson, Brad Bird, Bob Odenkirk, Catherine Keener, Jonathan Banks, Sophia Bush, Isabella Rossellini

Director: Brad Bird

Producers: John Walker, Nicole Paradis Grindle

In “Incredibles 2,” Helen (voice of Holly Hunter) is called on to lead a campaign to bring Supers back, while Bob (voice of Craig T. Nelson) navigates the day-to-day heroics of “normal” life at home with Violet (voice of Sarah Vowell), Dash (voice of Huck Milner) and baby Jack-Jack—whose super powers are about to be discovered. Their mission is derailed, however, when a new villain emerges with a brilliant and dangerous plot that threatens everything. But the Parrs don’t shy away from a challenge, especially with Frozone (voice of Samuel L. Jackson) by their side. That’s what makes this family so Incredible.

Written and directed by Brad Bird (“Iron Giant,” “The Incredibles,” “Ratatouille”) and produced by John Walker (“The Incredibles,” “Tomorrowland”) and Nicole Paradis Grindle (“Sanjay’s Super Team” short, “Toy Story 3” associate producer), Disney•Pixar’s “Incredibles 2” busts into theaters on June 15, 2018.

SHORT DESCRIPTION:

Helen (voice of Holly Hunter) is called on to help bring Supers back, while Bob (voice of Craig T. Nelson) navigates the day-to-day heroics of “normal” life at home when a new villain hatches a brilliant and dangerous plot that only the Incredibles can overcome together.

NOTES:

·         Released in 2004, “The Incredibles” grossed more than $633 million worldwide. Earning more than $70 million opening weekend, “The Incredibles” posted the second-largest opening at the time for an animated feature.

·         Director Brad Bird helmed “The Incredibles,” which won an Academy Award® for best animated feature film of the year. Bird also directed Pixar Animation Studios’ 2007 Oscar®-winning film “Ratatouille,” as well as 2011’s live-action film “Mission Impossible: Ghost Protocol,” 2015’s “Tomorrowland” and 1999’s BAFTA-winning animated film “The Iron Giant.”

Incredibles 2 world premiere photos from El Capitan Theater Last night at the El Capitan Theatre in Hollywood, the red carpet was rolled out for the world premiere of 

[dramatistsguild]

DG National Report: Florida - West 
by Dewey Davis-Thompson

@dramatistsguild @deweydt 

Guild members blossom in West Florida sunshine. George Brandt found productions and peace of mind, while American Stage welcomes new playwrights and Tampa gets Fringey and 4x6 Festive!

The Sarasota area serves up work and pleasure for George Brandt, who enjoyed a long visit in April. “It seems like we keep getting pulled back to that area, which I really enjoy,” said the playwright, back home in snowy Cleveland. Grounded has been exploding across Florida, at Tampa Rep in January and at Ft. Lauderdale’s Thinking Cap in April. “The timing worked out wonderfully so that I was in town for the Hermitage while the play was being produced at Florida Studio. And at the [Hermitage Artists Retreat’s] Sunset Talk with fellow playwright Amlin Gray and Saschka Unseld—who spoke about virtual reality film—I read about twenty minutes from Grounded. I have done solo plays before but of course my favorite ends up being the one I can’t do myself! So I really enjoyed that.”

Also in Sarasota, Larry Parr reports His Eye is on the Sparrow has been extended at the Portland Center Stage in Oregon. Meanwhile, in Ybor City, recent USF grad Kevin Wesson’s The Flashlight Play has actors cajole the audience to “sneak in” the Silver Meteor Gallery, where rogue thespians secretly perform their own works by glow stick and flashlight. Across the bay, the 90-foot tall ship Amara Zee nestled for six months in USF St. Pete’s harbor to produce and premiere the musical Nomadic Tempest on deck and in the rigging. Four blocks away Studio@620 played Collected Stories by Donald Margulies.

American Stage’s season featured David Lindsay-Abaire, Deborah Zoe Laufer, Ayad Akhtar and Laura Eason – a welcome departure from time-tested previous line ups. Jim Sorensen says their new philosophy inspired their Twenty First Century New Play Festival. “Every play you have seen was once a new story. We need to hear new stories and we wanted to give writers that platform.” Three hundred submissions vied for four staged readings. One was local scribe Sheila Cowley’s Flying. Cowley reports Flying sold out “and they had to bring in extra chairs, and almost everybody stayed for the talkback, which is pretty unheard-of around here.”

Cowley submitted almost a year before the festival and followed up after a workshop with Tampa Repertory Theatre and Creative Loafing’s Conversation Starters series, that features work from the New Play Exchange. Vickie Daignault was assigned as the director, “She’s part of DirectorsLab Chicago and was just terrific. Really sharp and insightful, great with the cast and wonderful at script analysis.

“Vickie brought techniques she’d seen work well in Chicago. So one big thing she wanted to do was have the actors talk directly to the audience, instead of to each other. And we skipped all the stage directions. I’d seen Flying read without stage directions before, with the Equity Library Theatre of Chicago, who created this seamless presentation that was just outstanding. But I wasn’t sure what Vickie was trying to do ‘til I saw it in action. And what happens with this direct address is that especially in the moments where the actors are supposed to touch each other, because of the face-out delivery it means the actor reaches out instead, toward the audience. While the actor they’d be touching reacts beside them, as if they can feel it. And that creates this strikingly beautiful, incredibly potent theatricality that was so effective and emotional, I get chills just trying to describe it. And a month later people still come up to me and talk about those moments, and how beautiful they were.”

Andrea Lepcio had to attend American Stage’s reading of Strait of Gibraltar via web cam, but she enjoyed the virtual interaction and found it to be helpful with a concurrent production in Atlanta. “It was great to go into rehearsal with the Atlanta crew and hear it again immediately after the reading. I ended up putting in changes for the production in Atlanta. Life for a legal Moroccan immigrant changed drastically after January 21. I felt like I needed to put in some changes because all of a sudden my main character was in much more danger than he was ever in before. So I wanted to effect those changes in the script, and that is what I added after the reading.”

Do you have West Florida news? Email me!

ddavis-thompson@dramatistsguild.com

[a-little-slice-of-fandom]

what do the studio cast outfits/student cast outfits look like?

Student cast

Honestly I don’t mind Boleyn’s little green dress (centre) and Parr’s outfit (top right) is actually pretty cute. But the rest? They’re just so...weird? Most of them don’t work as outfits on their own, and as a group they just feel incredibly mismatched. And for most of them...I can’t even understand what they were going for. Boleyn is obviously the literal “green sleeves” (despite the fact that the dress is literally sleeveless but fuck it I guess this is the same Boleyn with a fucking violin in DLUH) and Parr in white could mean a whole load of things but the others? I honestly have no idea. Seriously WHY is Aragon in black knickers and a see through skirt? WHY? WHAT DOES IT MEAN?

I know this was a student production and money was probably pretty tight, so I can’t hate on the outfits too much. Plus the actual production itself was just as good as the later runs by all accounts, and without these folk we wouldn’t have the show that we have today. This cast deserves so much more recognition as the original run of Six.

Studio Run

Okay so again, I don’t actually mind a few outfits: this time Genesis’, Izuka’s and Aimie’s. Aimie’s version of Howard in this run wanted the other queens to accept her and like her so badly, and this outfit just screams over-excited teenager who’s trying to fit in. It genuinely fits with her character and it’s also a kind of cute outfit. Izuka Parr and Cleves were both a little more distant (and for a lack of a better word, done) in this run of the show, and while I can’t put my finger on it, these outfits actually reflect that really well in my opinion. (Especially Genesis’ fur jacket that isn’t pictured) And even though I HATE Christina’s skirt, I will admit that her jacket was actually really cool on the back, since it had a Tudor thorn stitched into the material. I just dislike the literal green sleeves, it doesn’t work in my opinion. And again...that skirt. And I get what they were going for with Jane and Aragon, but I personally don’t think it worked...like at all.

But unlike the student run...I can at least sort of see what they were going for here, and although they’re kind of terrible, these costumes don’t clash with one another nearly as much as the student run costumes. They’re still very a bit mismatched and odd, but it’s in a almost stylised way that makes them, at the very least, work together as a set of costumes rather than just a bunch or random outfits thrown together.

TL:DR Gabriella Slade was the best thing to happen to Six.