#glaze 2 is so weird it actually looks good on the characters but hoo boy it absolutely fried the piano and background

[therealsinnohdawn]

my piece for the @sthbigbang! the fic is called The Rhythmic Nature of Chaos, by @catiecat1320! read the first 2 chapters here!

drawing this was a lot of fun but it took such a long time! i had a great time figuring out sonic and shadow's poses and designing sonic's outfit, but i sincerely hope i never have to draw a piano again 😂

also check out the posts from my collab artists @lofithetanuki (post) and @sleepingcircus (post)

[xoruffitup]

Adam in Burn This (6/12)

I saw Burn This again on June 12th and HOO BOY, for this show I’ve got nothing but flail! I think I’ve already worked through most of my critical analyst urges already, so this is gonna be just pure, chaotic Adam fangirling. :’)

The man was robbed of his Tony. Pale is this character who I would absolutely hate on the page or in abstract. But then Adam, the utter jerk, barges and flails his way on stage and makes Pale so human and compelling and just absolutely riveting to watch that hating him becomes physically impossible. I mentioned before how the play functions to make the audience Anna’s proxy (down towards the end of the second section here), and never has that been truer than last night. I literally was Anna, okay. I was repelled and intimidated and scandalized by Pale’s uncontrollable, massive presence; his encroaching, searing physicality; his unpretentious, guileless anger and passions and frenetic creative energy.

One second, you’re watching this massive brickhouse tumble into crying, sniffling pieces so vulnerable and wrecked it could tear your heart out. The next he’s cracking a joke, flirting, cussing, and every single swing is so bracingly authentic that you’re literally pulled to the edge of your seat, unsure if in attraction or revulsion. Either way, you’re along for the wild ride with him every step of the way, feeling the same conflicted and unwilling compulsion towards him Anna is. Pale doesn’t just unwittingly seduce Anna; Adam absorbs every single audience member’s attention like a black hole and before you know it the audience is caring for him even before they have any hope of deciding whether they even like him. (Evidenced by the collective gasp of fear that rises from the audience when Pale, drunk, climbs outside onto a fire escape.) To call him magnetic, electric, a revelation to watch – They’re all woefully inadequate descriptions. He’s a literal inferno, blazing even when he’s silent.

So even though I have yet to reach a personal resolution on whether I accept Pale from an ethical perspective, I am nevertheless complete trash for him because Adam really leaves me no choice in the matter. Damn him. <3

Last night I sat in the upper balcony for the first time, but my friend brought binoculars we passed back and forth (lol, yes really) and I actually saw so many new, detailed nuances to Adam’s acting. I’ll go through the moments that really stood out – though it’s honestly hard to pick because he really is that Extra during the entire damn play.

Act 1

When he puts his leg up on the couch to show Anna how “fucked up” his pants are, then kind of realizes he’s standing there with his leg all weird up on the couch, asking her to look at his pants… Then just smoothly lifts his leg over the table before he lowers it, then makes the coyest face ever at her while he does this slow, deliberate twirl with the most shit-eating look on his face. The audience dies, then he cracks “I coulda been the dancer,” and the audience falls apart again.

The way you can feel his momentum and buzzing energy begin to darken, right before he breaks down completely. When he stops pacing around for the first time and his voice changes, going soft as the guilt and sorrow creeps up on him in the form of physical pain he feels driving straight through his heart. And it’s alarming, when he goes still for the first time.

I swear I’ve never seen him cry so much as last night. Once he broke down, the sniffling was constant, with these utterly, completely broken sounds mixed in whenever he tried to talk.

“Nah, this ain’t me…” “I’m trying to picture him here.”

And he keeps aggressively pushing his hair back while he’s crying, as if he can force the tears away with brute force.

OKAY so watching their first kissing scene through a pair of binoculars was like being personally undressed and ravished, holy god. A bomb could have gone off in the theater and he wouldn’t have looked away from her, he had such consuming focus. When he slides close to her, the first thing he does is slowly lift a hand to touch her hair, his eyes darting between where his fingers brush the strands and her face, gauging her reaction. And then when he leans in so slowly for the kiss, watching her first before his attention shifts to her mouth, and the kiss is slow and deep and….

Yeah I felt things.

From up in the balcony.

Adam’s kissing sex appeal is literally so flaming strong, I felt that heat from the damn balcony. I dare you to show me another man with such raw, intense sex appeal. Go on, I’ll wait. He asks her, “You okay?” when he pulls back, and she says in a sort of daze, “I’m fine.”

….Girl, I feel it too.

AHEM ANYWAY MOVING ON.

And then in the next scene, as if totally oblivious that he’s a literal tornado of sex, he just sweeps out the door with an over-the-shoulder “Alright I’m outta here” and it’s so blasé and masterfully hilarious.

Act 2 When he’s laying on the couch alone, half-asleep, and starts vaguely waving his arm in an attempt to remove invisible blankets. Then, without a single word, he reduces the entire audience to hysterics when he spends a solid two minutes pulling at the collar of his coat in a completely futile effort to take it off. That’s the level acting we’re dealing with here. He’s one-hand fighting his own coat and trying so damn hard and it’s the most entertaining thing of your entire year like WHAT EVEN.

God alsdfjsdlakjf okay when he comes out in the kimono robe and it’s open at first, for like 30 blissful seconds that massive, toned chest is out there to see above those tight black briefs and it is SO MUCH I blacked out and couldn’t even process the sight the first time I saw the play. …. Then he closes the robe, carefully ties it, fights with the sleeves because they clearly aren’t built for massive fuckin arms like his, and in an instant he’s the softest being I’ve ever seen and I’m confused as hell as to how I’m aroused and ‘omg bb’ adoring at the same time??? I think I need therapy? Or Adam needs to stop being massive and sexy but also awkward and soft at the same time, for the sake of my sanity?

I fail to imagine an image that will make my life more than giant Adam in this tiny bright purple silk kimono that barely reaches his thighs, bare foot, tying a dish towel around a pot of tea he just made like a tea cozy, then oh so carefully carrying the tea pot over to the table with his one arm still out of the sleeve and this look of intense focus on his face. I was overwhelmed and could not even begin to name the feels.

Let’s make it even WORSE shall we? When he hands Anna a cup of tea, kisses her forehead twice, says “That tea’s no good for a bad stomach. You want some milk?” then strokes her hair back, then asks “You want some eggs?”

GOD PALE GET OUT WHO GAVE YOU THE RIGHT

(^ We are all Anna)

The part where he sneakily picks up the phone to eavesdrop on Anna and Burton’s phone conversation, and stays completely silent for a long minute before hilariously bursting out, “YA GOT SOMETHIN’ TO SAY, BRUCE?!” And then AND THEN Anna angrily storms out of the bedroom and the bastard hides his face behind the empty robe sleeve and bats his eyelashes at her and bends at the knees in this cutesy little sorority girl squat and IM….?! “Real cute,” Anna says, trying real hard to be unimpressed, while the audience is in an uproar and everyone’s desperately trying to process all these newfound perplexing Adam Driver feels (WELCOME TO HELL, BITCHES. IT DOESN’T GET BETTER)

Okay okay there are SO many juicy bits during the exchange when Anna’s explaining she wants things to end between them. I was watching through the binoculars and when Anna says, “We’re apples and oranges.” He immediately gets this hella adorable smirk when he goes, “Oh yeah? Who’s the apple and who’s the orange?” Then the smirk grows when he’s all “Ever had an apple tart glazed with marmalade?” And then he’s just grinning because he’s so damn proud of how clever he is and he’s still in the FUCKIN purple kimono and he is ridiculous, I’d hate it if he didn’t own me body and soul.

Then it gets BETTER when he says, “You told me you ain’t been with no one else since you was with me a month ago. Me either. I figure one more time and we’ll have ourselves a hat trick.” And oh my GOD the shit eating grin! He looks at Larry, just grinning like a 5 year old and Larry gives him this hysterical disapproving, unamused shake of his head, but Pale just looks back at Anna full-on sunshine smiling and I’m like WHY ARE U MY PERSONAL BABY

(PS: JJ – That is what we need to see on Ben Solo’s face in TROS. You better deliver!)

He says some of my favorite dialogue here – The bit about “people walking down the street don’t mean a thing they’re doing.” He grows somber here, and this is a portion of the play’s call to its characters to strive for both emotional and artistic authenticity no matter what the price.

And then the scene gets heavy…. He stands up, disappears to get partially dressed, comes out, they start arguing, he’s still determined to make her see what’s clearly between them… And then she drops the definitive bomb over everything: “I don’t like you and I’m frightened of you.”

I watched his face through the binoculars while she delivered the blows, and it was literally like seeing a candle snuffed out. His expression melted like ice – Resolute and hard and determined one moment, and the next moment her words rush over and visibly crush him as the certainty melts from his face and leaves him empty and shell-shocked. Three seconds of silence when nothing moves but the set of his mouth and the light and strength in his face, but you’ve seen a grown man utterly crushed.

Ah, the last scene. In the first performance it was devastatingly, beautifully heartbreaking. In later performances it was humorous even while tragically inevitable. Either way, it’s brilliantly written and exquisitely acted. (Though as I’ve expressed before, I do prefer the more serious, helplessly sad versions.) I’ve never seen the two of them clutch each other as desperately and heart-rendering tenderly as they did in this performance. She fell into him on the couch, and he cradled her entire body to himself – Reaching a hand down to her thigh to pull her across his lap so his arms could engulf her entirely. They rocked together, and she clutched his arms still tighter to herself, and he kissed all over her hair while they made sounds near tears. And then Pale does break open a bit with something approaching a sob, before he curses and objects “I’m gonna cry all over your hair.”

But he only holds her tighter, as if they’ve both lost all conscious control over their bodies at this point, in the face of the all-powerful compulsion drawing them into each other’s orbits. The ending of this performance was absolutely stunning, leaving you with a myriad of unraveled emotions that are at once painfully incomplete and ill-defined, and yet just as bitingly complex and untamable as the most compelling moments of reality.

Over all, it’s nothing short of incredible to see how Adam continuously succeeds in upping his game throughout the course of the play’s run. He already brought the house down at the very first preview, and yet he manages to find new twists and interpretations to embody each and every time. What struck me this time is how boldly natural he’s become in the role – The way he leans into the accent like he’s really spent his entire damn life using the hard edges of the pronunciation like verbal brass knuckles. Adam has gotten to the point where just a single emphasized vowel sound brings the audience to hysterics:

“I heard that mollaaases you were pourin’ over maaam. Needed a shot o’ insulin.”

“Good niiiight, sleep tiiiiight.”

“Drinkin’ and thinkin’, man. Worse than drinkin’ and drivin’.”

“Fuckin’ hate Christmas. Look out… ribbons.”

“Get outta here; You’re useless!”

“Lemon will kill yaaa!”

“That was me and youuu up there.”

He has mastered how to pitch his voice for perfect, killer comedic effect. What’s more is how effortless he makes it seem; How utterly guileless. How he can swing from ugly crying to casual insensitive quip in the span of a minute, and make it just seem like the routine (if highly irregular) over-active synapses of a guy on coke. Even just his body language, the way he paces around the apartment in Act 1, completely out of sorts and out of his depth, like he’s never seen a coat rack or a stove before; A physical embodiment of his discomfiture with the emotions that don’t feel like they belong within him. His presence is imposing and even threatening, and yet his body language is alert and defensive, sometimes even self-flagellate. He embodies so many idiosyncrasies and tensions, it’s easy to see why his emotions burst from him in such tidal, chaotic floods.

I’m so thankful to have tickets to the final performance next month! I shudder to think of the feels I will drown in over how absolutely legend-level powerful Adam’s performance will be at that point. What a talent. What a man. 

I’d be overjoyed to receive any and all questions/thoughts about the play! :) Thanks for reading!