#it was fun making a solo a duet

[belladonazeppole]

Come Alive

(I just couldn't leave you in a sad note @adyophene )

Husk was finally free.

He has his soul back but he was so afraid in taking the first step to Lucifer, if daring to move would reveal that all was an ilusion of true freedom.

Be free never look so scary.

Lucifer could see Husk hestiation on moving, how his eyes desire in be with him, 'You stumble through your days got your head hung low, your sky's a shade of gray.'

For a long time that was Husk life.

Full of grays and unable to lift his head with pride.

Not without seeing that smile.

'Like a zombie in a maze you're asleep inside, but you can shake awake cause you're just a dead man walking.' Ok, fucking rude but fair.

'Thinkin' that's your only option but you can flip the switch and brighten up your darkest day.' Easier said than done if he is honest but he gets what Lucifer wanted to say. 'Sun is up and the color's blinding take the world and redefine it, leave behind your narrow mind, you'll never be the same!'

He is right.

Husk wasn't in the same darkness anymore, his nightmare is finally over, they isn't anything or anyone that could control his world again. He wasn't the puppet of the radio demon, neither his "pal" and much less his fucking pet.

'Come alive!' He starts to slowly walk towards the king, a bit insecure at first but slowly he was making his way to the man who have his heart. At the sight of the cat-demon walking towards him the ruler helds his hand once more, like that time in the bar, he had the same look in his eyes. 'Come alive!'

A loving one.

Fuck he loves this man.

Once again lucifer spread his wings and takes a small jump still with his hand held towards him, waiting for him, 'Go and light your light, let it burn so bright reachin' up to the sky and it's open wide, you're electrified!' He winked at Husk making him snort in response,.

'And the world becomes a fantasy and you're more than you could ever be because you're dreamin' with your eyes wide open and you know you can't go back again—... To the world that I was livin' in because I was dreaming with my eyes wide open.' Husk just heard enough and takes finally Lucifer hand but this time he doesn't pull him down but flies to be with him.

This makes the king froze for a single moment to then look teary at the cat demon, 'So come alive I see it in your eyes!' He was overjoyed that the man who help him in his lowest and won his heart is finally getting his shine back.

That he was be free for the first time since he knew him.

That he wasn't afraid anymore.

With more conviction he sings, 'I believe that lie that I need to hide my face afraid to step outside so I lock the door, but don't I stay that way!' He won't lock anymore of himself, he wouldn't be agraid of wanting to give his heart again.

No living in fear.

No more fakes smiles.

The patronizing words.

No more of Alastor bullshit.

Now he would live his life once again at his fullest.

'No more livin' in those shadows!'He shouts loudly and with pride while glaring at his former owner, then turns to see Lucifer who look at him with foundness. 'You and me, we know how that goes.' He hugs Lucifer, the fear that once wrapped his body was finally gone.

Now was warmness what cover him.

At the feeling of Husk's arms around him the ruler of hell felt how his heart melt in happiness, 'Cause once you see it, oh, you'll never, never be the same!' His magic starts to cover Husk in golden light.

Now everybody would see Husk as he does.

'Little bit of lightnin' striking bottled up to keep on shining!'

'I can prove there's more to me!' 

He was still a loser.

A old gambler.

A has-been.

But he had more this time.

He has people to his side, his soul, his freedom, somebody who love him and more importanly he could spread his wings with pride once again. The light finally dims and shows Husk in his old (now new) suit back with his colors, no more red.

No more Alastor.

'I won't be afraid!'

[bmpmp3]

im still holding on to that pipe dream that all current love live groups will someday cover sunny day song all together. and holding out hope that they'll also release solo versions of it for every single girl. the fanmixes will be legendary..................................................

[pebblezone]

The Beach Boys Love You (1977) is such a questionable album I mean it’s barely even a Beach Boys album based on who contributes what but she’s so silly to me ❤️❤️❤️❤️❤️

[catherinnn]

Truth or Dare Harrington?

Steddie x reader

summary: The gang has a night out singing karaoke and drinking. When the party dies down, this trio continues the fun at your apartment.

warnings: SMUT (+18), threesome, p i v, unprotected sex (don't do this, this is fiction), oral sex (m & f), no body descriptions appart that it's afab reader, smoking weed and drinking alcohol.

words: 3.2 k. masterlist

part 2

It had started as a fun night out celebrating you were all finally available, the entire group.

Ever since some of you started collage and others started working, the group wasn't what it once was. But tonight you were all here, drinking shot after shot and finishing endless cups of whatever you were ordering.

You went to a karaoke bar –Robin's idea– and it was the most fun you have had in a while.

You did all from solo songs to duets.

You sang 'I'm Just a Girl' with the girls; you sang a duet with Eddie doing 'The Chain'; Steve dared you to sing 'Take My Breath Away'; and then you made him sing 'Last Christmas' –even though it is July– but he made you sing it with him. Eddie and Steve dedicated you their version of 'Maneater' which you didn't know if you should be flattered or offended by.

To sum up, every possible song until your vocal cords hurt.

After that, you offered your apartment to keep the party going. Steve and Eddie were the firsts to say yes very excitedly, but the rest of the gang decided to head home already, calling it a night.

Eddie offered to share some of his good stuff but they went off either way. You still agreed to go and smoke at least for a little while with the boys.

That's how you ended up in your couch, passing a joint among the three of you while you played some dumb drinking game.

"Truth" Eddie chooses.

"Who of the two of us was your favorite to sing with tonight?" you ask him.

"Oh, that's mean. I liked both of you," Eddie takes a moment to think. "but I think we had a lot of chemistry on that stage, big boy"

"What?" you ask offended at his answer. "We had so much chemistry with that song, and it was much more of an iconic moment than yours!"

"Hey hey, he already made his decision!" Steve argues. "Control your jealousy"

"Get out of my apartment" you joke.

"Alright, calm down, I'll make you choose too" Eddie starts. "If you were... stranded on a desert island with one of us, who would it be?"

You roll your eyes, "that's easy, Steve" Eddie gasps offended and Steve grins proudly. "Well, because he was an athlete, he has a good body to survive and also take care of me" you tried to defend your answer.

"I'll take care of you baby" Steve winks at you.

Eddie and you start bickering until Steve makes you shut up and keep playing.

"Quit fighting, Eddie I dare you to say your favorite thing about her"

Eddie smirks already knowing his answer, "Umm, let me think," he says, pretending to be indecisive while forming two circles with his hands in front of his chest, mimicking the shape of breasts.

Steve laughs at this and you roll your eyes containing your giggle.

"Uh- no, it's her eyes, definitely" he answers for real this time.

"Yours?" Steve asks you now. "What's your favorite think about him?"

"Umm," you look at him while thinking your answer. "I could say your eyes as well, but I don't want to copy you... and I love your hair but we have the king of all hairs here present" you say referring to Steve. "I really like your smile, your whole face lights up when you smile, and you have those cute dimples too"

Eddie, ironically, can't help but smile at your statement.

"My turn" you declare. "Stevie, truth or dare"

"Dare"

"I dare you to... hold hands with Eddie for the next three rounds"

"Alright" he takes the other man's hand in his as he also takes the joint from his mouth to keep smoking himself. The latter rolls his eyes at this.

More rounds like that continue, where Eddie makes you sit on Steve's lap until you finish playing, and you make Eddie do a sexy dance without music where you couldn't stop laughing.

"Truth or dare Harrington?" the metalhead asks him.

"Truth"

"What is... a fantasy of yours? A sexy one"

"Uh..." Steve debates whether to say it or not. "Well, I've always wanted to- um, to have a threesome"

"Really?"

"Yeah"

"With two girls?" you ask him.

"Yeah... or a guy and a girl too, I think" he confesses.

"Princess, I dare you and Steve to shotgun" Eddie says all of the sudden.

"What? It's not even your turn"

"We're not even following those rules anymore" he defends.

"Uh, fine" you agree either way.

Steve grabs the joint and as you were already on his lap you just turn your head to look at him.

"I'll do it, yeah?" he checks and you nod.

He takes a drag and holds it, you move your head as close as you can so your lips are almost touching. He exhales the smoke into your mouth and you inhale it.

You don't know if it's the weed or having Steve so close to your face you're almost kissing, but you get a little dizzy on your head.

"You okay?" he checks on you again noticing this. You nod slowly without moving away yet, as you exhale the smoke.

Eddie looks at this smirking, enjoying the scene. "Steve, I dare you to kiss her"

"W- what?"

"Oh, you are both dying to! Just do it already!" he accuses.

You and Steve look back at each other as if you're asking the same question: Can we?

And you both give each other a little nod.

Therefore, Steve slowly closes the distance, finally kissing you.

His lips feel soft on yours. You can taste something sweet as well as the weed from before. The kiss is slow and tender, he caresses your cheek to pull you closer. Your hands go to his hair, feeling how soft it is.

When you separate, you let a little laugh out and so does he.

"That's cute" Eddie comments. You both look back at him.

Steve tries something, hoping it goes well. "Munson, I dare you to kiss her now"

He looks at Steve surprised, but with a smile on. As if he couldn't believe he had said that.

"Can I, sweetheart?" He asks you.

It's like having a little red devil on one shoulder saying, 'Yes! Go kiss him!' and a little angel on the other shoulder saying, 'No, you shouldn't be doing this.’

You pick the devil's side.

Getting down from Steve’s lap, you move closer to the other boy now.

He smirks at you before pressing his lips to yours.

This kiss was a little harder, not fast, just more passionate. He tastes like mint mixed with a smoky sent, being the weed and cigarettes. His hand is also on your cheek, almost at your jaw, keeping you in place. Your hands are also on his hair as you play with his curls.

You separate and feel that dizzy head again. What are these boys doing to you?

He smiles as well as Steve did and you ignore the little jump your belly does.

"I think there's only one move left" you comment as you look at them. You point at one, then at the other, and continue moving your finger back and forth between them, indicating both of them.

Eddie looks at Steve with a big grin. He's enjoying this way too much.

"O- okay" Steve agrees and they get closer until they start kissing.

You lean back enjoying the show. They don't hold back, it’s not a mere peck on the lips, not even close to that. They kiss properly. You wonder if now their tastes are mixed as well. Or if they can taste your lips as well as each other's.

You sit up and get closer to them. They separate and both look at you with puffy lips, you smile at that sight. You feel their hands at your waist bringing you closer. You grab both their faces gently as you bring them closer together and to you.

They see you closing your eyes and they follow you.

It's your first three-way kiss, it's not as uncomfortable as you imagined it would be. It's pretty fun actually, feeling both of their lips against yours, tongues meeting each other again. It's really hot.

You separate after a few minutes of that, looking at them smiling.

"Umm, do you... do any of you want to stop?" Steve asks a bit awkwardly.

Eddie is quick to shake his head, looking at you expectantly.

"Me either" you confirm.

Eddie smiles and kisses you again. You extend your hand to Steve so he doesn't feel left out. He takes it and starts to kiss your neck now. You let out a soft moan against the other boy's mouth.

Kisses and touches are shared among the three of you. You feel Eddie's hands under your shirt and Steve's on your ass. The metalhead lifts your shirt up a little as if asking you if it's okay, you separate from Steve's mouth and lift your arms up. He bites his lips as he takes the shirt off.

Both boy's hands are quickly on your waist, belly and chest.

"You can take that off too, you know?" you say referring to you bra. They look at you as if you just told them they won the lottery.

Steve is the first to reach the back of your bra and unhook it. Eddie's hands take your straps and slowly takes it off completely.

They stare at your boobs as if it is the first time they're seeing breasts. You know for a fact that it's not.

Steve's hands that were on your waist, travel upwards to touch them. Eddie goes to kiss your neck and travel down to your chest, and then to your breasts.

Steve kisses you again and you go to take his shirt off now. You moan on his mouth as Eddie plays with your tits expertly, making you more impatient.

“Can you lay down for us, sweetheart?” Steve asks you and you do as he asked.

Eddie sits up next to Steve, looking down at you as well. Steve whispers something in Eddie’s ear and he nods in agreement. You frown.

“Care to share with the class, boys?” you tell them. Eddie smirks at your joke but stays quiet.

“We just want to take of you” Steve starts.

“Enjoy you a little bit. Does that sound good, princess?” Eddie continues.

You’re still intrigued of what they agreed on, but accept either way.

“Good, just relax for us” Eddie says again as he hovers on top of you and starts kissing you. You enjoy having him like this. You feel Steve’s hands on your thighs going up to your hips.

“Can I take these off?” he asks referring to your pants and you give him the green light.

He unbuttons your pants and takes them off, taking his time, caressing your thighs while you still enjoy of the other boy’s lips on yours.

“These are so cute, baby” the bigger boy comments making Eddie stop kissing you to turn his head and see what he was talking about.

“Oh” Eddie lets out sweetly, “Do you always wear pretty panties like these?” he teases and you shake your head. “No? And why did you wear them tonight?”

You shrug this time, acting innocent. The truth is they make you feel good about yourself. You feel pretty and hot with them. As you knew you were going to go out with them tonight, you wanted the confidence. But you weren’t going to admit that.

“Just a coincidence? Or did you wear them because you were gonna see us?” Eddie continues teasing you.

“What do you think?” you say against his lips, challenging him.

“I think you’re not as innocent as you seem right now” he confesses and it takes everything in you not to make him lay down now as you sit in top of him and see if he can still tease you that way. But you don’t, because you also want to focus on Steve.

“Stop it you two” Steve orders.

“Open your pretty legs, baby” Eddie changes the subject smirking as he moves to face your panties now.

Steve takes advantage of this and lays next to you as he starts kissing your neck.

Eddie finally takes your underwear off and you feel him kissing your thighs, traveling up.

You turn to kiss the boy next to you and he responds happily, caressing from your waist, to your back, your neck, your hair. Everywhere he can really.

Eddie’s kisses move to your cunt now, focusing on your clit and teasing your entrance with two of his fingers.

It’s harder to focus now, Eddie puts his mouth to good use when he’s not mocking you. He makes you feel so good, knowing exactly where and how to play with your pussy. This, added with the touches and kisses Steve leaves on your skin, making you burn.

You moan as you back to kissing Steve, one of your hands on his hair and the other on the hair of the boy kissing you lower. Pulling at each mane.

Eddie doesn’t even want to blink, looking at you both make out as you hide your moans on Steve’s mouth. He is enjoying your sweet taste and the beautiful view. Flickering his tongue quickly on your clit and then sucking on it, he enters two of his fingers in you, making you arch, he smirks against your pussy.

His tongue moves in sync with his fingers, picking a more urgent pace as he feels you clench. You separate from Steve as you keep moaning.

“Gonna cum, baby? Are you close?” the latter asks as he enjoys watching you like this.

“Yes, mmph” you let out pulling on the long set of hair and arching even more as you cum. Your legs try to close but Steve stops them before you succeed.

Eddie keeps licking your pussy for a few more seconds after you cum, to then get up triumphantly. Steve grabs the boy to give him another kiss, tasting you on his tongue. Both men moan at this.

While you catch your breath you see them as they undress each other completely. When they’re done, they look back at you.

“Do you want to keep going?” Eddie asks you and you tell them yes.

They make you sit in the middle on them, your back to Steve. Eddie kisses you and you still taste yourself a little, Steve kisses your whole back.

The tattooed boy steps back, and Steve slowly pushes you down, positioning you all on fours.

“If you want to stop at any time, please tell us. Okay?” He says in your ear and you nod.

You feel Eddie’s hand on your chin, making you look up. He kisses you again as you feel Steve positioning himself in your entrance.

“Can I, baby?” he checks one more time, and you give him the green light once again.

You moan in Eddie’s mouth as you feel Steve entering you. He’s big, really big, making you feel him everywhere.

Eddie kisses your check, jaw, and neck until you get used to Steve’s size. Then he gets up, and you’re now facing his belly.

Before either of them says anything, you understand what they want to do. You start kissing his happy trail down to his cock. He’s also very big, a little less thick than Steve, but definitely nothing for him to feel jealous of.

You feel Steve moving slow but deep inside you, and as he feels you getting more wet around him, he fastens his thrusts.

You start kissing Eddie’s head and licking his length for a few seconds just to tease him. Then you finally wrap your lips around him, slowly entering your mouth. He throws his head back, getting lost in the pleasure.

“Your mouth feels so good, princess, fuck” he curses.

Steve moves faster at this, “Pussy’s so good too, you’re just fucking perfect” he moans.

You moan with your mouth completely full, making Eddie grunt and wrap his hand in your hair, also preventing it from bothering you.

Both boys take pleasure on the view as well. Eddie can see Harrington with his mouth slightly open, letting some moans and curses out as he moves perfectly inside you. He can see your round ass and Steve’s hands gripping it harshly. Lastly, he can see your beautiful face in pleasure as you take all of him in your mouth. He wonders how he can be so fucking lucky to be living this, but wishes it never stops.

Steve watches your pussy take him expertly, from his tip until he feels his pelvis come in touch with your skin. He watches your ass all round and perfect in front of him; he can’t see your face, but he sees Eddie’s hand grip your hair tighter and tighter until his skin turns white. He watches the other boy’s tattooed chest and arms, with his head turning back in pleasure from time to time, showing his big neck.

“Fuck yes, just like that, princess” Eddie curses. And Steve smirks feeling you clench around him.

“She likes hearing you, Munson”

“Oh, do you now? You like me saying how good you’re taking me? Best fucking blowjob I’ve ever had” You feel a tingle of jealousy imagining him with another girl in her knees for him, you’ll find a way to bother him with that when your mouth is not completely full.

“Fuck, she really does” Steve snitches on you and Eddie laughs.

“Such a good play toy we have here for us, Harrington”

“Fucking right we do”

Eddie feels you whimper against him. You separate, taking him out of your mouth to breathe for a second.

“That’s good, catch your breath, sweetheart” he says as he brushes his thumb over your swollen lips.

“Fuck, Steve! Harder!” you take the advantage to tell him and he obeys, making you face the cushions now form how hard he’s thrusting in and out.

“I can feel how close you are, baby, cum for us” He orders now, sliding a hand to play with your clit.

“Oh, yes yees, just like that!” You grip the cushions hard as you let yourself come undone.

“Shit baby, you’re so hot” He moves harder and faster now, catching his climax.

He quickly takes himself out, stroking his cock fast until he cums on your back, cursing and moaning as he does.

He picks up his shirt and cleans you out as you catch your breath.

You feel Eddie now next to you again.

“You feel okay, sweetheart?”

“Yeah, I’m really good” you comment, and you see he’s still hard.

“Eds” you get up to sit on his lap, but he stops you.

“Wait, hey. Do you want to keep going? We don’t have to?”

You roll your eyes playfully, still appreciating his concern, and you kiss him again.

He kisses you back so needy, grabbing you to sit on him and feeling you up.

He stops for a second and looks to the side of the room, Steve is sitting down watching you. Eddie signals the seat next to him, and Steve gets closer to you.

You go back to kissing Eddie, and Steve is kissing his neck.

Hands are everywhere, feeling each other’s bodies. You get up slightly and grab Eddie’s dick so you can sit on him.

“Oh, shit” he moans against Steve’s mouth. You move back and forth on him, Steve’s hands controlling your movements, helping you to ride Eddie.

“Oh fuuck” you moan arching my back.

“Sensitive baby?” Steve teases you and you nod.

“You feel so good, princess, holy shit” his head rests back on Steve’s shoulder. You both go to kiss and bite his neck, leaving marks behind just like the one’s Steve’s leaving on your hips from his tight grip.

“You feel so so good in me, baby” You tease him a little, whisper in his ear. “You both did, stretching me out so well, my big boys”

“Fuck- I- I’m not gonna last, I’m so close” He rests his head on your shoulder now, leaving bites and kisses.

“Cum with me Eds, I’m so close too” you jump faster now.

“Look at our little bunny here” Steve keeps teasing you both now, Eddie looks up at you and kisses you once again.

“Mhh, cum Eddie! Cum with me!” You tell him as you let go. He follows you right behind, grunting your name.

You stay like that with him, hugging each other. Steve gets up to grab a glass of water and a towel so he can clean you up once again.

He rests back on the couch next to you two.

“That was incredible” he comments.

“It really was” you say, turning your head to look at him, still resting with Eddie.

“You okay, Munson?” Steve checks since he stayed silent.

“I’m awesome man” he finally lets out. “and was incredible, indeed”

“You’re staying over? Don’t make me sleep alone now” you ask them.

“Of course, sweetheart”

“If you insist, princess”

You let out a small laugh, pleased with their answers.

“Let’s go to bed before we fall asleep on the couch” Steve orders.

And you sleep with one of them on each side, all cuddling together. You haven’t slept that good in a while.

[astrologysaysno]

You know what would be really fun to do, an AU where for some reason the PIDW world is randomly breaking into song and everyone is conscious of that fact but no one knows how it started or how to stop it.

Like, it's just been a thing in this world. Everyone is just in this state of living through a self-aware version of Zoey's Extraordinary Playlist.

I think what would make it even funnier is that when Shang Qinghua arrived at CQMS, the music suddenly switched up on everyone in the sect.

For like, centuries, the music people sang were of traditional tales and epics likening their plight to them, they would take poems and proses and accompany them to a backing that would usually materialize for the occasion.

Now suddenly there's like this great expansion of musical styles and genres and it has people in a buzz, wondering if this this was a natural evolution of the strange music mandate overarching the world or was this the fault of some great manipulator pulling the shots and deciding to add new material because they got bored listening to people sing the same epic tale for the millionth time.

(The true origin of this is that Airplane in his last life had a personal playlist made that he listens to whenever he wanted to write PIDW and now it has come back to haunt him cause HE RECOGNIZES THESE SONGS)

One of these instances first occurred with Shen Qingqiu (Jiu) and Luo Qingge, with Shang Qinghua as an unfortunate witness as it began a while after that awful mission that expanded the rift of misunderstanding.

Instead of some traditional oration of a story about rivalry, something new began to emerge.

It only takes the first few lines before SQH almost has his eyes pop out in shock when he realizes what was happening

... IS THIS WICKED?!?!

Shang Qinghua watches as the two perform a duet, the younger disciples of Bai Zhan acting as an ensemble as everything played out. LQG and SJ sang as they ran into the mess hall, everyone in perfect harmony raising eyebrows to every witness who hadn't been dragged into the number as an ensemble voice.

The moment the song ended, the two are immediately called by the Peak Lords of the Previous generation, dragging along Qinghua as they are interrogated about this new change in the musical paradigm.

The new mixes in with the old. Though the usual forms of song still occur, every once in a while, the new music appears to change the pace, attracting people with its unusual and exotic melodies.

Qinghua isn't immune to this phenomena.

Throughout his days when he became head disciple and then Peak Lord, he had never broken into song once, something that very much confused his fellows peers, who have at some point in their life belted a number or two. Shen Jiu and Liu Qingge had already over a dozen of solos each.

Shang Qinghua chalked it up to the fact that the universe probably decided he wasn't worth wasting a beat on and lived in second-hand embarrassment watching his fellow peak Lords air out their feelings in song.

But the day finally came when a song spewed forth from his lips...

...running away from Mobei-Jun

After the ceremony and the fight with Linguang-Jun, Mobei thought to leave a trap to his uncle, setting something on the steps to slow his uncle down.

Unfortunately for Airplane, he gets stuck on the trap as he runs away, Mobei-jun on his heels as the last of his strength is used to chase Qinghua.

The moment Qinghua turned around, time froze. Mobei-jun finds himself immobilised as Qinghua began to sing, his body frozen in time as his advisor belted and fluttered his voice, singing about choices.

The song ends, Mobei-Jun finally giving out as Qinghua runs away. Mobei-jun doesn't forget the song, and he understands what he must do.

[I have had "What is this Feeling" from Wicked and "On the Steps of the Palace" from Into The Woods on loop in my phone going platinum in my bedroom.

I made this entire thing from my delusions so uh, bon appetit I guess?]

[starlene]

Musical theatre questions for old and cynical musical theatre fans

How did you first get into musical theatre?

What is the oldest musical you love?

What is the newest musical you love?

Who is your favourite musical theatre composer?

Who is your favourite musical theatre lyricist?

Who is your favourite musical theatre director?

Who is your favourite musical theatre actor?

What is your favourite Broadway musical?

What is your favourite musical that's never been on Broadway?

What is your favourite non-English musical?

What is your favourite overture?

What is your favourite opening number?

What is your favourite act 1 finale?

What is your favourite act 2 opener?

What is your favourite act 2 finale?

What is your favourite female solo?

What is your favourite male solo?

What is your favourite female duet?

What is your favourite male duet?

What is your favourite mixed-gender duet?

What is your favourite trio?

What is your favourite group/ensemble song?

What's a song you love from a musical you don't otherwise like?

Which three cast recordings would you take with you to a deserted island?

What catches your attention in a musical and makes it interesting to you? Is there a subgenre of musicals you especially like?

What's the latest musical you've seen? What did you think about it?

What's a musical you're looking forward to seeing?

What's a musical that you saw ages ago that you're still not over? What about it made you love it so much?

What's a musical that you used to really like but don't anymore? What made you fall out of love with it?

What's a musical that's grown on you since you first saw it or listened to it? What made you appreciate it more?

Is there a musical that means a lot to you that isn't one of your favourites? What made you feel that way about it?

Talk about the worst production of a musical you like that you've seen.

Talk about a performance in a role that you can't forget.

Who's your musical theatre blorbo? Talk about them.

Who's your musical theatre otp? Talk about them.

Do musicals in general make you cry? Is there a musical, a song, or a scene that makes you cry especially hard?

Is there a musical lyric, line, moment, etc. that lives in your head rent-free?

What's the weirdest musical theatre related experience you've had?

Share a happy memory related to musical theatre.

Talk about something musical-related that annoys you.

Share an unpopular opinion about musical theatre.

Do you own any fun musical memorabilia, or do you maybe have a musical-related tattoo? Show and/or tell.

You have to do musical karaoke. Which song are you singing?

If you got to direct any musical, which one would you choose? Talk about how you would stage it.

What's a musical that doesn't exist yet that you would like to see?

Is there a musical you like listening to but not watching, or vice versa? What makes you feel that way about it?

Is there a musical that you looked forward to seeing that disappointed you? Why did it fail to live up to your expectations?

What's the worst musical you've ever seen? What made it so bad?

If you have to choose just one, what is your favourite musical of all times?

[rainybubbles]

"Dance with me" + 141 x reader

Gaz, Soap, Ghost, Price

(Sorry in advance for my mistakes, English is not my mother tongue. So sorry if it's badly written or if they're OOC.)

GAZ :

— Congratulations, Garrick, you whispered.

He barely heard you. Honestly, you doubted he even knew your name. Soldiers, especially those in special forces, rarely paid attention to the cooks unless they wanted an extra helping. At those times, flattery became almost a routine game.

But Kyle… Kyle had always been different.  

He was the only one who gave you a genuine smile when you served him. The only one who would chat with you, arrive early to help in the kitchen, and stay late to clean up.

Kyle had been there.  

In that endless cycle of meals, dawns, and dusks, he remained. So at the medal ceremony, you had hoped, just for once, to step into the light with him, to talk without the barrier of those ridiculous hairnets.

But Kyle was standing there, a companion on his arm, and suddenly, you felt utterly foolish.  

Where you had hoped for a slow dance, it turned out you were just tap-dancing alone.

So, after everyone else had offered their congratulations, you added your own, feeling a wave of shame wash over you, making you sweat. That knot in your stomach tightened as the lights grew blinding, every gaze seemed to pierce through you, and everything felt absurd.

You felt absurd.  

With that stupid outfit that was too tight, a tie that was too blue, shoes that were too shiny. Anxiety crept in and took hold, forcing you into an unwilling dance. Desperately, you tried to calm yourself, to find an escape, a place with fewer people. The door seemed so far away. Your vision blurred. And then…

Fresh air hit you.  

Finally outside, you sat down. Everything was swirling inside you. You wanted to cry. But you couldn’t even manage that, as your boss appeared.

— The caterer is late; get in the kitchen, we can’t ruin the evening.

So you resumed your dance: uniform, hairnet, apron, safety shoes. What you thought was a duet was clearly just a solo.  

Peeling carrots and chopping vegetables, you listened to the barked orders with the other kitchen staff.

The food was enough to satisfy everyone’s patience, and the caterer eventually arrived.

Alone, you scrubbed the floors.  

You were the only volunteer anyway. Searching for crumbs, cockroaches, or dirt, you scrubbed until your knees ached and bled.

— Aren’t you at the party?

Kyle was there. Of course.

— I was.

— Oh, I—

— Don’t worry about it. There were a lot of people, we probably just missed each other.

A lie.  

You had seen him, had even spoken to him. But to him, you hadn’t even existed.

— Yeah, I... Sorry they made you work.

— It’s fine. It’s a nice change from the usual rations.

— Yeah... I guess so.

An awkward silence fell between them, the first one they had ever shared.

— I feel like something’s off, admitted Gaz.

— Off? How do you mean?

— There’s this tension... Did I do something wrong?

No.  

You knew you couldn’t blame him; it was your own fault.

— No, nothing like that... How was the party? I mean, you’ll probably get promoted soon.

— It was nice. There was even a ball.

You knew that.  

You had gone there hoping for a dance.

— Really? Who did you dance with, Garrick?

— A childhood friend. I didn’t want to ask someone I didn’t know well.

Oh.  

So… you weren’t even considered a friend. Just an acquaintance.

— I hope they didn’t get too bored.

— They ended up in the infirmary.

— Oh, what happened?

— I… I’m a terrible dancer, and let’s just say my weight isn’t exactly light when it lands on a foot.

— You broke their foot?

— No, it’s not—

You burst out laughing.

— Stop making fun of me, he said, though he couldn’t help but smile.

— Sorry, but you can hit targets from a distance, and three steps are too much for you?

— I’m just not good at ballroom dancing.

— So what would you have preferred? The Macarena?

— Maybe.

— I can totally picture Price doing that.

He grinned.

— But… if I had been better at dancing, I would’ve asked someone else, anyway, he admitted.

— Asked them what?

— To go with me.

— Oh.

— I just didn’t want what happened tonight to happen, and then we wouldn’t talk anymore.

— They’d be silly to let that come between you.

— You think?

— Yeah.

— So… can I assume you’re not silly?

— Why are you—

Oh.  

— You wanted to invite me.

— Yeah.

— But…

— The dance was mandatory, and I didn’t want to embarrass you. I’d rather embarrass myself.

— Why didn’t you say anything…

— I didn’t have the chance.

— ...Well, I’m not sure I’m convinced. I mean… dating someone who can’t dance? you teased.

— I can do the Macarena.

— Go on, then.

And slowly, in the kitchen, with his phone blasting the tune, Kyle started dancing, and under their shared laughter, you realized this might just be the dance he preferred after all.

_______________________________

SOAP :

Soap gave you a slightly unsteady grin.

— I missed you, he murmured, his words slurred.

You shook your head, watching him struggle to redo his shoelaces with clumsy fingers.

— Johnny, you're drunk, you said, a glint of amusement in your eyes.

— Maybe… but I still missed you. Best roommate in the world.

— I'm the only one, you replied, laughing softly.

— That's why you're the best, he said, giving you a clumsy wink.

You handed him a glass of water, a gentle smile on your lips.

— Drink this, and I'll fix you something to eat.

— That’s why you're my favorite.

— How was your night? you asked as you busied yourself in the kitchen.

— L.T. dared me.

— And of course, you accepted.

— Naturally.

— And got your ass handed to you, didn't you?

— Hm, he mumbled, a bit embarrassed.

He finally managed to sit down, struggling to stay upright.

— You know… I've never seen you dance, he said suddenly.

— What? you responded, surprised by the comment.

— I've never seen you dance. It’s a shame.

— I'm not really the type to go out dancing, you know that.

— Yeah… He thought for a moment, then added, We could dance right here, right now.

— And why would we do that? you asked with a curious smile.

— Because I want to see you differently. To feel you close to me.

— Johnny, you see me every day, you said, laughing softly.

— It’s not the same. This way, I could really see your eyes up close, smell your coconut shampoo…

— You already know all that, you replied gently.

— Yeah, but living it is different. I could touch you, feel your heartbeat, your hands on me… just you and me.

You looked at him for a moment, touched by his vulnerability.

— You’re really drunk, you murmured tenderly.

— Just one dance, he insisted, almost pleading.

— One dance?

He stood up with a bit of effort, swaying slightly but determined. He reached for your hands and pulled you close. The world around them seemed to blur into a haze.

Each step was awkward, each movement hesitant, but nothing could shatter the bubble they had created. To him, this was a precious, almost sacred moment.

As his eyelids grew heavy, he let himself relax into your arms, finding a sense of peace and contentment.

They shuffled in the confined space of the kitchen, their movements creating an unsteady rhythm that was as endearing as it was clumsy. You held him close, guiding his steps with a gentle hand on his back. The light of the overhead bulb cast a soft glow, illuminating the warmth of their shared moment.

The kitchen, usually bustling with the mundane tasks of everyday life, had transformed into a quiet, intimate space where time seemed to stand still.

The clatter of pots and pans was replaced by the gentle rustle of their clothing and the soft shuffle of their feet on the tiled floor. The contrast between the chaos of the night and this tender, private dance was stark but comforting.

Soap’s head rested against your shoulder, and you could feel the steady rise and fall of his breathing, the comforting rhythm of a heartbeat that mirrored your own.

There was something deeply satisfying about this moment of stillness amidst the chaos.

His breathing, slow and steady, was a soothing reminder of their connection. The way he relaxed into you, his body melting against yours, spoke volumes more than words ever could.

As they continued to sway together, you could sense the vulnerability and trust in his movements.

His occasional missteps and the way he leaned into you for support only highlighted the depth of his feelings. Despite the awkwardness, there was an undeniable grace to their dance—a testament to their bond and the quiet understanding they shared.

— You’ll dance with me again, won’t you? he murmured, half-asleep.

— We’ll see tomorrow, you whispered, guiding him gently to the couch.

He collapsed from exhaustion, instantly drifting into a deep sleep, still wrapped in the memory of their dance.

As the first light of dawn began to creep through the window, you moved about the kitchen, preparing breakfast with a newfound sense of tranquility. The rhythmic chopping of vegetables and the gentle sizzle of food in the pan were soothing. You stole glances at Soap, who was still deep in sleep, his breathing even and calm. There was something deeply satisfying about this morning routine, a feeling of normalcy and peace that you hadn’t realized you’d missed

The comforting aroma of breakfast filled the kitchen, mingling with the faint scent of whiskey that still clung to the air. The contrast between the warmth of the kitchen and the cold light of dawn outside created a sense of cozy isolation. You moved with practiced ease, your actions steady and deliberate, a quiet testament to the care you took in your daily routines.

Eventually, Soap stirred, his eyes fluttering open with the kind of groggy confusion that only a hangover can bring. He squinted in the light, struggling to get his bearings. When he finally registered your presence, he gave you a tired, lopsided smile.

— What I said last night… I meant it, he murmured. And this time, you can’t say I’m drunk.

— Technically…

— Technically, I’d love to kiss you and ask for another dance.

— You stepped on my feet more than twenty times last night.

— I know…

— And you reeked of whiskey.

— …

— Not to mention your snoring that kept me up all night.

— Okay, so I’m not perfect…

— But despite all that, I enjoyed our dance.

— Really?

— Even if choosing Blue Da Ba Dee for a slow dance was a terrible idea.

— That was me?!

— Yep.

— Damn… Let me make it up to you, he said, dropping to his knees in front of you.

You laughed, amused by his dramatic gesture, then knelt down in front of him, running a gentle hand through his hair.

— Alright, one more dance.

— One more dance, he repeated, a smile spreading across his face.

___________________

GHOST : 

The room gradually fell into silence, despite the constant chatter of the journalists on the screen. No one was really paying attention to the news broadcast. Simon was staring at his still fresh cuts, watching the red darken to brown.

— Want to dance? he asked, finally breaking the silence.

You looked up, surprised, then let out a small laugh.

— Dance? Now?

— Yes, now.

He reached out his hand to you. You hesitated, then finally placed yours in his. Exhausted, you let yourself lean against him. Simon picked out a vinyl, and soft music filled the room as they swayed slowly from side to side. He felt your warm breath against his neck, your body seeking refuge in his arms. His hand, still trembling, held yours tightly.

— You’re stiff as a board, you murmured with a smile.

— I’m managing, he replied, slightly offended.

— It’s like you have two left feet. Relax a bit, you added, a playful grin on your lips.

Simon couldn't help but smile inwardly. He had missed that smile so much— the real one, the one that made your eyes sparkle and your dimples appear, a stark contrast to the hollow gaze he had seen recently.

— It’s all over, you whispered.

You wasn’t talking about the dance.

— Yes, it’s all over.

Neither was he.

— Will I ever be able to dance again? you asked, doubt creeping into your voice.

To love. To love again.

A few weeks ago, Simon had returned from a grueling mission, only to find your home surrounded by police. The sight of the flashing lights and the presence of uniformed officers had sent his mind spiraling into a whirlpool of fear and dread. He imagined the worst, his thoughts racing with the possibility that his desire to keep you close had ultimately endangered you. He had feared that, like so many others before you, you might have been irreparably damaged by his choices.

But…

Under the harsh, unforgiving lights of the police cars, he had found no body, no immediate evidence of a catastrophic event. Yet, when he had seen you amidst the broken glass and the wreckage of their lives, you were nothing more than a shadow of the vibrant person you once were. Your eyes were vacant, the walls bore the scars of a recent trauma, and the TV was stuck on a loop, replaying the same game over and over, as if it were mocking the endless cycle of their suffering. The word "Sorry" was scrawled repeatedly, a haunting echo of remorse and helplessness.

.

Simon had understood the weight of the moment. With a gentle hand, he had helped you up from the floor, guiding you through the aftermath with a steadfast determination. He had been by your side for every medical appointment, every police report, and every painful statement. His presence was a constant, unwavering support as they navigated the wreckage of their lives together. Gradually, they began to live together, two lost souls seeking something more as they danced together that night.

A home, a dream, a soul?

No, it seemed they were searching for something more elusive—a ghost of their former selves, the remnants of a life that once held promise and joy.

— I’ll be here for you, Simon said softly.

— Then you better improve your dancing, you retorted with a hint of teasing.

— I promise, he murmured.

If becoming a dance master was what it took to help you rediscover the rhythm of life, then he was willing to dance for you, over and over. For he knew that no day should be spent with a heart broken by another. As they continued to sway to the music, the simple act of dancing became a symbol of their shared commitment to healing and moving forward. It was a testament to their resilience and to the enduring hope that, despite the pain, they could still find solace and joy in each other’s arms.

______________

PRICE : 

The flames in the fireplace crackled softly, casting shadows across the now-empty room. The guests had left long ago. John approached you slowly, deliberately, sliding his arms around your waist. He took a deep breath, letting your unique scent—something distinctly you—fill his senses, anchoring him in the present moment. The weariness of the past two months seemed to melt away as he embraced you. Finally, he was home.

—Something on your mind?, you asked, a hint of amusement in your familiar tone. It was a sound he had missed—something about your tone always made him feel like everything would be alright.

—I missed our date, he replied, a trace of regret in his voice.

—You've been on a mission for two months, John. I didn’t expect you to show up every Friday night for our little routines, you said, your laughter soft and genuine, like a soothing balm to his frayed nerves. The light in your eyes, though, told him that you understood more than you let on.

—I could have tried.

—And how would that go? 'Hey guys, hold on a sec, I need to leave for a romantic date with my partner?"

—I'm sure I could’ve convinced them, he said with a smirk.

You burst out laughing, shaking your head.

—Maybe, but I doubt El Sinombre would have agreed.

—Probably not, he admitted, his tone softening as he pulled you closer, But I couldn’t give you those moments that are just for us.

—John, you sent me more than enough money; don't worry about that.

—That’s not the kind of moments I meant, he said gently, his fingers tracing light circles on your arms, the touch both tender and reassuring. His caress was a silent promise of the moments yet to come.

—Oh...

—I love our dates, all those little memories. I remember the day a stray dog pushed me into a pond, or the time you ended up with cream on your nose at the restaurant, He chuckled softly, the memory of those times clearly cherished.

—And which one’s your favorite?, you asked, turning to face him.

Their faces were just inches apart, their lips almost touching, but neither gave in to the temptation. It was a game, a silent challenge.

—Our wedding day, he finally said.

—That wasn’t a date, you replied with a playful smile.

—It was, on the dance floor.

—Oh, that moment...

You remembered how John had surprised you, revealing that he had secretly taken dance lessons for months. That slow dance had transported you, as if the whole world had disappeared, leaving just the two of them, their steps perfectly in sync, their love shining like a star.

—I can’t even remember the steps, you confessed softly.

—Let me remind you, he whispered in your ear, his breath warm against your skin. The intimacy of his voice and the proximity of his body sent a shiver down your spine, making the room feel even cozier.

With infinite tenderness, he gently took your hands, his rough fingers guiding you with a careful precision that spoke of countless hours spent perfecting their dance. As he began to lead you through each step, humming the tune from their wedding, you felt a wave of emotion wash over you. A tender smile lit up your face, and you looked up at him, your heart swelling with love and gratitude.

—I love you, you finally whispered.

—I love you too,he replied with a sincerity that warmed your heart.

Slowly, the lights around them seemed to dim, the room growing tranquil as the dance came to an end. They stood there, wrapped in each other's arms, their hearts beating in harmony. The fire continued to crackle softly in the fireplace, casting a warm glow over them as the night settled into a peaceful calm. In that serene moment, surrounded by the remnants of their love and shared memories, they found solace in each other’s presence, cherishing the quiet beauty of their reunion.

If you want more : masterlist

[rosesofenvy]

How Far We’ve Come - Music Theory Analysis

[Disclaimer: I went to university for music as a violin primary and have the most confidence with classical strings. I passed my piano proficiency courses, but that is the extent of my piano knowledge. It has been a few years since I have done an in-depth composition analysis of any piece, let alone transcribing a piece by ear and then analyzing it. Music theory has never been my strong suit! Please excuse any mistakes in notation, and any inaccuracies in my transcription or analysis. I did my best and this was purely for fun *shaky thumbs up*]

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

'How Far We’ve Come' by Harlan Guthrie is a duet between Grand Piano and Cello. This piece opens with solo piano, either in a pickup measure or in a single measure of 2/4 before transitioning to 4/4 time in measure 2. Throughout its entirety there are many moments of rubato which have been notated as ritardando and a subsequent a tempo. To most accurately follow the phrasing, listening to the recording is highly recommended.

This piece begins in the key of F#M or the enharmonic spelling of GbM. Although unpleasant to look at with either 6 sharps or 6 flats, depending on which spelling is followed, this key is often used by composers to invoke emotions of a conquest story, evoking relief, triumph, victory, and clarity. As we know from our story in Malevolent so far, this meaning is not lost on us. I have chosen to keep this piece as F#M since that is how I originally began transcribing it. I have also attached the GbM version at the end of the post, however all the analysis follows F#M spelling.

The lone piano begins on the third of our I chord with a hesitant, heavily rubato 8th note pickup into measure 1. The transition from measure to measure in this first phrase gains little confidence, especially with the transition from the pickup into m. 1 as this is the only instance in the piece where the set of 8th notes in the left hand do not lend itself into the next right hand pickup (four 8th notes instead of five). Each lead-in to the downbeat is stretched, pedal held throughout the measure to allow the sound to linger. Each press of the keys is deliberate, yet maintains a mezzo dynamic as the sound fades. m.2 is introduced with a vi chord, creating a hint of unease before resolving in m.3 to a IV(add7). We end our first phrase with a half cadence to a V chord, leading into a V7 as our next phrase begins with a B. 

As we enter our second phrase it is similar to our first with  m.5 beginning with a I chord, m.6 expands our vi chord compared to its first iteration, resulting in a more confident feel as we continue into m.7 with yet another expansion to our IV(add7). M.8 ends this phrase as we reach another half cadence V chord almost V7. 

Beginning m.9 the piece has a few possible paths of analysis, we arrive on a vi chord if we are remaining in F#M, which unlike our other initial starting phrases this throws us into a melancholic mood. There is a possibility of modulation to the relative minor (D#m), however I believe it remains in F#M and utilizes inversions of our chords and will continue with this assumption for the next phrase.

Remaining in F#M, m.10 could be a vi(4/2) inversion, or a I(6/4) inversion. Because Measure 11 moves to a ii chord, I believe it makes more harmonic sense for m.10 to be a vi(4/2) inversion as moving from a I(6/4) - ii is less common than a vi(6/4) to a ii. 

M.11 into m.12 is a fascinating progression. We have a V with the (g) in m.11, then we are descending to a Dnat, A#, E# progression. The Dnat is what has thrown me off the most, as it is a minor chord of sorts but doesn’t exist within our key of F#M, or relative D#m. The E# A# progression I believe is a I(4/2) chord, as it is leading us back into the next phrase. Even spelling enharmonically as a A#, Cx, E# chord it does not naturally occur within our existing key. After many hours of checking theory textbooks, writing out possible modulations, and playthroughs of the chords, I’m choosing to leave this as a V-I(4/2) progression and accepting my loss that I do not know what chord exists in the downbeat of m.12. However, I can say that resolving to something that is not a root tonic further creates this sense of melancholy.

Bringing us to our next phrase at m.13, similar to our previous phrase a vi chord but instead of resolving to an A# it resolves to the root D#. M.14 is identical to m.10 with the exception of the lower octave A#3 before resolving in m.15 to a ii chord until the fourth beat of the measure which leads us into measure 16 - resolving to a IV-V half cadence by the end of the measure. 

Reaching m.18 we are returning to our original phrase. This is where our cello enters for the duet, in which I have some observations about musicality first. As the piano is using a significant amount of pedal to sustain the sound, the cello utilizes a wide vibrato to create a warm sound. Notably, this doesn’t occur as significantly when entering with the lower notes. The cello is confident, encouraging the piano forward and maintaining a solid momentum even with the hesitance the piano has shown. 

M.18 we begin on a I chord, supported by the cello playing a low F# as the root. In the pause between phrases, it's as if you can feel the performers breathing together before they move to m.19, our vi(add7) chord. 

Measure 20 I have quite a bit to talk about. Stacked chord analysis is not my forte (pun intended). From what I could hear, there is a B1, F#2, B2, F#3 in the cello, while the piano continues with a IV(add7) chord. B1 is impossible to play on a cello with traditional tuning, in order to achieve this note they would have to tune their lowest string - their C string - down a half step. The chord B1/F#2/B2/F#3 is also impossible to play on a single instrument. If one cello tuned their C down to a B, then they could feasibly play the bottom chord, possibly the two B’s in octaves. It is possible for a cellist to play an F#/B/F# chord, however it would be uncomfortable and not result in a good tonality with it being a triple stop - but, the second cello could split the chord and play a different combination (F#2,B2 or B2,F#) with success. Other solutions to this could be having a double bass play the pedal B, as it would be within their ability on and remain in the correct octave, or having the piano cover the pedal B. This massive chord then resolves simply to a half cadence V chord in measure 21. 

Entering our last section, m.22, we return to a phrase similar to the beginning, with a confident I chord. With each measure we go to a more traditional chord progression to a V-IV-V in measures 23, 24, and 25 respectively. In an exciting turn of events, we land on a I chord in our final measure. The first PAC in the entire piece, and yet, it doesn’t sound as if the piece is finished. Throughout its entirety, all the phrases have been a form of inauthentic cadence. We end on a Perfect Authentic Cadence, a V-I, it should sound resolved. And yet, it continues on. The notes ring, and if left on repeat (as I have done for this analysis), it makes sense for it to continue. 

In conclusion, I believe this duet is in an general AABBAA format, with A being Major key tonality and B encompassing a minor key tonality. This piece is a conversation, it’s full of emotion and hesitance and is a fantastic representation of everything we’ve seen Arthur and John go through so far in the podcast. I can’t help but think of “I’ve come so far…and I have miles to go before I sleep” with this piece as a reflection of that. This composition is saying “Look, see how far we’ve come, what we’ve done to get here. How we’ve changed and grown.” All this to say, it’s an amazing story and an amazing composition. If you made it this far, I’m glad you came along in this musical journey with me and feel free to add anything I may have missed (or possibly mistaken). 

[helluvagirlboss]

Helluva Boss Songs I Hope To See in the Future

1. Another Stolitz duet, whether it be romantic as hell or if it’s the extremely “make-you-blush-while-listening-to-it” horny song that Sam Haft teased for S3.

2. I want Octavia to either have a solo or have a duet with Stolas. Based on the S2b trailer I believe we’re probably getting a Via solo so that’s great, but a duet with Stolas would be heartwarming (or heartbreaking depending on what Viv decides to do to us lol).

3. A proper Millie/Moxxie duet, one similar to “Crooked” between Fizz and Asmodeus. We haven’t had a proper one since “Oh Millie” from the pilot and since the pilot is no longer canon, a true blue duet between the two is lone overdue (I swear I didn’t intend for that to rhyme lol).

4. While I know Erica Lindbeck confirmed we’re getting a Loona solo next season, I would also love for her to have a duet with Blitz because I feel the show would benefit from Loona showing and telling her dad how much he means to her.

5. A Blitz and Fizzarolli duet. This is one is less serious than the previous ones, I just want it because I think it would be funny as hell and I wanna see these two have a good time.

6. A villain song where Stella is manipulating Via, think “Mother Knows Best” from Tangled vibes. I think it would be great for Stella to establish herself as an intelligent and formidable villain, and not just a raging bitch.

7. Jumping off that I would also love a villain duet between Andrealphus and Stella because I think it would be fun.

8. A song battle between Moxxie and Striker. I just wanna see these two face off again music style especially if it’s during a physical brawl.

9. A Millie and Loona duet because I wanna see more of their dynamic.

10. And finally a group number by I.M.P. We’re long overdue for a badass group number from the members of this wacky murder business and I’d be hyped.

And that’s all for now! I’m sure I’ll think of more! Let me know what you guys think :)

[theresattrpgforthat]

Hey there, big fun of your recommendations so far! I have a request to make if that's alright:

I have recently come across Godkiller, which introduced me to the concept of duet games, as in, games specifically designed for a one player one GM dynamic. I'm aware that almost any ttrpg can be played as a duet, but do you have any more examples of games designed with that play style in mind?

Thank you!

THEME: Duet Games

Hello friend, so I'm going to link my Duet Games tag for you t peruse at your leisure, before I add more games to this list. Some of the games here might allow for more than two players, but I hope this plus the tag gives you enough options to look through!

Godspark, by M.Allen Hall.

Godspark is a tabletop adventure game for one or two players. You will explore Ruina Dei, a graveyard of the gods, searching the bodies of fallen deities for the godsparks (fragments of divine power) that allow you to stay alive. With enough godsparks, you can perform miracles, the magics of Ruina Dei. With enough godsparks, you might be able to Ascend and leave this place forever.

If you liked the vibes of Godkiller, you might also like Godspark - in fact, you might be able to attach the two games in regards to setting, placing Godspark as the sequel to Godkiller! The game uses a deck of playing cards, which I assume help you generate locations or details as you play. The game is also designed to be played solo, so I’m not sure if the two-player mode has both of you play characters, or if it sets up one person to have more of a GM role. If you want a game about resistance against heaven, definitely check out Godspark.

Haunting, by Arcane Atlas Games.

Haunting is a two player game about a sentient House that wants to devour its Occupants. 

During play, the players will work together to create their story, documenting the time that the Occupant spends living in the House and telling the tale of how the House will inevitably becomes vacant once more.

The House is waiting…

One of you is the House, angry and unchanging, wanting nothing more than to eat anyone who dares live inside it. One of you is a cast of Occupants, who move in, add to and change the House, and do their best to survive the House as it changes. In between each scene, the two of you switch roles, allowing each of you to set up and react to the decisions and actions of the other. After three scenes, the game ends. Haunting uses drawing as a way to navigate the House and the changes that happen to it. It also includes a list of traits that you can pick from to create your House, as well as rooms, various kinds of occupants, as well as examples of play. If you want a comprehensive, spooky experience, I recommend Haunting.

Conflict of Interest, by barclay travis.

In a line of work that values separation of the mind and the heart, the brains and the brawn, you have found it within yourselves to, perhaps ill-advisedly, merge the two. Not necessarily in the moments where you’ve got a gun in your hand and blood in your mouth, but in the moments between intense violence and adrenaline where you find calm in the company of one another.

This is a GM-less slice-of-life game for two players. You don’t need any materials to play, other than yourself and someone you trust.

Conflict of Interest is a game all about spies and forbidden relationships. Choose from a host of playbooks to describe the kind of spy you are; your relationship to your job is what defines you, and also defines how you relate to your partner. Over the course of a number of scenes, each player will use playbook moves to navigate scene prompts, following their spies through a series of hotel rooms, experiencing the intimate moments in between missions. If you want a chance to role-play through an intimate relationship with someone with the help of focused concepts, you might like this game.

Getting A Clue, by Hewie E.

A 6-page RPG about solving crimes for 2+ people where a coin flip can decide your fate. Form hypotheses, get into shootouts, and figure out who did it in Getting a Clue.

Similar to Godkiller, Getting A Clue requires one person to take on the role of The Commissioner, while the other player(s) take on the role of detectives. Success is determined by flipping a coin, and players determine their special abilities by rolling a d6 twice - once for Brains and once for Brawn. Successfully solving a case makes you more competent, and I suppose the end-game character would be one that had a 6 in both of their traits. The game also comes with worksheets that you can use to keep track of clues and assemble evidence to help you solve the mystery!

Final Broadcast, by grave snail games.

Against all predictions, the sun of your galaxy has just exploded. You have mere minutes—eight minutes and twenty seconds, specifically—before a crash of cosmic radiation boils you into space dust and destroys the galaxy. But you! You are here in a convenient broadcast tower from which you can send a message through a wormhole to places beyond your galaxy. A final transmission, telling the story of a doomed world before it all ends in fire.

FINAL BROADCAST is a very short improvisational storytelling game in which you transmit a final message as the galaxy is consumed by solar flame. It was developed in a week as a submission to the The Queerness and Games Jam.

Final Broadcast works with a larger player count, but also works well for 2 players. The game involves using text from your life as well as from roll tables within the game to compose final messages, and then attempting to say your final messages before your entire galaxy burns. If you want a game that is about desperation, despair, and the last gasps of a group of people being snuffed out, you should definitely check out Final Broadcast.

The Fire Flickers Between You…., by Viditya Voleti.

The Fire Flickers Between You is a game for Two Players for around 40 Minutes, about the bond between a Pilot and Mech, and the last night they'll spend together. 

One of you is a highly advanced combat mech, the other is their specialized Pilot. You two are fully in synch from completing missions, training, and spending time together. 

Your platoon has lost the battle. You all must flee before enemy reinforcements arrive. The Pilot, however, proposes the two of you will set up a diversion giving the others time to escape.  You both now sit around a campfire, waiting for the enemy to arrive. In these final moments, a conversation strikes up.

This game has players lighting, placing, moving, and putting out candles as you reminisce about your friendship, what it means to sacrifice yourself, and whether or not you're ready to let go of each other.

The Fire Flickers Between You uses the power of candles and and flame to describe the last moments of a duo that has bonded in a unique way; a Pilot who has lived a life full of danger and adventure, and a Mech that has absorbed the Pilot’s memories, but does not have the capacity to understand things like sacrifice or death. If you want an emotional game that allows you to review an entire life in just a few hours, I recommend The Fire Flickers Between You.

[justwinginglife]

Karaoke Night w/ The Gang

More Third Division Shenanigans per request.

Kafka's always the first person to suggest group activities, and tonight was no different when he cheerfully proposed that the team should all go to karaoke together.

Ichikawa was shocked, "Sir! Can you even sing?"

Kafka grinned widely. "Nope, not a chance! Makes it more fun!"

Ichikawa rolled his eyes but he smiled all the same. "Alright sir, count me in."

And if Ichikawa was coming, Iharu was coming. And then one by one, everyone chimed in their collective agreement and soon the whole gang was bounding down the street together and cramming into one karaoke room.

Kaguragi and Haruichi were arguing about what foods to order while Shinomiya took the first song, saying she was about to blow all of your minds.

Hoshina took a seat next to you, draping an arm across your shoulders as he watched everything unfold with an amused look on his face. He took a sip of his beer and then offered it to you, you took it gladly.

Okonogi was on the phone next to you, trying to convince the Captain to come to no avail. She was taking her nightly bath and she couldn't be bothered to come join you, not when she was already relaxed and ready for the end of the night.

Platoon Leader Nakanoshima snuggled herself in between Kaguragi and Haruichi, laughing as the boys argued.

Iharu was bragging to Ichikawa that he bet he could sing better than him (he couldn't).

It was all such a ruckus but it was endearing. You couldn't imagine a better night.

Shinomiya finished her song, she did in fact blow your minds. You thought it was unfair that she could fight and sing- just pick a talent and leave some for the rest of us, you thought.

You thought you might take this chance to outdo her, since Platoon Leader Ikaruga had just popped in and he wanted to sit next to your boyfriend anyway. You got up from your seat, allowing him space next to Hoshina and the two began chatting.

You thought you might try to embarrass Hoshina so you picked the sexiest song you could think of. You could tell he was trying to focus so hard on his conversation with Ikaruga, as he kept asking him to repeat what he was saying, but his gaze kept flitting over to you. His throat went dry and he started to flush. Especially when you started dragging a hand down your body and swaying your hips as you sang. He stood up quickly.

"Okay song's over! Iharu- take over." He yanked you back down into his lap, not wanting anyone else to see you touching yourself like that and he quickly shoved the microphone in Iharu's face.

Iharu was shocked at him suddenly being put on the spot but he shrugged and took the stage. He sounded like a dying whale. Ichikawa, sweet baby that he was, tried so hard to keep from laughing but you could tell his face was going red from the effort of trying to hold it back.

Kafka must've been tone deaf because he clapped and sang along, encouraging Iharu to sing louder.

Hoshina face palmed. "Okay, maybe Iharu was the wrong choice." He muttered under his breath. You laughed and nudged him.

"That's what you get for interrupting my solo." You teased.

He rolled his eyes. "Yeah yeah. I'm gonna want a private dance later, by the way."

You laughed at how shameless he was, thankful that everyone was focused on Iharu's horrible singing.

The singing only got worse as the night went on and everyone had a couple drinks in them. Platoon Leader Nakanoshima had tried to serenade both Kaguragi and Haruichi at the same time and you couldn't help but cringe. Kafka and Ichikawa had tried doing a duet, which was sweet at first, but Kafka's belching was not a good match with Ichikawa's shy, soft singing.

Eventually, Hoshina couldn't take it anymore and he scooped you up bridal style, waving to the gang and saying you were tired and he had to take you home.

Once you were far enough away from everyone, you laughed, "Oh I'm tired? You had to use me as an excuse for you wanting to leave?"

He continued to hold you tight in his arms as he walked. "Oh you're going to be tired when I'm done with you, so I was only half-lying."

Oh boy. Seems like karaoke wasn't the only thing you'd be screaming tonight.

[heybiji]

In reference to the last ask you posted! Do you mind going over your tips on role-playing as that active-type character and/or digging up the thread of conversation it seems the original asker was referring to? I'm so interested in your experience role-playing for both prep in possibly joining a game someday and also bc it sounds like such good character creation and general writing advice!!!! I tried checking you blog but didnt turn up anything that touched pn it more (No worries if not though!)

Sorry for this late response!

My advice is make characters that create opportunities for story.

Reacting to a story is fun! Reacting to a character is fun! But if you're always reacting then you're creating opportunity for other characters to react, so sometimes you gotta Act to let the other characters and the story React.

To do this, characters should all want something. And not something vague (like "to be happy"), it should be something more tangible, more specific, and everything else can stem from there. It'll guide your character naturally. It's their Motivation.

More under the cut (or skip to the end for more standard advice)

For example, my dnd character Dandelion wanted more than anything to go home. "Going home" meant a lot of things, yeah it means being happy, it means he wants to be with his family, it means he wants to be loved, it means he wants to feel safe, it means he wants to belong somewhere, but the tangible idea is "go home."

Because I knew this is what he wanted most of all it guided all his actions, and his actions for better or for worse all made sense because of it (and I made it clear that was what he wanted "on-screen" on multiple occasions). So anything that involved the idea of getting home would activate him, and he'd also deeply empathize with anyone and anything else away from home/away from family. Giving him one strong, clear motivation instantly made him an active participant in the story. This made him active with other characters too, any mention of home, any mention of family, any idea of not belonging, it drew him toward them.

(as a DM now this is also what I need more than anything, what's your hook? how can I tempt you? how can I make your character move forward? how can I make your character react? also characters that create opportunity for story take a LOT of work off the DM's shoulders in my experience, it shows you're engaged and it feels less like dragging a cat around on a leash haha like "are you enjoying this? do you want this? i don't know! please give me something!")

my more standard advice?

Be a good listener

Be present (in the moment)

Be curious

Be the biggest fan of all the characters

Put your story on-screen frequently, give people the opportunity to react to it and join in on it (this can be as simple as "my character's body language changes at the mention of 'home')

Create opportunities for the other characters to have their story on-screen (ask them questions! if you know what the character's buttons are and it makes sense in the moment, press them! listen to what they're saying, pay attention to what they're doing, and react to it)

Interact with the world! Interact with each other! And make these things mean something to your character!

Your character should make mistakes. Mistakes create opportunity for everyone.

If there's a genre, or theme, play toward them earnestly.

The more you RP, the better you'll get at it! It's a process and that's okay!

my little tip for knowing whether your character is Active vs Reactive: if the story were a musical, do they have an I Want song? do they have multiple moments for songs within the narrative? have they shared a duet with another character? do their songs change, evolve? songs happen for important moments in a musical so if you're not contributing to important moments, it may mean you're reacting more than you're acting. which is fine if you're playing a game solo and are granted access to the narrative by virtue of being the designated main character, but because RPing is collaborative storytelling, everyone should be doing their part!

[dinahdoeeyes]

My ideal production of Starlight Express.

I suppose I'll just get right into it. First the list of characters, then the songs (excluding little bits/non-songs like Taunting Rusty and the races), then the rest.

Cast:

Rusty

Pearl

Greaseball

Dinah

Electra

CB

Ashley

Buffy

Poppa

Belle, the Sleeping Car (called Memphis Belle)

Dustin

Flat-Top

The Rockies

Volta, Joule, Wrench, Purse, and Krupp

The original National Engines

Duvay and the Sleepers

Control

Setlist (* = will be addressed below):

Entry Of National Trains

Rolling Stock

Call Me Rusty

A Lotta Locomotion ('83 Workship version, but with Buffy added)

He Whistled At Me (Minus the Rusty/Pearl conversation)

*Dinah/Greaseball duet

Freight (With the girls bullying the boys)

AC/DC

Pumping Iron ("Trying to build my body, trying to lose my mind" and "Stretching my bullworker, heaving on my weights" switch spots because I just feel that it'd sound better that way.)

Sleepers moment

*Dinah solo

Hitching and Switching (probably original)

Crazy

*That was Unfair (extended)

That's Me/There's Me (duet)

Poppa's Blues

Belle's Song (Combo of OG & Broadway — especially "sniffing the coke")

Starlight Express

The Rap: Hey You

*Make Up My Heart

Pearl Twirl

U.N.C.O.U.P.L.E.D.

Girls' Rolling Stock

Wide Smile (Mostly the Broadway version, except he says the OG "...C.B." in the chorus instead of Broadway's "...the Red Caboose," until the ending after Electra & co leave.)

I Was Robbed

Right Place, Right Time

I Am The Starlight

Rusty and Dustin

*Dinah's Disco (extended)

No Comeback

One Rock & Roll Too Many

I Do and/or Only You (I really want "I Do," and it feels redundant to do both in a row, but I feel like "Only You" is important?)

*GreaseDinah reunion (extended)

Light At The End Of The Tunnel

Starlight Express Megamix (of course)

Notes:

We are leaning hard into the 80's here! None of that trying to modernize StEx they've been doing since the 90's. It doesn't work, and the hyper-80's...ness is one of the best things about StEx!

This is about 60% the 1984 original, so keep that in mind.

Dinah & Greaseball look most like the original Dinah and Greaseball. (Though Dinah's hair looks like this. I'll get to her costumes below.) Greaseball looks completely like Jeff Shankley's GB.

Most of the costumes look like the Broadway versions.

However, Pearl gets 3 costumes; her pants outfit from the '84 previews (but with white pants), followed by her sleek Broadway dress outfit (w/ Electra), and then the fluffy dress outfit (w/ GB).

Dinah has 2 costumes; the first one being more Broadway (but I dislike the leggings, so different ones), and then, when she pairs with Electra, she changes to an outfit that is similar to her OG outfit.

C.B.'s look is very similar to the original, except his pants are black, and he has his later hat.

I want some of the choreography from the '83 workshop. ( x x x x )

Dinah & Greaseball banter a bit because "Incapable of feeding yourself, Greaseball?" Ohhh *chef's kiss* 2017 London Workshop did something right!

*Dinah & Greaseball get a couple's duet. It's a fun, cute, rock/80's pop mix song that touches on their love for each other and how they don't care about others' bullshit. ("Our Lips Are Sealed" kind of vibes, I suppose.)

Ashley and Duvay are sisters.

Greaseball pulls the girls during "Freight," like he originally did.

*Dinah gets a solo after "Pumping Iron" after the Sleepers talk their bullshit. It'd be about 3½ minutes long. If you've read my Dinah rants, you can get an idea of what it's about.

Greaseball, Bobo, and Espresso are part of the choreography during "Crazy" toward the end, racing around with Dinah, Ashley, and Buffy. (I promise this is FIRE in my head. Have faith. 🥺)

*Grease & Dinah have a longer argument before their breakup.

Dinah and C.B. have a duet. It's the Broadway version of There's Me combined with That's Me. (Dinah singing her solo part first.)

*Pearl sings "Make Up My Heart" about Rusty, Electra, and Greaseball. (Explanation here.)

*"U.N.C.O.U.P.L.E.D." is slower, sadder, and has more lyrics, like it was in the '83 workshop.

Buffy & Ashley are finally canon. It's Complicated™️, but they get it together by the end.

*"Dinah's Disco" is a bit longer, as is *Dinah & Greaseball's reunion/makeup.

Pearl is absolutely like original Pearl in this: A selfish bitch (who learns and gets better by the end); she is not "naive." ("Further from my vision" over "Sadder but no wiser.")

We actually acknowledge that Pearl is an asshole. But, like Greaseball, she learns and is working on herself by the end! 🙌🏽

Pearl apologizes to Dinah at the end. FINALLY. (During a break in LATEOTT.)

Control loves the engines/coaches/freight, and they love him. He's just a bossy little kid, but they're also actin' up. (I'm open to Control being a girl.)

Electra and the Components do come back.

I... think that's it. I hope didn't forget anything.

CHOO CHOO! 💋

[froggibus]

Karaoke night with their s/o for Junkerqueen, Lucio, Mercy, and Venture? (I know you're getting soooo much Venture, I'm sorry, I adore them so much, I'm crushing so hard on them right now qq but I tried to include more people!!)

Karaoke Night - Junkerqueen, Lucio, Mercy & Venture

Genre: fluff w some crack

Summary: how your s/o would be when you take them to a karaoke bar

CW: drinking/alcohol, karaoke bar, mild public embarrassment, public singing, dorky ass ow characters

thank you for the req!! honestly this one was really fun to write & I appreciate you adding some variety to it ^^ i wrote this last night but work was so hectic i forgot to post it >~< hope you like it & that you’re having a wonderful day 💓

Junkerqueen:

she cannot sing for shit I’m sorry

probably didn’t know what a karaoke bar was until you took her

but she’s utterly fascinated by the idea of it and the fact people like it even if the people singing aren’t good

you probably have to surprise her by putting her in the queue without her knowing

she’s awkward when she first goes up but gets SUPER into it

chooses some fun sleaze rock song like Rock You Like A Hurricane and does dorky air guitar and stuff while she sings

has to announce to everyone that the song is dedicated to you too

drops to her knees at the very end and plays out the whole guitar solo with almost perfect air-fret/air-string placement

everyone loses their shit

she makes you go up with her after to sing free bird

the whole 9 minutes too oops

Lucio:

he is SO fun to karaoke with but also SO obnoxious

it was definitely his idea to go to the karaoke bar

probably buys you a couple drinks just to lower your inhibitions (so you’ll sing with him!)

while he’s comfortable in any spotlight, he accepts that you’re not (that’s what the drinks are for)

he signs you up without you ever knowing and when they call your name, drags you on stage with him

picks a super fun popular song & sings it with you

maybe a duet like Don’t Go Breaking My Heart or You’re The One That I Want

he busts out some silly dance moves while you’re up there just to help you feel more comfortable

he’ll start grabbing your hands and spinning you while singing

the crowd goes WILD for the two of you & people end up recording you

it goes viral online once people realizes it’s lucio oops

he has so much fun that he signs you up for 3 more songs >~>

Mercy:

she probably wanted to go to the bar just to watch

but after a glass or two of sangria she’s getting up on stage and grabbing the mic

sings a love song or a pseudo-love song, like Total Eclipse of The Heart or Dancing On My Own

she’s a totally good singer too

smiles at you the whole time and keeps pointing at you until everyone in the bar is watching you

she ends up reaching both hands to you and dragging you on stage after to sing a duet

if she drinks enough she WILL bust out some dorky dance moves (she LOVES the corny fake-rope pulling one)

again the crowd LOVES you guys even if you’re not the best singer

probably ends up going up 2-3 more times before the bar closes

Venture:

they LOVE karaoke bars however they’re too awkward on their own to get up and sing

get them a couple drinks first and they’ll practically be running up on the stage foaming at the mouth

they will do ANYTHING but they love cheesy 80s music and classic karaoke songs

not the best singer but they’re not bad at all

they do the little awkward side shuffle dance before they start to get into it

and then they bust out some CRAZY moves

I’m talking the worm, I’m talking break dancing—some WILD things

they’ll come back and beg you to do a song with them (but they won’t tell you what)

it ends up being something ridiculous like Tequila or something

and the two of you just stand there perfectly still until you say ‘tequila’

they’ll grab your hands after and pull you off stage giggling

masterlist | overwatch masterlist

if you like content like this, interactions go a long way! i appreciate every like, comment & reblog ^^

[descendantofthesparrow]

i think i figured out why ROR songs feel so...un-descendants

its all ONE genre? i suppose? like its either rap, trapp, or pop, meanwhile the first 3 descendants movies had like-20 different music genres in just the first movie-they had kinda a dubstep vibe for the opening song 'rotten to the core', then a broadway musical type song for 'evil like me' because how were they not going to use Kristin chenoweth's vovcals? , if only was a ballad, then be our guest was a fun throwback/callback song that they made...a cheesy white boy rap for some reason, they had another ballad with the if only reprise, and then set it was the big finale pop song, like-as a whole descendants music is considered pop apparently but they had like-hundreds of different type of songs in just the first movie, like they all sound simular but in a good way.

D2 starts off with a full pop rock song, ways to be wicked, and goes into whats my name which google defines as 'pop, R&B, electrohop, and pop rap', then into a -kinda old stylish pop song 'chillin like a villain', then into the ballad space between, which goes into the finale song 'you and me' which is my personal favorite of the finale songs which gives kinda...musical finale vibes-which is great!

D3, starts off with Good to be bad which honestly, years later-is such a banger song, i love it, i did the 'confused head nods' to it at first but now i love it, its grown on me, and its a pop song, of course, but its got such a big energy to it that it feels like its a broadway musical song, then of course-the powerful 'queen of mean' which google describes as a trap-pop song, but it feels so different from good to be bad in the best way, then we go into 'do what you gotta do' which is a pop-rock duet between Mal, a pop singer, and Hades, a washed up rock star-and it gives kinda...80s-90s jazz/rock vibes, it feels different from the rest of the songs but still fits within the line up, then night-falls; this ones practically full rap with sung verses, mainly from Evie, Mal and Uma, with the boys only rap-singing-i think this is the weakest song of D3, but it still sounds right with the rest of the sound track, then Evie's solo-one kiss, which ofc is a pop song, but then comes the big song-Mal's ballad, once upon a time. no autotune, pure genuine music; just Mal and the lyrics and the music, honestly-i loved once upon a time, still do, i think its a good song theory wise-story wise? it flumps on actually making Mal take accountability for her actions-like it tries and it fails, low-key sounds like Mal is trying to gaslight herself XD(joke) anyway-strong ballad, its followed by 'break this down' which is-wowza-you can FEEL this is the big finale song of the series, it goes all out on choreo, the singing, the set, the music-all of it. again it feels like a musical finale song you'd see on stage-its so fucking good.

and then ror...opens with...idk pop? then...goes into pop-trap-rap....then another pop-rap song...then a pop song...then a pop song....then ...k-pop-rap esqe song? and then like a kinda...ballad reprise of the earlier pop song? the songs of ror all sound the same, there's no proper-change in any of the songs, they all sound the same and put too much emphasis on telling the story with the SONGs instead of the songs HELPING tell the story, there's no ballad, there's no big 'fun musical stage type' song, there's not even a finale song, it feels so separated/wong because it doesn't follow the guidelines the first 3 movies put in place. the songs are hardly fun too, like-the chorses are good, the verses all needed several more drafts, and the choreo is weak sauce-they're just trying to make tik tok dances, not musical dances

[the-east-art]

Hadestown High School production thoughts:

Overall great! Awesome costuming and great work and acting and set!

There’s still several songs I prefer from the earlier albums

I don’t like the line ‘why build wall make people walk in straight lines’ I think it casts the viewer farther away from understanding Hades

Hades couldn’t get deep enough but he had great character acting! Was good at getting in real close when he was angry, looking like he was above everyone else. And then in the later sections did a great job at looking uncertain

At wait for me ii Hades gives Persephone her suitcase. Nice touch

Oh also when Persephone and Hades hug the first time they do like a collapsible prop that that a flower springs up between them and it’s just so good.

The Wind and the Elements (like the trees and the birds) were interpretive dance which actually looked really good and was done really well.

Persephone did a great job at making it clear that when she’s up she plays to them and when she’s below she plays them as well. During Our Lady she kinda just shoves around the bar patrons around, which is great contrast to Orpheus later who actually helps people up.

The ‘road to hell’ (wait for me i, ii, and doubt comes in) was largely made by planks of wood the ensemble would move. They used it to make floating stairs and obstacles for Orpheus to climb across and through. It looks really cool.

Orpheus was fantastic. Voice of an angel.

Sadly, Persephone and Hades couldn’t quite pull of How Long. Persephone had a habit of stealing time a lot, which works in her solos, but less in How Long, and Hades agains struggles to actually get into the deep register.

There was no overture, the play just starts with Hermes asking if you’re ready. Intermission ends without house lights going off and Persephone just starts while they dim.

They did the bows after Road To Hell reprise, and then did We Raise Our Cups which was fun

The energy of the intros in the first song are INFECTIOUS. Absolutely loved it.

Hades wore a green tie, a snake pin, and snakeskin shoes. Very nice. And he has the rattle for the rattlesnake part.

They used the aisles A LOT but I loved it.

In Doubt Comes In Orpheus walks around the aisles around the contorted bodies of the ensemble which was a little weird but did a good job at making it feel like they’re navigating a cave or something, and I personally thought gave the vibe of them having to navigate around dead bodies.

Road To Hell reprise has them reset the blocking and the characters do the same stuff they did for their intros - very fun

Brownie said they should have had a new person for Orpheus and Eurydice in that song to show how the cycle continues with new people and she’s so right (although I totally get that it would have thrown off the audience too much)

The fates actually played their instruments, had cool tattoos, and fiddled with their string the whole time

I’ve never realized how much the dates are the ones pushing everyone to the dated outcome until this.

I also never realized that Chant ii ending is Hades tlaking to Eurydice

Oh when Eurydice speaks up Hades eyes her up and down before taking Persephone on the train

They had a whole scaffolding for Hell which was great.

Oh oh! In the Orpheus and Eurydice duets they have them on a wheeled tables that goes in circles. And they brought down ‘stars’ as strung up lights (which looked way better than just a light projection tbh)