#justin paul before pasek and paul

[whyisstarkidfollowingmeshoo]

Jeff has mentioned twice during his livestreams that he and Justin Paul (of Pasek and Paul) were fellow acapella members. They were part of UMich's Amazin' Blue.

Jeff started out as a background singer and was singing his way (and butting heads against music directors) to become music director of the organization (i would have loved to see a MLB merch wearing music director, directing his choir. Did he use baseball terms in music? hhehehe)

In the second photo, Paul is located sitting down on the far left side, meanwhile Jeff is on the far right side, wearing a blue MLB hat.

Oh yeah, I remember that Pasek and Paul were this close to making (or maybe they still are, but there's nothing of it mentioned on their imbd pages) their own musical version about The Trail to Oregon Game. hahha. Jeff has not talked about that. I remember the ruckus it made online and most of the replies were from StarKid fans hahaha.

Paul, you can't do that to your former college music director. But as long as they don't make it identical then it's cool. Unless they copy it Jumanji style and Jeff already wrote and made that back in UMich and even sent scripts of it to a New York festival, however it was panned for being too off-colored.

[lostfirefly]

Watching it come true, it's taking over you, oh, this's the greatest show

Happy New Year!

We'll jump back in time a bit and see how Catherine first came to Buggy's show (in one of the chapters of the original "You've got the same dream as me" series, he invited her to the circus). I know that readers usually don't like stories about OCs, but I worked on this fanfic for more than half a year. Not kidding. All the settings and songs were created by me personally and were reworked many times. The inspiration was "The Greatest Showman" movie. I hope Eiichiro Oda will forgive me for such arbitrariness :) English isn't my native language, errors may occur. Feel free to share your thoughts! :)

Masterlist is here, also this fic is posted on AO3

Description: Catherine visits Buggy's show.

Warnings: Jokes, dances, songs, musical vibes!

Words: 7.933

Buggy x OC from my “You’ve Got the Same Dream as Me” series.

The title is taken from "The Greatest Show" by Benj Pasek / Justin Noble Paul / Ryan S. Lewis.

✎﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏

by @thoraeth

✎﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏﹏

“Who knows, maybe this girl will leave with me today after the show!” Buggy grinned as he reached a hand toward Catherine.

“Who needs you? Have you seen yourself?” An old woman barked from the back row. “A freak with a clown nose.”

“I don't know how I got involved with him. I've had better men.” Catherine’s voice cut in sharply. Her tone was cold, almost venomous. “Okay, let's be honest, I'm with him just to have some fun. I’ll dump you, just like your precious Shanks did.”

Buggy froze. His face paled.

“Oh, did I make you sad?” Catherine sneered, leaning closer. “Nobody wants to be with you, clown! Wake up already. Wake up, Buggy.” Her voice turned sharp, her fingers snapping close to his face. “Do you hear me? Wake up!”

“Buggy! Buggy! Wake up!!” 

Buggy’s eyes flew open, his chest heaving. He was met with Catherine’s face, her expression full of concern and fear.

“Hey, hey! Are you okay?” Catherine murmured, her hand already stroking his hair in soothing circles. “You were shaking, mumbling to yourself... something about leaving, being abandoned. And you said a name, someone with an S. I couldn’t wake you up.”

Buggy stared at her, his eyes glassy and distant. He didn’t speak.

“You’re scaring me, Buggy. Say something.” Her hand moved hesitantly to his shoulder.

“You’re here!” he finally whispered, relief flooding his voice.

“Of course I’m here. You were snoring loudly like a chainsaw and I barely kicked you out onto the couch. You came back. I kicked you out onto the couch again, but you came back again. I wanted to go to the cou-.” She paused, her attempt at humor faltering. “Buggy... what’s wrong?”

Buggy suddenly wrapped his arms around her, pulling her close. His grip was almost desperate, and his body trembled against hers.

“You’re here,” he murmured again, his voice breaking. “You’re not leaving me?”

Catherine’s voice softened as she cradled him. “What happened, little bear?”

“I asked you a question, didn’t I? Why couldn’t you just answer me?” Buggy’s voice was low, strained, almost angry.

“Buggy, don’t get mad—”

“Fuck,” he muttered, clenching his fists. “Just... one shitty thought stuck in my head.”

Catherine’s lips brushed his temple in a gentle kiss. “I want to kick that thought’s ass,” she said, pulling him tighter and stroking his back. “Bad dream?”

Buggy nodded.

“I left you in the dream?”

Another nod.

“Why are you so afraid of that?” Catherine’s voice was barely above a whisper. “Has it happened before? Someone leaving and... hurting you?”

Buggy didn’t answer. He just shook his head.

Catherine’s arms tightened protectively around him. “I swear, I’d rip their heart out if they hurt you. No one messes with my clown.” She kissed his head again. “Is there anything else you want to tell me?”

He shook his head again.

“You know you can tell me anything, right?”

He nodded, but he still wouldn’t meet her eyes.

“Who was this person you mentioned? I only caught something with an S.”

“I don’t want you to leave,” Buggy finally muttered, his voice trembling.

“Oh, my silly clown!” She tilted his face up so their eyes met. “I’m not leaving. I’d never leave you. Well...”

His eyes widened in panic.

“...Maybe to see my sister, you fool.” She grinned. “But I’d come back to you. You know this is my home now, right?”

He nodded slowly.

“Do you want some tea? Or water?”

He shook his head.

“I’ve got chocolate chip cookies in the drawer. Want some?”

This time, he nodded.

Can you do your chop chop thing and get me a box from my drawer? I don't want to let you go." 

Buggy sent his hand for the cookies and brought the pack to the bed. 

"Woow! Your abilities are so amazing! Thank you. Here.” Catherine gave him three cookies. “I won't leave you. And you know why? Because I love you and I don't want to be without you.” 

“Love you too.”

“Yay! You said it! I’m so proud of you!” Catherine kissed Buggy in his head. “You know, I'll make you a delicious breakfast in the morning, to cheer you up. I don't know about you, but bacon always cheers me up. Do you want bacon?”

Buggy nodded. 

“My blue-haired glutton. Let's eat some more cookies and try to sleep. Okay?”

He nodded. That night, Catherine never let him out of her arms for a second.

“Tasty?” Catherine asked, a soft smile on her lips as she stroked Buggy’s head, watching him devour his breakfast with unrestrained enthusiasm.

“Yummy!” Buggy exclaimed, his eyes lighting up as he speared another sausage with his fork. “Sausage? Perfect! Bacon? Even better! Have you tried dipping the sausages in those weird eggs? It’s genius! This is delicious!” He slurped noisily, swallowing a sausage coated in golden yolk with exaggerated delight.

Catherine rolled her eyes, stifling a laugh. “You’re such a fool, Buggy. Those aren’t ‘weird eggs’; they’re poached eggs. I’m terrible at cooking, but thanks to all those internet cooking videos, I managed to make you breakfast.”

“Well, cotton candy, those videos were worth every second. I haven’t had anything this good in ages.” He licked his lips, gesturing at the plate. “Everything you cook is amazing.”

“Sometimes,” Catherine teased, sipping her coffee, “I think you love food more than me.”

Buggy shrugged nonchalantly, his grin mischievous. “You and a good dish are on the same level, to be honest.”

Catherine gasped in mock indignation. “Wow! I’m so honored to share first place in your heart with eggs. Like my biggest dream come true.” She set her cup down with a smirk. “So, tell me.. Do I need to dress in anything special for the show tonight?”

Buggy leaned back in his chair, crossing his arms lazily. “I’ve told you a million times, I don’t care what you wear. You could show up to my circus naked for all I care.”

Catherine giggled, shaking her head. “I can’t come naked. You’d kill your entire audience. Damn! Can’t wait to see your show, though. I know it’s going to be perfect. Do we have plans after? Maybe ice cream and a walk home?”

“Fine!” Buggy groaned, dramatically rolling his eyes. “Let’s go on your stupid walk. Okay, cotton candy, I gotta go. We still have a dress rehearsal to do.” He threw his fork on the table and leaned to peck her on the lips. 

“Ugh! Buggy!” Catherine squealed, pushing him back with a giggle. “Your lips are covered in yolk and sausage grease! Eat, wipe, then kiss me. That’s the rule!” She grabbed a napkin and wiped his mouth. “Yes, I have a lot of work to do here.”

The morning spiraled into their usual chaos. Catherine followed Buggy around, watching him get ready for rehearsal and grumbling about how she was distracting him. Then Buggy followed Catherine around while she made herself coffee, and now she grumbled about Buggy was distracting her. 

Before long, Catherine was back in the kitchen, making sandwiches with salmon and cheese for Buggy. She poured him a cup of coffee, handed him the food, and walked him to the door. As she kissed his cheeks repeatedly, Buggy mumbled half-hearted protests, though his smirk gave away his enjoyment. 

Once the door closed behind him, Catherine spun around with a squeal. “Okay, outfit time!” she announced to herself, darting to the wardrobe. 

“Maybe jeans and a t-shirt with ducks? No! No, Catherine! Today's your special day! You're going to Buggy's performance after all. This is your first visit to his show as his girlfriend. Secret girlfriend. You gotta look special.” Her cheeks flushed as she muttered the words aloud. “Oh!” She grabbed a green dress, holding it up triumphantly. “Perfect! This green dress, just like his eyes! And this blue bag matches his hair color!”

She danced around her room, pulling the outfit on before twirling in front of the mirror. “You look fabulous, Cathie!” she told her reflection with a wink before grabbing her things and heading out for a walk before the show. 

Catherine strolled along the promenade, savoring her ice cream as the salty breeze tousled her hair. The closer she got to the circus tent, the more the atmosphere buzzed with excitement. Crowds gathered in clusters, the sound of children’s laughter filling the air. Kids in bright red clown noses and plaid scarves darted between the colorful tents, their giggles contagious. She slowed her pace, her eyes taking in the scene as she eavesdropped on the conversations around her. The air was thick with the scent of popcorn and cotton candy, and long lines snaked toward vendors selling candies and drinks. Catherine hadn’t expected such a massive turnout.

“Mom, we’re going to see the clown! The real clown!” a boy shouted, tugging at his mother’s hand.

Catherine smiled to herself, grabbing a coffee from a nearby stall. She wandered over to a wall covered in bright posters, Buggy’s exaggerated grin plastered across one of them, his vibrant blue hair almost glowing. She sipped her coffee, amused by how surreal it felt to see her boyfriend’s face staring back at her in such a larger-than-life way. Catherine overheard a conversation between two girls who were obviously talking about Cabaji. 

"I'll have to tell him about that." She giggled, sipping her coffee. 

It was a little strange and unusual to her that she now knew him, and certainly more unusual that she was sleeping with the leader of this circus. 

Her amusement was interrupted by a familiar voice behind her. “Hey!” 

Catherine turned, her face lighting up as she recognized him. “Cabaji!” she greeted warmly.

“Huh, from the look on your face, you obviously weren't expecting to see someone else, not me.”

“Don't say that. I’m glad to see you.” Catherine hugged him lightly. They still had a little tension from when they first met. “Everything looks so beautiful.. so Buggy. The candy, popcorn, all the colors and lights. Oh, by the way,” she gestured toward two blonde girls giggling at a nearby table. “Those two over there? I overheard them talking. I’d bet my coffee they’re here for you.”

Cabaji raised an eyebrow, following her gaze. He noticed how Catherine stood slightly on her tiptoes, her eyes scanning the crowd. He sighed dramatically and rolled his eyes. “Oh, Cath. If you’re looking for the Captain, he’s not out here. He’s in his green room.”

“I’m not looking for him!” Catherine shot back, though her cheeks flushed. “I’m just… looking around, that’s all. I haven't been to the circus for ages. And I don’t want to distract Buggy.” She hesitated, then added, “But if you see him, tell him I love him.”

Cabaji snorted, shaking his head. “Here we go again…” he muttered, rolling his eyes. “Of course, I’ll tell him. I’m heading there now.”

“Tell him I love him!” Catherine called after him, her tone a mix of teasing and sincerity.

“Yeah, yeah,” Cabaji replied, waving a hand as he walked toward the green room.

The green room was dimly lit, the faint glow of a single overhead bulb reflecting off the mirror where Buggy sat, his expression unusually tense. His leg bounced restlessly, his boot tapping against the floor, and his fingers drummed on the tabletop. He picked up a brush, stared at it, and then tossed it back onto the table with a frustrated huff.

Cabaji pushed the door open, his footsteps light but purposeful. “Captain. Are you okay?”

Buggy’s head snapped up, his frown instantly shifting into a scowl. “Yeah, why do you ask?”

Cabaji leaned casually against the wall, crossing his arms. “You look like a man about to walk the plank. Nervous, maybe?”

“I never get nervous, Cabaji,” Buggy snapped, though his twitching leg betrayed him. He threw the brush down with more force than necessary. “Have you been out in the hallways? Is everything okay? Candy? Popcorn? Drinks? Do we have enough of everything?”

Cabaji smirked, enjoying the rare sight of his Captain unraveling. “Relax. Everything’s fine. Long lines for sweets, families everywhere, kids running around. And, I saw… oh… her.”

Buggy froze, his eyes narrowing. “What about her?” he asked, though the slight twitch of his lips betrayed a hidden smile.

Cabaji chuckled, shaking his head. “I knew it. You’re nervous about her. Buggy the Clown, a terrifying pirate captain, has a crush and doesn’t know what to do with himself.”

“Shut up, you asshole,” Buggy growled, though the flush creeping up his neck betrayed him. “I’m not nervous. I just want everything to be perfect tonight.” He ran a hand through his hair, clearly flustered. “Why didn’t you bring her here?”

“She didn’t want to distract you.” Cabaji grinned slyly. “Oh, it’s hilarious. She’s out there pretending she’s not looking for you, and you’re in here freaking out about her. And let’s not forget—your big romantic gesture. Making us cover a song for her? No, no! Not just a song! The whole show! Who are you, Captain?”

“Hey! Watch your mouth,” Buggy snapped, his cheeks red. “She’s not some girl. And the song is a masterpiece.”

“Okay, sorry.” Cabaji leaned back on the sofa, his grin widening. “Our life isn't that bad. We earn good money, girls are into me. You know, maybe your girlfriend isn't so bad. She said that there were two girls who came for me. See? For me.” He pointed at himself. “And she said this to me. To me. Who knows, maybe Cabaji will have a fun night tonight.” He giggled.

“Shut up, jackass. And anyway, it's time for us to go on stage. Ready?” 

Cabaji smirked, standing and stretching. “Always.”

Catherine settled into her seat, her gaze drifting around the bustling arena. The air was thick with the scents of popcorn and sawdust, the buzz of excited chatter filling the space. As she adjusted her coat, the voices of two women seated behind her cut through the din.

“My kid dragged me to this show for the fifth time,” one woman complained, her tone dripping with disdain. “He loves the clown. Look at him! He even put on that ridiculous red nose.”

The second woman snickered. “I can’t imagine how anyone could like him. I bet he’s ugly and unpleasant under all that makeup. And if that nose is real—ugh, even worse. Can you imagine? A freak with a real clown nose!”

Catherine stiffened, her hand tightening around the armrest.

“Right? Who would ever go anywhere with him? Like, who’d want to be seen with someone like that?” the second woman added with a cruel laugh.

“Hey, you two!” Catherine spun around, her voice sharp as a blade. “Shut up!”

The women blinked in surprise. “What?”

“Wash your ears and learn some manners, bitches!” Catherine snapped, her eyes blazing. “Insulting someone you don’t even know? That’s as low as it gets!”

One of the women smirked, leaning back in her chair. “Are you the morality police now? We’ll insult whoever we want.”

Catherine leaned closer, her voice dropping to a dangerous whisper. “Go fuck yourself. I hope a lion eats you tonight.”

“Mommy, are you going to be eaten by a lion?” a child’s voice piped up, trembling with genuine concern. “I don’t want you to be eaten by a lion.”

Catherine almost laughed but held back, her focus on the now-flustered woman. She opened her mouth to retort again but was interrupted as the arena lights dimmed. A collective “woooah” rose from the crowd, and Catherine turned her attention to the stage, her irritation dissolving into awe

On the stage, several shadows appeared, clapping their hands and stamping their feet in rhythm with a drawn-out, resonant “woooah.” Catherine squinted, her heart skipping a beat as she recognized the silhouette of her clown—Buggy—moving in perfect unison with the troupe, his every step exuding confidence and charisma.

“Woooah, Ladies and gentlemen, welcome to the circus. Woooah, We know you came here for one purpose. Woooah, Get ready for a spectacular performance. Woooah, You will never forget if you see it just once.”

The voices swelled, and Catherine felt her breath catch as the shadows leaped into the spotlight. Acrobats tumbled, jugglers spun flaming pins, and the arena erupted into a kaleidoscope of motion. The crowd clapped along, children singing the lines with pure, unfiltered joy.

“You’ll be giggling, clapping, eating cotton candy, While we’ll make you smile, laugh, and happy. Jugglers, acrobats, magicians, everyone came to you to say hello. Welcome to the Big Top show!”

Catherine’s jaw dropped as the final line echoed through the arena. Slowly, she began to clap, her eyes wide with admiration. Her gaze locked onto Buggy as he strode into the spotlight, arms spread wide, soaking in the thunderous applause. He was handsome. Confident. Exuberant. With a showman's smile and a scoundrel's wink. 

Buggy walked to the center of the stage and gazed up at a lantern suspended above him. “They didn’t forget today that I hate sharing the spotlight,” he quipped, earning a roar of laughter from the audience.

As his eyes swept the crowd, they landed on Catherine. For a split second, his grin faltered into something softer, more intimate. She raised a hand hesitantly, waving at him with a shy smile. He winked at her, his signature scoundrel’s charm making her cheeks flush.

“Well, well,” Buggy purred, pacing down the rows of seats like a predator stalking its prey. “I see a lot of familiar faces out there tonight. But also…” He paused, bowing theatrically to one corner before making his way to Catherine’s row. When he stopped in front of her, his bow was deeper, his movements slower, as if the moment were meant only for her.

“I see a new pretty face among us,” he said, his voice dropping just enough to make her heart race. “I hope you enjoy the show, miss, because the magic is just beginning.” With a wink that could melt ice, he straightened and moved on.

Catherine sat frozen, her heart pounding in her chest. She clutched the edge of her seat, torn between wanting to squeal in delight and hide her burning cheeks. She felt as though the entire arena had disappeared, leaving just her and Buggy in that fleeting moment.

Her lips curved into a soft smile, her mind repeating the words she couldn’t quite say aloud. My blue-haired love.

Act 1: The Bar Scene

The lights dim, and a warm, golden glow spills across the stage, mimicking the flicker of lanterns in a rustic tavern. Shadows of hanging mugs and bottles sway along the walls as if caught in an invisible breeze. The faint murmur of chatter and clinking glasses hums in the background, setting the lively yet intimate atmosphere.

Jugglers step forward, their movements precise yet chaotic as they toss tankards and liquor bottles in perfect harmony, creating the illusion of a bustling bar. One juggler, Buggy himself, takes center stage, grabbing a wooden stool with a dramatic flourish. He flips it into the air, spinning it like a top, then catches it effortlessly, bowing to the imaginary patrons with exaggerated flair.

Above, an aerialist glides onto the scene, suspended on a golden hoop. Her movements are languid and playful, mimicking the sway of someone caught between tipsiness and grace. The light shifts, following her as she twists and tumbles through the air. For a fleeting moment, her silhouette eclipses Buggy, casting him in shadow as he continues his show-off routine with exaggerated confidence, earning laughs from the imaginary crowd.

Suddenly, the lights in the arena go out, leaving the audience in suspense. A soft glow appears on one side of the stage, illuminating tall library shelves stacked with books. A girl steps into the light, her fingers trailing over the spines as she searches through the volumes. Her movements are thoughtful, almost melancholic, as if weighed down by an unseen burden.

Catherine leaned forward in her seat as Buggy’s voice broke through the silence, clear and melodic, with an undercurrent of vulnerability:

Buggy (reflective and melodic)

“I lived so quietly, I couldn’t see, The twists and turns life had for me. I never dreamed, I’d find such bliss, Through shadows deep, I found this gift. Through dark, through pain, Through endless night, I danced with shadows, But now there’s light.”

The girl at the shelves pauses, her hands hovering over a book as if hesitant to leave it behind. The spotlight shifts, illuminating the opposite side of the stage. There, Buggy sits at a bar, slouched with one arm draped over the counter. His vibrant blue hair catches the light as he gazes into the distance, a half-smile playing on his lips.

The girl looks over her shoulder, her voice rising to meet his as she begins to sing, packing her bag with deliberate movements:

The girl (soft and resolute):

“My friends said, my friends said, ‘You’re out of your mind.’ They couldn’t see what I needed to find. I had to go, I had to leave, For my sister’s voice was calling to me. I left it all, I broke away, But in my heart, I knew the way.”

The girl steps away from the shelves, her footsteps light but purposeful as she begins a slow, deliberate dance toward the bar. Her movements are graceful, blending curiosity and hesitation as though she’s being pulled by an invisible thread. Catherine’s gaze flickers to Buggy, who rises from his seat, his eyes locking onto the girl.

Buggy approaches her, confidence radiating from every step. He extends a hand, and she hesitates only briefly before placing hers in his. With his other hand on her back, Buggy gently twirls her into a slow, elegant dance. The light shifts to a soft amber, enveloping the pair as they sway in unison. Their voices rise together, harmonizing in a heartfelt chorus:

As the song builds to a crescendo, two clowns enter, reenacting Buggy’s exaggerated version of meeting Cathie: one playing the suave, larger-than-life Buggy, the other a skeptical yet intrigued Cathie. Their comedic antics draw laughter as the real Buggy leaps onto a spinning barrel, balancing while juggling flaming bottles. The lights pulse in time with the music, bathing the stage in shades of red and orange, mirroring the energy of the unfolding romance.

Together (harmonious and hopeful):

“Each sleepless night, alone with my fears, I never thought love could dry my tears. And suddenly, My heart’s aflame, A spark of joy that burns my name. What lies ahead, no one can say, But I hope a million dreams will light our way.”

Act 2: Desert Duel

The stage is bathed in an amber glow, mimicking the blazing heat of the desert sun. Sand-colored fabric ripples across the floor, creating the illusion of shifting dunes, while a massive painted backdrop of endless sands and distant pyramids sets the scene. A faint hum of wind fills the air, eerie and foreboding, punctuated by occasional bursts of whistling, as if the desert itself is alive.

As the music begins, performers dressed in flowing desert robes sweep across the stage. Their movements are fluid and acrobatic, their leaps and spins resembling swirling sandstorms. The amber light flickers, casting long shadows as they move in mesmerizing harmony.

Suddenly, the music shifts to a tense, sharp rhythm. A towering figure emerges from the shadows—a menacing performer portraying Crocodile. His gleaming hook glints under a narrow spotlight, the metallic sound of it dragging across the stage echoing ominously. The ensemble scatters, their flowing robes billowing like fleeing sand, leaving Buggy and the girl alone at center stage.

The performer dressed like Crocodile steps forward, flanked by two henchmen. The lighting turns darker, with shadows stretching ominously across the sand-colored floor. His exaggerated movements heavy stomps and the sharp swish of his hooked hand establish him as a threatening presence. His voice booms (possibly through a voiceover or live performance), taunting Buggy and the girl as he circles them.

(Crocodile - taunting, smooth and sinister) “Oh, the desert is cruel, and so am I, Its winds will howl, its sands will fly. Your little muse, so sweet, so frail, What will she do when the storms prevail?

You think you’re her hero, her savior, her knight, But under this sun, there’s no room for light. Your laughter fades, your tricks grow old, In the desert’s grasp, her heart grows cold.”

(Choir - haunting harmony) “The sands will twist, the storm will rise, Her fate will rest in Crocodile’s eyes. Beware, beware, the hook, the claw, The clown will fall to desert’s law.”

Buggy springs into action, his movements exaggerated and theatrical, leaping onto a high prop designed to look like a crumbling desert ruin. He grabs a staff-like prop from the set and begins spinning it, deflecting Crocodile’s strikes in a choreographed sequence that blends combat with acrobatics.

(Buggy - defiant and furious) “You can laugh, you can scheme, but hear me, Croc, Your threats are nothing but empty talk. You dare to touch her, you dare to try, I’ll cut you down beneath this sky.

She’s my fire, my spark, my muse divine, And no hook, no storm will cross that line. So come, Crocodile, face me and fight, For love’s a flame that burns too bright.”

(Crocodile - mocking and threatening) “Oh, how noble, how sweet, how bold! But your fire’s no match for the desert’s cold. Her cries will echo, her tears will fall, And you, my clown, will lose it all.

The sands will bind her, the winds will sing, While I clip the strings of the circus king. Dance, Buggy, dance—your tricks are done, The desert’s claimed her; you’ve already lost, clown.”

(Choir - ominous, building tension) “The desert roars, the battle’s begun, The sands consume as the shadows run. For Cathie’s love, he’ll take a stand, Against the storm and Crocodile’s hand.”

As Crocodile lunges with his hook, Buggy picked up sand from the ground, throwing it into Crocodile’s face while his legs trip one of the henchmen. Spotlight on Buggy as he catches a long rope, using it to swing across the stage. He lands between the girl and Crocodile, blocking the hook with a loud metallic clang. 

(Buggy - bold and determined) “Your words are weak, your threats are vain, You’ll never see her in pain. For Cathie’s laugh, for her embrace, I’ll face you here, any time, any place.

I’m the clown who’ll never fall, This circus king will end it all. So swing your hook, bring on your fight, Her love’s my guide, my endless light.”

(Crocodile - dark and mocking) “The desert’s wrath, the storm’s wild cry, No clown escapes when the sands run dry. But fight, Buggy, fight, you pitiful fool, You’re nothing more than a jester’s tool.”

Buggy and Crocodile face off as the lighting dims, focusing on the two of them. Crocodile swings his hook in wide arcs, while Buggy uses his agility and comedic timing to outmaneuver him. At one point, Buggy’s kick Crocodile’s legs, causing him to trip and fall onto the sand.

As Crocodile struggles to stand, Buggy leaps onto a high platform, holding a makeshift weapon. He delivers a final blow tossing an oversized “treasure chest” prop onto Crocodile, pinning him to the ground. The music swells triumphantly as Buggy strikes a victorious pose, his foot on the chest and his arms spread wide.

(Buggy - fierce and victorious) “I’m more than tricks, I’m more than jest, I’ll strike you down and prove I’m the best. For Cathie’s safe, for her smile so sweet, This desert battle, I won’t retreat.”

(Final Chorus - climactic and triumphant) “The sands may roar, the winds may bite, But love’s the flame that fuels his fight. Crocodile’s schemes will come undone, For Buggy fights ‘til the war is won.”

The girl rushes to Buggy, her arms flung around him. The lighting shifts to a warm golden hue, highlighting the pair as they embrace. Buggy grins, brushing sand from her hair. “Told you I’d keep you safe, my red-haired pie,” he quips, his tone both smug and affectionate.

The ensemble re-enters, performing celebratory acrobatics around the pair—cartwheels, flips, and synchronized leaps—as the music reaches its triumphant conclusion. The backdrop shifts to show a glowing sunset over the desert, symbolizing their victory and unity.

As the lights dim, Crocodile’s hook emerges from the sand one last time, twitching ominously before disappearing, leaving the audience with a mix of relief and anticipation.

Act 3: Campfire Scene: A Quiet Realization

The stage darkens, except for a soft orange glow illuminating the center, where a small campfire crackles gently. The flickering light dances across Buggy and Cathie, who sit on opposite sides of the fire. Buggy leans back casually against a log, his hat tilted slightly over his eyes, while the girl sits cross-legged, absent mindedly poking at the fire with a stick.

A quiet melody begins to play, a gentle tune carried by a single violin, underscored by the distant hum of a harmonica. It’s a moment of calm after the chaos of their adventures. The sound of the wind gently blowing through the desert adds to the stillness.

(Choir, soft) The fire flickers, the night’s so still, The desert whispers, the stars they spill. Side by side, though words don’t flow, Our hearts beat softly, a love they know.

The girl tosses a twig into the fire, watching the sparks rise into the night. She glances across the flames at Buggy, his face softened by the firelight, devoid of his usual bravado.

(The girl, soft) A glance, a sigh, the embers glow, Do you feel it too? I wish you’d show.

Buggy’s smirk falters, and for a moment, he’s quiet. He picks up a small rock and tosses it into the darkness beyond the fire, the thud echoing softly.

(Buggy, soft) Oh, the silence speaks where words can’t go, In the warmth of flames, our feelings grow. A love untold, a quiet tune, Beneath the stars, beneath the moon.

(Together, soft) Your eyes catch mine, then drift away, But in that moment, there’s so much to say. Your laughter lingers, your courage shines, And somehow I wish your hand was mine.

(The girl, soft) The fire hums the song we hide, Do you feel it too, here by my side?

(Chorus, soft) Oh, the silence speaks where words can’t go, In the warmth of flames, our feelings grow. A love untold, a quiet tune, Beneath the stars, beneath the moon.

(Together, soft) The scars we carry, the battles we’ve braved, The bond between us, the love we’ve saved. Yet fear keeps us from crossing the line, But in this moment, your heart feels like mine.

(Chorus, soft) Oh, the silence speaks where words can’t go, In the warmth of flames, our feelings grow. A love untold, a quiet tune, Beneath the stars, beneath the moon.

(Buggy, soft) So here we sit, as the fire dies, A silent love, but it never lies. Someday soon, I’ll find the way, To tell you, Cathie, what I couldn’t say.

Act 4: Treasure Hunt Adventure

The stage transforms into a cliff under the glow of moonlight. A spotlight shines on a tightrope stretched high above the stage, where an acrobat delicately balances with a rolled-up map in hand. The lighting shifts dramatically, with flashes of blue and white mimicking lightning as fire performers emerge, their flames crackling like hidden traps in the treasure hunt. A daring duo swings in from ropes, spinning mid-air before landing on the a cliff, their synchronized moves symbolizing Buggy and Cathie’s teamwork.

As the music builds, a performer leaps from a high platform, diving into a chest-shaped prop that bursts open with golden confetti. The stage floods with warm golden light as the performers celebrate the "discovery" of the treasure, their movements jubilant and wild.

(Buggy, victorious tone) Oh, the map’s in my hand, and the wind’s at my back, We’re chasing the gold, and there’s no turning back. The sea was our stage, now the desert’s our show, Every step that we take makes the treasure chest grow!

(The girl - playful febuttal] But what about traps? And the quicksand below? You’re dreaming of riches while I’m watching us go— Straight into chaos, straight into doom! The treasure’s a prize, but will it fit in my room?

(Together) The map, the gold, and the glory await, With danger around every twist, every gate! We’ll climb every mountain, we’ll cross every sea, The treasure is ours if we dare to believe!

(The girl, with worry in her voice) The sun’s burning hot, and the dunes never end, Is this all for treasure—or just to pretend? But still, there’s a spark when you’re by my side, Through the trials and traps, you’re my unpredictable guide.

(Buggy, boastful) Ha! Unpredictable? I’m a pirate with flair! While you worry, I laugh—I’ve got skills beyond compare! The quicksand can’t stop me, the traps are a joke, I’ll dazzle them all with my legendary cloak!

(Together) The map, the gold, and the glory await, With danger around every twist, every gate! We’ll climb every mountain, we’ll cross every sea, The treasure is ours if we dare to believe!

(Cave, tense harmony) (The girl) What’s that? A shadow, a whisper, a sound? The danger’s too close—it’s closing us down! (Buggy) Relax, Cathie-pie, it’s a test of our wits! We’ll outsmart the traps and escape from the pits!

A dramatic musical interlude featuring percussion-heavy beats as the stage lights flicker. Acrobats perform on tightropes and swinging ropes while juggling flaming props, symbolizing the intensity of the treasure hunt.

(Together) (Buggy) The treasure is near, I can feel it—so close! (The girl) But what of the risks? They’re what matter the most! (Buggy) The risks are the thrill, they’re the reason we fight! (The girl) And together we’ll find it—the gold shining bright!

(Together) The map, the gold, and the glory await, With danger around every twist, every gate! We’ll climb every mountain, we’ll cross every sea, The treasure is ours if we dare to believe! (The treasure is ours!) (If we dare to believe!)

(The girl and Buggy, soft, playful) (The girl) And if the treasure’s a bust? (Buggy) You’ve got me, trust is a must. (The girl - laughing) Oh, I hate you, Buggy….

The stage lights fade to a golden glow as Buggy and the girl pose triumphantly, silhouetted against the backdrop of the treasure chest.

Act 5: Cathie’s Near Departure

The stage is dark except for a soft, single spotlight on an aerial silk descending from above. The fabric glimmers faintly under the dim, icy blue light. An aerialist, representing Cathie, climbs gracefully, her movements slow and deliberate, as if weighed down by indecision. On the ground, shadow performers act out Buggy’s frantic attempts to stop her from leaving, their exaggerated gestures illuminated by faint amber light. The interplay between the cold blue spotlight above and the flickering warmth below mirrors the emotional distance growing between them. A tightrope walker enters, balancing precariously, a visual metaphor for Cathie’s internal struggle. Each step is deliberate, her arms outstretched, the tension in the air palpable. The shadows grow larger as the spotlight begins to shift, finally centering on Buggy standing below the silks with arms outstretched, ready to catch her.

(Buggy) The world was calling, the plane was near, But my heart was louder, I had to hear. Through crowded streets and endless skies, I found my way to your blue-red eyes. No distance could break, no storm could hide, The love I’ve carried deep inside.

(The girl) I ran to you, across the night, Through doubts and fears, to hold you tight. No turning back, no more delay, I’m here to love you, here to stay.

(Buggy) You stood there frozen, your eyes so wide, I saw the love you couldn’t hide. The world disappeared, just you and me, In that moment, we were free.

No need for words, I see it clear, In your arms, I have no fear.

(The girl) I ran to you, across the night, Through doubts and fears, to hold you tight. No turning back, no more delay, I’m here to love you, here to stay.

(Both) I’ve fought the winds, I’ve chased the tides, But nothing’s stronger than what’s inside. You’re my laughter, my foolish grin, The piece of my heart I let you in.

(The girl) I ran to you, and now I know, This love will bloom, this love will grow. No turning back, no yesterday, With you, forever starts today.

Grand Finale

The stage was alive with energy, bathed in dazzling lights that spun in vibrant reds, golds, and blues. Performers filled every corner of the stage—acrobats flipping through the air, jugglers tossing flaming torches in intricate patterns, and magicians making bursts of confetti explode into the audience.

At the center of it all stood Buggy, his arms spread wide, his signature grin shining as brightly as the spotlight that followed him. The ensemble gathered around him, their voices harmonizing as they launched into the final song.

“Woooah, Ladies and gentlemen, thank you for coming to the circus. Woooah, We knew you came here for one purpose. Woooah, We hope you enjoyed a spectacular performance. Woooah, You will never forget if you see it just once.

You were giggling, clapping, eating cotton candy, While we made you smile, laugh, and happy.

The audience roared, clapping along to the rhythm as the performers joined in, creating a swirling, unified movement across the stage. Acrobats somersaulted over each other, their costumes glinting like jewels, while the fire jugglers formed a blazing ring around the edge of the stage.

(Ensemble): Jugglers, acrobats, magicians, everyone came to you to say hello. See you on the next the Big Top show!

The music reached its crescendo, and Buggy leapt onto a spinning platform at the center of the stage. With a triumphant flourish, he tossed his hat high into the air, catching it perfectly as the fireworks exploded behind him, showering the stage in golden sparks.

The audience erupted into thunderous applause, the sound echoing like a tidal wave through the tent. Buggy bowed low, sweeping his arm theatrically as the rest of the troupe followed suit.

“Thank you, thank you!” Buggy called, his voice booming with joy. He raised his arms once more, grinning as he scanned the crowd. His eyes briefly found Catherine in the front row, her clapping the loudest of all. She mouthed, “I love you,” and Buggy winked back, his grin softening just a little.

The curtains began to close, the performers waving wildly at the cheering crowd. Buggy stood tall, his silhouette framed perfectly against the golden light spilling from the stage.

“Until next time, ladies and gentlemen!” he shouted as the final note lingered in the air. “The Big Top awaits!”

The curtains shut with a satisfying swoosh, and the roaring applause swelled once more, sealing the magic of the night.

Catherine shot to her feet, clapping enthusiastically, her voice ringing out above the crowd.

“Bravo!” she shouted, her cheeks flushed with excitement.

It felt like an eternity before the spell broke, and she came back to her senses. Behind her, two girls whispered loudly enough to catch her attention.

“What a beautiful, chaotic love story they’ve built together! I bet he dedicated it to me.”

“No, to me!! Why would he dedicate this act to you?”

Catherine giggled quietly, wiping her eyes as they began to water again. She noticed the girls glaring at her from their seats, their whispers turning into pointed stares. Before she could respond, Cabaji appeared, darting out from backstage and heading straight for the girls. They stuck out their tongues at Catherine in mock defiance before giggling and disappearing into the hall with Cabaji leading the way.

Still smiling, Catherine left her bag on her seat and wandered toward the stage. The lingering warmth of the performance filled her chest as she climbed onto the aerial hoop, grunting softly as she sat down. She trailed her fingers lightly over the hoop’s smooth surface, her touch reverent.

Her feet swung lazily as she got lost in her thoughts, completely unaware of Buggy sneaking up behind her. He poked her side with his fingers, startling her.

“Fuck!” Catherine yelped, nearly falling off the hoop. She shot him a playful glare and punched his shoulder lightly. “You scared me, you idiot! Hey!”

“Hey.” Buggy smirked, crossing his arms as he stood in front of her. “So? What did you think?” he asked, his voice laced with an unusual nervousness.

Catherine blinked at him, her eyes softening before she threw her arms around his neck with a squeal. “I knew it would be amazing, but I didn’t expect it to be that amazing!” She peppered his face with kisses. “I’m so, so proud of you!”

“Geeez! You're gonna suffocate me, Cathie-pie.” Buggy groaned, though his hand instinctively rested on her waist.

“I don’t care!” Catherine giggled, planting another kiss on his lips. “My jaw dropped from the very beginning, Buggy. Those acrobats rolling into the arena on flaming wheels? The dancing, the songs! I didn’t even know you could dance and sing!” She kissed him again. “I knew you were a romantic at heart.”

Buggy’s face twisted into mock indignation. “Who? Me? Romantic? I’m a grown and scary man, cotton candy. I don’t do romance.”

“Yeah, yeah,” Catherine teased, narrowing her eyes. “And that song about us? Totally not romantic at all, right?” Tears welled up in her eyes as her voice softened. “Nobody’s ever done anything like that for me before, Buggy. That song… it was perfect.”

Buggy coughed, looking away. “Song about us? Nah, that was just some random story about a girl from the library. We’ve had that act forever. You’re just seeing it for the first time.”

“Liar,” Catherine whispered, her smile widening. “But fine, I’ll pretend to believe you.” She giggled. “I’m sure all your fangirls in the audience thought that song was for them, but I know it was dedicated to me.”

“I don’t have fangirls, stop mocking me!” 

“No, you have! I saw them! Oh, oh!! When the acrobats started spinning around on those things and the whole crew was stomping around below. And then the fireworks! And then the acrobats! And then, and then…” Catherine was gesturing wildly, trying to collect her thoughts. 

“I'll try to help you put all your thoughts together. Want a drink? I brought you wine.” Buggy sent his hand for the bottle and poured her a glass of her favorite wine. “Here.” 

Catherine accepted the glass and drank it in one gulp. “That was amazing! You’re amazing!” And then Richie got so on his paws… That was amazing! I'm speechless!” 

“Speechless? I’m impressed. You're such a chatterbox!” Buggy smirked, picking up a bottle of whiskey for himself. 

“Go to hell, clown. You're bigger chatterbox than me! Oh, wait!” Catherine laughed as she snatched his hat and plopped it onto her head. “Well? How do I look? Does it suit me?”

Buggy froze, staring at her for a moment. He took a slow swig of whiskey, his gaze intense. “You did a very dangerous thing, cotton candy.” He stepped closer, his hands sliding around her waist as he leaned in toward her neck.

“Buggy!” Catherine protested, laughing as she gently pushed him away. “What are you doing? Someone might walk in!”

“I don't give a shit!” Buggy muttered, leaning in again.

“Nooo!” Catherine pushed him back once more. “What the hell, my love? You seemed so sweet earlier, and now you’re acting like a total pervert!” She kissed his nose and returned his hat to his head.

“I’m not a pervert. But have you seen yourself? This dress, that hat.” 

Catherine slapped his hand away as it crept toward her knee. “Behave!”

“Fine, fine,” Buggy relented, raising his hands in mock surrender. “But for the record, I didn’t even touch you yesterday. That’s what I call a self-control.”

“Lucky me!” Catherine laughed, gripping the hoop with her hands and narrowing her eyes playfully. Her smile was mischievous, the kind that made Buggy’s heart skip a beat. “I spent the evening in pants!”

Buggy smirked, stepping closer to the hoop. He reached out and began to gently twist it, his eyes glinting with amusement.

“Well, tell me, clown, how often did you have girls staying here after the shows?” Catherine added with a dramatic sigh, swinging her legs like a carefree child. “You must have had hot sex in your office often.” She leaned back slightly, her spine arching gracefully, her hair catching the dim light like a halo.

Buggy’s smirk faltered for a moment, his throat bobbing as he swallowed. He kept twisting the hoop, slower this time, his gaze lingering on her silhouette. “You really love mocking me, don’t you?” he said, his voice a touch raspier. “For the record, there was no one in my office. Nobody goes there. That’s my territory.”

“I probably look like a sack of potatoes right now. I'm far from the grace of your beautiful acrobats.” Catherine arched even lower and laughed, tipping her head back, the sound like a bell ringing through the empty space. “Your territory? I see. Wait! If nobody’s allowed in your precious office, then what about me? You let me in there.”

Buggy rolled his eyes, but there was no hiding the soft smile tugging at his lips. “Because you’re not a girl,” he said, his tone laced with mock annoyance. “You’re a little red-haired devil, Catherine Mitchell. And you’ve done something to me.”

Catherine squealed in delight, kicking her legs and standing up on the hoop with surprising agility. She jumped off, landing gracefully before running toward him. Without hesitation, she threw her arms around his waist, squeezing him tightly. “I knew you loved me, my Buggy Bear!” she said, her voice muffled against his chest. “And guess what? I love you too.”

Buggy chuckled, resting his chin lightly on her head. “Well, then,” he said softly, brushing a hand over her hair, “shall we go home?”

“Oh, wait! I have an idea!” Catherine exclaimed, pulling back to look up at him with a mischievous glint in her eye. She lifted the hem of her dress and spun around in a playful twirl. “First of all, I’m wearing this gorgeous dress,” she said with a grin. “I want to make you jealous when all the guys stare at me. And secondly,” she added, leaning closer with a conspiratorial whisper, “I want to spend more time with you. We’ve only been living together for a week, and I want to know you better. And”, her grin widened, “Cabaji went to the bar with two girls. We have to see that disaster unfold. You guys are hopeless when it comes to talking to women.”

Buggy raised an eyebrow, feigning indignation. “What are you talking about? I know how to talk to girls. I charmed you, didn’t I?”

Catherine burst out laughing, swatting his arm. “Charmed me? Oh, please. There was no charm involved! You pissed me off and then tried to leave me in the desert!”

“I didn’t leave you!” Buggy shot back, his voice rising dramatically. “Fine. Let’s go to the bar.”

“One thing, my Buggy Bear.” Catherine tilted her head, her eyes sparkling with mischief.

“I’m listening, my Cathie-pie,” he replied, his voice dripping with exaggerated patience.

“Stop grabbing my ass!”

[androgynousblackbox]

In Short by who?

I would love to give it a listen!

It was written by Benj Pasek and Justin Paul!

I put a video with one version of the song, but here are the lyrics.

We loved and then we lost

While it came at quite a cost

We both had the chance to grow

I've collected my thoughts and once before I go

There's just one thing I want you to know...

I wanna punch you in the face.

Rip out all your hair

I want to burn you alive

And if you survive,

I'll strap you to an electric chair!

Or lean out a window a little too far,

Don't look both ways and get hit by a car

Fall out of a roller coaster,

Take a warm bath with a plugged in toaster!

In short

I hope you die.

This is Vox singing to Alastor, you can't tell me otherwise.

[derekklenadaily]

The New York Pops: 21st Century Broadway at Carnegie Hall Review

Last Friday night, I attended The New York Pops' performance at Carnegie Hall in New York City. When arriving into the building, you can sense how incredible iconic this building is, especially it was built in 1891 and it is now 132 years old. A six level tier of gold rimmed balconies enclosed the rotunda of the theatre with a beautiful glass chandelier shining above the red velvet seats below. Before the show started, we as audience heard the orchestra in their best clothing, warming up with their instruments, playing several notes from variety songs that was going to be performed. Then the music director Steven Reineke arrived to the stage, leading the orchestra to play the overture from Mel Brooks' "The Producers" the Musical. The orchestra and Steve delivered an outstanding performance that left us audience feeling extremely excited for the next two and a half hours.

After finishing a song, Steven welcomed us and introduced the next performer, Hailey Kilgore. Hailey is a Tony-nominated actress known for her role in 'Once On This Island'. She began her performance with a beautiful rendition of "All that Matters" from the musical 'Finding Neverland'. She then delighted the audience with a fun and energetic performance of "Fabulous, Baby!" from 'Sister Act' the Musical. Next, Javier Munoz (Lin Manuel Miranda's in 'Hamilton' and 'In the Heights'), joined the stage with Hailey. The duo performed a lovely rendition of "When the Sun Goes Down" from the musical 'In The Heights', showcasing their harmonious voices blending together. Before Javier sang "Proud of Your Boy" from Disney's 'Aladdin', he explained that the song holds meaning for parents and anyone with children. Next he finishes his singing segment of his performance with a heartfelt rendition of "Love Who You Love" by Lynn Ahrens and Stephen Flaherty from the musical 'A Man of No Importance'.

Derek looked sharp in his blue tuxedo as he took the stage. His first song, "My Petersburg" from the iconic creative team of 'Anastasia', Lynn Ahrens and Stephen Flaherty and Terrence McNally. It was absolutely glorious to listen to and watch, as he transformed into the beloved character Dmitry right before our eyes. He followed it up with a jaw-dropping and heart-wrenching rendition of "Perfect" from Alanis Morrisette and Glen Ballard's 'Jagged Little Pill'. He portrayed the character Nick Healy who is faced pressure with of his parents pushing him to be successful in academic and sports. Despite the show's short run due to the Covid pandemic, Derek's performance rightfully earned him a Tony Award nomination for Best Featured Actor in 2021.

Tony Award Winner from 'Oklahoma', Ali Stroker joins Derek on stage, and they sang "You Matter to Me" from 'Waitress'. I really would love to see her and Derek together in another show on Broadway at some point in their career, their chemistry was so adorable for words. And I absolutely loved Ali's mind-blowing performances of "A Summer in Ohio" from Jason Robert Brown's "The Last Five Years" and Justin Paul and Benj Pasek's "Waving Through The Window" from 'Dear Evan Hansen". I couldn't believe how insane of her breath control she had while sitting in the wheelchair, and singing so ever effortlessly and so incredibly beautifully! My goodness! No wonder why she won a Tony Award. After her piece, the show paused for a fifteen minute intermission.

Once we came back from the intermission, the orchestra began to play the lively tune of the overture from 'Curtains' the Musical. After that, the four performers returned to the stage and sang a gorgeous rendition of "Purple Summer" from 'Spring Awakening'. Then it was Javier's turn to sing "Hurricane" from one of the most known shows on Broadway, 'Hamilton'. Once after he was finished, Derek joined him onstage - singing "Dear Theodosia" from Hamilton. It was so captivating and meaningful, especially now Derek has a little boy. Before Derek sang “Goodbye” from 'Catch Me If You Can', he told us the story where he saw a boot of Aaron Tveit in 'Catch Me If You Can' during its out-of-town run in Seattle, so Derek and his piano accompanist made an arrangement for his concert in Los Angeles. Marc Shaiman heard him singing this song via a Google alert and asked Derek to send a recording for as Aaron’s standby before coming to Broadway through a facebook message. With him alone singing solo pieces from each show, definitely made me wish that he would return to Broadway soon. Even though, he spent nearly 14 months on Broadway for his time as Christian in 'Moulin Rouge' (including his brief hiatus), the months went by so fast though! But I know most of us Derek fans and Broadway fans are waiting patiently now, it will be worth it once he returns with the show that is completely in his own creation, like 'Anastasia' and 'Jagged Little Pill' for example rather than replacing someone else in the show.

For Ali's final solo piece, she sang a hilarious song called "Diva's Lament" from the Broadway show 'Spamalot'. Through her rendition, Ali aimed to provide a sneak peek of what audiences can expect from the song, as well as potentially the entire show, which is scheduled to make its return to Broadway within the month. To commemorate Wicked's 20th anniversary, Ali and Hailey gave a stunning duet of "For Good" from the show. I would love see these duos in 'Wicked' in the future! Hailey gave a outstanding performance of "I'm Here" from 'The Color Purple' that left a lasting impression on the audience, resulting in a five-minute standing ovation. The chorus concert members of Susan E. Wagner High School joined Derek, Ali, Hailey, and Javier for an encore performance of "You Will Be Found" from 'Dear Evan Hansen'. The combination of their young voices blending with the quartet and the orchestra created a truly beautiful and such moving musical experience.

Overall, I really enjoyed the concert so much. It was awesome to go to see The New York Pops' concert, which featured a variety of Broadway songs from the early 2000's to 2023. It was amazing to hear different singers perform throughout the show. I know last year and even this year has been such a whirlwind but he had two amazing years, accomplishing so many goals especially making his debut at the Carnegie Hall. I am truly ecstatic to see where he goes from here with this ongoing journey with his life and career; whether it's a performance at iconic theatre, Broadway, television/films and etc. If you want to see or follow more updates on Derek, you can follow him on instagram - @derek_klena or on twitter: @DerekKlena

And if you want to follow us to keep an update on projects and career, follow us on X [twitter], Blue Sky, tumblr and instagram: @derekklenadaily

Sincerely,

Dani

[mthguy]

Laura Dreyfuss and Ben Platt perform “Only Us” from the Tony Award winning Best Musical Dear Evan Hansen, music and lyrics by Benj Pasek and Justin Paul.

“I don't need you to sell me on reasons to want you I don't need you to search for the proof that I should You don't have to convince me You don't have to be scared you're not enough 'Cause what we've got going is good I don't need more reminders of all that's been broken I don't need you to fix what I'd rather forget Clear the slate and start over Try to quiet the noises in your head We can't compete with all that So what if it's us? What if it's us And only us And what came before won't count anymore or matter? Can we try that? What if it's you And what if it's me And what if that's all that we need it to be And the rest of the world falls away? What do you say? I never thought there'd be someone like you who would want me Well... So I give you ten thousand reasons to not let me go But if you really see me If you like me for me and nothing else Well, that's all that I've wanted for longer that you could possibly know So it can be us It can be us And only us And what came before won't count anymore or matter We can try that It's not so impossible Nobody else but the two of us here 'Cause you're saying it's possible We can just watch the whole world disappear 'Til you're the only one I still know how to see It's just you and me It'll be us It'll be us And only us And what came before won't count anymore We can try that You and me That's all that we need it to be And the rest of the world falls away And the rest of the world falls away The world falls away The world falls away And it's only us”

[zara-anthology]

Dear Evan Hansen

"You will be found" - Evan Hansen

Dear Evan Hansen is a coming-of-age stage musical with music and lyrics by Benj Pasek and Justin Paul, and a book by Steven Levenson. The musical follows Evan Hansen played by Ben Platt, a high school senior with social anxiety, "who invents an important role for himself in a tragedy that he did not earn".

Evan Hansen struggles with severe social anxiety and feels deeply isolated. His sense of despair is evident in the song "Waving Through a Window": “On the outside, always looking in. Will I ever be more than I've always been?” This line encapsulates Evan’s feelings of being invisible and his longing for connection, highlighting his inner turmoil and sense of despair. Connor Murphy, another central character, faces his own struggles with depression and alienation, leading to his tragic suicide. His story reflects the profound despair that can accompany mental illness and the devastating impact it can have on individuals and their families. The Murphy family’s grief over Connor’s death adds another layer of despair. They grapple with feelings of guilt, loss, and the search for meaning in the wake of tragedy. The song "Requiem" expresses their varied responses to Connor’s death: “I will sing no requiem tonight. 'Cause when the villains fall, the kingdoms never weep.” This reflects the complicated emotions they face, including anger and the struggle to remember Connor positively despite his difficult behavior.

Despite the despair, Evan inadvertently brings hope to others through a lie. He fabricates a friendship with Connor to comfort the Murphy family, which initially brings them solace and a sense of connection. The song "You Will Be Found" becomes an anthem of hope: “Even when the dark comes crashing through, when you need a friend to carry you, and when you’re broken on the ground, you will be found.” This song spreads a message of hope and community, resonating with many characters and the audience as it underscores the idea that no one is truly alone. Throughout the musical, Evan undergoes significant personal growth. Despite his initial deceit, he learns the importance of honesty and authenticity. In the end, he begins to accept himself and his imperfections, which is a hopeful message about personal redemption and the possibility of change. The impact of the "Connor Project," a movement started in Connor’s memory, illustrates how communities can come together to support each other. This collective action represents hope, as it shows the power of empathy and shared experiences in overcoming despair.

I first discovered Dear Evan Hansen in my early high school years. At the time, the story conveyed through the songs made a profound impact on me, and it resonated with me so much that it made me really sad. Years later, while listening to the soundtrack for this anthology, it was able to make me sad all over again, except this time the sadness was more intense than before. It may be due to nostalgia, or perhaps because my life at its current stage better reflects that of the characters in the show now, but for whatever reason, listening to the soundtrack made me feel very sad. I believe the message of being found really resonated with me, as I honestly feel more lonely than ever right now. In that sense I find Evan to be a very relatable protagonist, and despite the choices he made in the story, I can't bring myself to hate him for it. At the end of the day, he, like anyone else, is only human.

[jules-has-notes]

collaboration spotlight — Waving Through A Window by Kurt Hugo Schneider & VoicePlay

A lot of people begin a new year by reflecting on the past and expressing desires or intentions for the future. So when VoicePlay and Kurt were planning their second collaboration, they decided on the musical theater equivalent of that process, a classic "I want" song from a recent Broadway hit. The emotions of the number were a perfect showcase for Eli's talents.

Details:

title: Waving Through A Window (feat. VoicePlay)

original performer: Ben Platt as Evan Hansen in Dear Evan Hansen (2016)

written by: Benj Pasek & Justin Paul

arranged by: Layne Stein & Kurt Hugo Schneider

release date: 2 January 2018

My favorite bits:

Eli's tentative tone accompanied by the other guys' softly hummed harmonies and Layne's heartbeat body percussion

the lovely ♫ "burn burn burn burn" ♫ bell chord 🔥

Kurt alternating between frantic, stacatto synthesizer lines and long, simple chords to accentuate the dynamics of the song

that crescendo from Earl, J.None, and Geoff behind the first ♫ "Is anybody waving?" ♫ to kick things into the next gear

the cool warbling sound Layne makes at the start of the bridge

the palpable silence before the key change

Eli's beautiful balance between increasing intensity and agility to bring everything home

honorable mention for Layne's wrist brace as an echo of Evan's arm cast in the musical

Trivia:

Filming this video was part of a whirlwind trip to Los Angeles in October, during which they recorded three videos with three different collaborators in two days. They filmed this one on the same day as their "Baby It's Cold Outside" video with Shoshana Bean.

Layne reworked the arrangement to create a purely a cappella version that the guys performed as part of their live shows for a couple years, including at the 2018 Total Vocal concert in NYC.

For the second year in a row, VoicePlay's first video of the year was a Broadway song collaboration released on someone else's channel. The previous year's debut was "Seasons of Love" with AJ Rafael.

Their previous collaboration with Kurt, a "Twenty One Pilots mashup" video, was filmed just over a year before this one.

[designaday]

Ultimate Playlist: Men’s Names, E

Scenes From An Italian Restaurant by Billy Joel Three songs in one, this fan favorite features The Ballad of Brenda and Eddie, popular high school sweethearts who married but had financial troubles and eventually divorced.

Eddie’s Coming Out Tonight by Night Ranger Eddie likes to rock and roll. He lives better than he can afford to, has a crazy girlfriend, has it in for you, and is coming out tonight.

Eddie’s Concubine by Eddie From Ohio Sung by the woman Eddie has an ongoing affair with, the song describes a middle-aged, overweight, sleazy nightclub owner. He keeps promising he’ll leave his wife for her, but never does, so she pulls a gun on him.

The Ballad of Eddie Praeger by Paul and Storm An Irish epic in the style of The Wreck of the Edmund Fitzgerald about a drunk in a pub bathroom who does battle with a urinal cake.

My Baby’s In Love With Eddie Vedder by “Weird Al” Yankovic The singer is jealous because his girl is infatuated with the lead singer of Pearl Jam.

The Wreck of the Edmund Fitzgerald by Gordon Lightfoot Another epic ballad, this one chronicles the tragic, final voyage of the bulk carrier SS Edmund Fitzgerald, named after the president and chairman of the board of Northwestern Mutual Life Insurance Company of Milwaukee, Wisconsin, the company that contracted Great Lakes Engineering Works to design and build the longest ship on the Great Lakes.

Elijah’s Song by Neil Diamond A lullaby for his grandson, the song references Neil’s son Jessie, who has his own music career, and Elijah’s mother, actress Sheryl Lee,.

Saint Elmo’s Fire (Man In Motion) by Joh Par This song is the main theme from the 1985 film by the same name. Saint Elmo’s Bar is where the characters in the movie hang out, but Saint Elmo’s Fire is a weather phenomenon where a corona discharge from a ship’s mast creates luminous plasma, resulting in a blue or violet glow. This effect is named after St. Erasmus of Formia (also known as St. Elmo), the patron saint of sailors.

Elvis is Everywhere by Mojo Nixon This psychobilly song deifies Elvis Presley while labeling Michael J. Fox as the Anti-Elvis. Elvis is the one who built the pyramids and stonehenge, and he’s taking boats from the Bermuda Triangle.

Velvet Elvis by “Weird Al” Yankovic A style parody of The Police, this song glorifies the tacky art trend as much as it does the singer.

Sincerely, Me by Benj Pasek and Justin Paul This is the song from which the 2015 musical Dear Evan Hansen takes its name. The main character, Evan, creates a series of fake emails in an attempt to convince Connor Murphy’s parents that he and Connor had been friends before Connor committed suicide.

Dr. Evil by They Might Be Giants Written for Austin Powers: The Spy Who Shagged Me. When your name is Evil, that is good, or so you think, but you’re so very wrong.

[georgewiman]

Evangelical Christian Appropriation

So I'm paying my bill at the dentist, and I hear "You Will Be Found" on the Muzak. And just being conversational I mentioned to the clerk; "Oh, they made a country-western version version of 'Dear Evan Hansen?'"

She listened for a moment. "That's a Christian song," she condescended. "It was around before 'Dear Evan Hansen."

Internal thought monologue: " Really? Bejn Pasek and Justin Paul stole a song off Christian radio for a Broadway musical? Hmm."

I let it go, but not really. I looked it up. And sure enough, gospel singers Natalie Grant and Corey Asbury definitely recorded it, negative eleven years before Dear Evan Hansen.

Evangelical Christianity is so damn full of itself. And I have got to start being more taciturn. This would not be bugging me if I'd just kept my mouth shut.

[im-tired-and-bi]

I have a problem with reading sad mlm books. They suck me in and I go way to far in. My favorites have to be The Art of starving by Sam J. Miller (this book is more about him coming to realize the less he eats, the more power he gains. He does come to accept himself and the problems he had with himself and his sisters disappearance.) This was the first queer book I ever read.

They Both Die at the End by Adam Silvera. (Death cast calls you on the day you'll die. Mateo and Rufus are both going to die. They spend there last day together before coming to an untimely death.)

Dear Evan Hansen, By Val Emmich, Benj Pasek, Steven Levenson, and Justin Paul. (Unlike the musical we are able to see more of Conners story. His past relationship with the boy in the photo and his view of his family. There is so much queer coding in this book.)

[smb0]

I have not one, not two, not three, but NINE concepts (as of reblogging, subject to change)

Production companies would be Sega Sammy Group, RiceBowl Films, Inc. (My (hopefully) future animation studio), Marza Animation Planet, and Swaybox Studios (the company animating Warner Animation's upcoming Robin movie Dynamic Duo). Either Paramount or 20th Century Fox will distribute.

But in case you don't feel like reading on AO3:

Concept #1:

Title: Puyo Puyo The Movie: Red and Black

Directors: Phui Jing Ling, Simon Wells Animation production assistance: Tonic DNA, Kyoto Animation, The SPA Studios, Glitch Productions Animation mediums: Hand-drawn, CG Premise: When the majority of Primp Town is kidnapped by Dark Matter, Amitie and her classmates Sig, Raffina, Klug, and Lidelle, alongside their other friends Arle, Ringo, Ecolo, Lemres, and Feli, set out to rescue the town, find the missing Professor Accord, and save the world... even if it means unlocking powers that were never meant to be unlocked.

Concept #2: Puyo Puyo The Movie: Invasion of the Yogs

Directors: @nenilein , Phil Nibbelink Animation production assistance: Tonic DNA, Cartoon Saloon, Reel FX Creative Studios Animation mediums: Hand-drawn, CG Premise: Yoggus and the Yogs come back for revenge, along with planning to harness the magic in this world. Arle and the Madou Team, with the help of the Light Academy Student Council, must stop them before anyone in Primp can be harmed.

Small note: The Madou Team includes Arle, Schezo, Rulue, Witch, Draco, Suketoudara, Lagnus, Serilly, Minotuaros, Skeleton T and Dark Prince.

Concept #3: Puyo Puyo The Movie: Great Minds Think Alike!

Directors: Sam Fell, Naohiro Hirao Animation production assistance: Flying Bark Productions, Toon City Animation, Jam Filled Toronto Animation mediums: Hand-drawn, CG Premise: Arle, Schezo, Amitie, and Sig are kidnapped by Doppelganger Arle. Rulue, Draco, Dark Prince, Lidelle and Raffina (reluctantly on Rulue and Raffina's part) decide to rescue them.

Concept #4: Puyo Puyo The Movie: Angelic Fate

Directors: NokiStar (if they want to), Chris Wedge Animation production assistance: Stardust Pictures, Bardel Entertainment, TMS Entertainment, Marza Animation Planet Animation mediums: Hand-drawn, CG Premise: After Primp Town is destroyed by a cataclysmic event, the Puyo cast, led by Klug, Feli, Lemres, and Baldanders, search for a mystical artifact in order to restore their ruined home.

Concept #5: Puyo Puyo The Movie: Sky High Directors: Ralph Zondag, Hiromasa Yonebayashi Animation production assistance: Toon City Animation, Studio Ponoc, Marza Animation Planet Animation medium: Hand-drawn, CG Premise: Amitie and Sig go on a high-flying musical adventure of self-discovery.

Concept #6: Puyo Puyo The Movie: Chaos Effect Directors: Paul Brizzi and Gaëtan Brizzi Animation production assistance: Animax Entertainment, Buzzco Associates, Neomis Animation, Toei Animation Animation medium: Hand-drawn, CG Premise: Ecolo steals a magical locket from an undead army, and plans to give it to Ringo. After the army finds out, they kidnap Ringo and plan to destroy Primp Town out of spite. It's a race against the clock for Maguro and the Puyo gang to return the locket before Ringo dies and their home is demolished!

Concept #7: Puyo Puyo The Movie: Hear Me Roar!

Directors: Conrad Vernon, Naoko Yamada Animation production assistance: Flying Bark Productions, Kyoto Animation, Glitch Productions, Science SARU Animation mediums: Hand-drawn, CG Premise: Draco and the Dark Prince go on a quest to save Lidelle when she is kidnapped by a mysterious foe. This film would be a musical, with songs composed by Tom Snow with lyrics by either Nenilein or Benj Pasek and Justin Paul. John Powell would provide the score.

Concept #8: Puyo Puyo Tetris: The Musical Director: Phui Jing Ling Animation production assistance: Toon City Animation Animation medium: Hand-drawn, CG Premise: A musical retelling of the first PuyoTet game, with songs by Hideki Abe and Lin-Manuel Miranda.

Concept #9: Puyo Puyo The Movie: Toil and Trouble Director: Mark Dindal Animation production assistance: Tonic DNA, DNEG Animation Animation mediums: Hand-drawn, CG Premise: Witch, accompanied by Draco and Amitie, goes on a misadventure to retrieve her grandmother's spell book when it is stolen by Dark Matter (the one from Madou Monogatari, not Kirby).

Hope you liked my ideas! More will be added soon, but I can't wait to hear more of yours!

Sega has decided to branch out and have more of their games become movies. You are in charge of making the first Puyo Puyo Movie

How do you do that? And which studio makes it (preferably an American Studio because Paramount is American)

Is it live action or animated?

[thatonemouseykid]

Lmao was anyone going to tell me the Greatest Showman was written by the same people who wrote Dear Evan Hansen or was I genuinely supposed to find out while having a mental breakdown and listening to Never Enough?

[d-criss-news]

[UHQ] Darren Criss, left, sings with Oscar-winning composers Benj Pasek and Justin Paul at a 2023 Oscars singalong event for the shortlisted best song contender “Good Afternoon” from the Apple Original Films musical “Spirited.” (Photo by Stewart Cook / Apple Original Films)

Watch Darren Criss lead a star-studded ‘Spirited’ singalong to kick off Oscar race

What happens when you get Broadway singers and Emmy-, Grammy-, Oscar- and Tony-winning songwriters in a room with a piano during awards season? Singalongs. Lots of them.

Diane Warren joined in Wednesday night in Hollywood as “Glee’s” Darren Criss and a crowd of music lovers belted out her Oscar-nominated “Armageddon” ballad “I Don’t Wanna Miss a Thing.

------

Once the music began at the bash — for Benj Pasek and Justin Paul‘s 2023 Oscar-hopeful tune “Good Afternoon,” from the Apple Original Films musical “Spirited” — it didn’t stop. Hosted by Darren and Mia Criss at their piano bar Tramp Stamp Granny’s, the FYC event kicked off with a performance of Pasek and Paul’s “Good Afternoon,” from the Ryan Reynolds-Will Ferrell “Christmas Carol” retelling, with a Golden Globes-inspired twist.

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Songwriting duo Pasek and Paul, who won the Oscar for their “La La Land” song “City of Stars,” went on to lead singalongs of their hits from “Dear Evan Hansen” and “The Greatest Showman” with Criss on the microphone.

Grammy-winning, Oscar-nominated singer-songwriter Siedah Garrett later joined Criss singing “Man in the Mirror,” which she co-wrote with Michael Jackson, before “The Unofficial Bridgerton Musical” composer Emily Bear took to the piano to accompany Broadway touring singer Sis (“Oklahoma!”) on the “Little Mermaid” classic “Part of Your World.”

[pinksource]

Pink Announces 'All I Know So Far' Title Track Ahead of 'Setlist' Live Album & Doc

The song will drop on May 7.

P!nk announced the release date for the title track to her upcoming live documentary, All I Know So Far, on Thursday (Apr. 29).

The song was produced by frequent collaborator Greg Kurstin and co-written by the singer along with Oscar- and Grammy-winning songwriters Benj Pasek and Justin Paul.

"All I Know So Far" will drop on May 7, just weeks before the May 21 debut of the Michael Gracey-directed film P!nk: All I Know So Far hits Amazon Prime Video.

The song will also show up on the project's official RCA Records soundtrack, the 16-track All I Know So Far: Setlist, which features live takes on such iconic hits as "Just Like a Pill," "Just Give Me a Reason" and "So What" as well as her MTV Video Vanguard Award Speech, covers of Queen's "Bohemian Rhapsody" and "We Are the Champions" and her heart-swelling duet with daughter Willow, "Cover Me in Sunshine."

The album features live recordings from P!nk's 2019 Beautiful Trauma world tour and it will be accompanied by the 80-page All I Know So Far Limited Edition Zine Set, which contains never-before-seen images from the Beautiful Trauma tour by award-winning photographer Andrew Macpherson.

Check out the full All I Know So Far track list below. (Source)

[zara-anthology]

Waving Through a Window

"When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound?" - Evan Hansen

Waving Through a Window is the second song from Act 1 of the 2015 musical Dear Evan Hansen, which premiered on Broadway in 2016. Benj Pasek and Justin Paul wrote both the music and lyrics for the song, which serves as the main protagonist Evan Hansen's "I Want" song. It has since become the signature tune of the character, one of the musical's most famous songs and an anthem for those who have felt depressed and alone and show a desire for connection. The lyrics can be found by clicking "keep reading" below.

In the song, Evan laments how his voice has gone unheard for so long and wonders if it'll ever be heard ("I try to speak, but nobody can hear So I wait around for an answer to appear"). Evan longs to connect with others, but due to his severe social anxiety he feels hopeless and is on the verge of giving up trying. He feels like an outsider, never included in anything but instead observing from a distance ("On the outside, always looking in Will I ever be more than I've always been?"). The bridge of the song is based on a philosophical thought experiment related to the nature of observation and reality, often expressed as "If a tree falls in a forest and no one is around to hear it, does it make a sound?" In the context of the musical, it's actually foreshadowing to how Evan attempted to take his own life by jumping out of a tree. In this part of the song, he wonders if it even "made a sound" or in other words, if he'll ever be heard.

I do not have social anxiety, nor am I suicidal, yet Evan's experiences and feelings resonate strongly with me. The sense of hopelessness and loneliness he conveys hit a little too close to home for me, as I, like anyone else, have experienced these feelings too. The question of "Will I ever make a sound?" is one that dwells within my mind more often than I like to admit. To this day, I haven't found the answer yet. But I believe that everyone deserves to be remembered, which is the main message of another song in the musical "Disappear". The message is reminiscent of that of the Dinner Party, as no one deserves to be forgotten. I wholeheartedly believe in this message.

[lyrics]

I've learned to slam on the brake Before I even turn the key Before I make the mistake Before I lead with the worst of me

Give them no reason to stare No slipping up if you slip away So I got nothing to share No, I got nothing to say

Step out, step out of the sun If you keep getting burned Step out, step out of the sun Because you've learned, because you've learned

On the outside, always looking in Will I ever be more than I've always been? 'Cause I'm tap, tap, tapping on the glass I'm waving through a window I try to speak, but nobody can hear So I wait around for an answer to appear While I'm watch, watch, watching people pass I'm waving through a window, oh Can anybody see, is anybody waving back at me?

We start with stars in our eyes We start believing that we belong But every sun doesn't rise And no one tells you where you went wrong

Step out, step out of the sun If you keep getting burned Step out, step out of the sun Because you've learned, because you've learned

On the outside, always looking in Will I ever be more than I've always been? 'Cause I'm tap, tap, tapping on the glass Waving through a window I try to speak, but nobody can hear So I wait around for an answer to appear While I'm watch, watch, watching people pass Waving through a window, oh Can anybody see, is anybody waving?

When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? When you're falling in a forest and there's nobody around Do you ever really crash, or even make a sound? Did I even make a sound? Did I even make a sound? It's like I never made a sound Will I ever make a sound?

On the outside, always looking in Will I ever be more than I've always been? 'Cause I'm tap, tap, tapping on the glass Waving through a window I try to speak, but nobody can hear So I wait around for an answer to appear While I'm watch, watch, watching people pass Waving through a window, oh Can anybody see, is anybody waving back at me? (Oh)

Is anybody waving? Waving, waving, whoa-oh, whoa

[jules-has-notes]

collaboration spotlight — The Phantom Showman mashup by Fernando Varela

When classical singer Fernando Varela first saw The Greatest Showman, the visual spectacle and soaring music reminded him of one of the shows that had originally inspired him to pursue singing as a career, Phantom of the Opera. After some noodling, he found that the songs from both shows could be combined rather nicely.

Details:

title: The Phantom Showman

performers: Fernando Varela (Raoul), Leah Lowman (Christine), & Tony Wakim (Phantom)

original songs / performers: "Never Enough" by Loren Allred as Jenny Lind (vocals) in The Greatest Showman (2017); "All I Ask of You" & "Think of Me" by Sarah Brightman as Christine Daaé & Steve Barton as Raoul de Chagny in The Phantom of the Opera (1986)

written by: "Never Enough" by Benj Pasek & Justin Paul; "All I Ask of You" & "Think of Me" by Andrew Lloyd Webber, Charles Hart, & Richard Stilgoe

arranged by: Fernando Varela

release date: 9 April 2018

My favorite bits:

the tinkling music box version of the instrumentation

Fernando's lovely clear voice, with just a touch of vibratto

Leah's hopeful princess-y tone

the echo on the Phantom's call

the little flip up into head voice on the second ♫ "never be enough" ♫

the way the songs from both shows weave together

gotta love a dramatic key change

the big harmonized belting moment with a sudden cut-off

pulling back to just tentative vocals and the music box to end

Trivia:

Being a tenor, Fernando cast himself in the role of steadfast Raoul, who falls in love with his childhood friend Christine when they meet as adults. Which is fitting, in a way. After all, Fernando has admitted that the reason he initially pursued opera as a teenager was to spend time with a girl he liked.

This video was filmed at The Ballroom on Church Street, the same location PattyCake used as their castle interior for "Beauty and the Bieber" a year earlier. With brighter lighting, it made for a decent opera house.

Leah and Tony's costumes were both originally created for VoicePlay's "Phantom of the Opera" music video in 2015.

A few months before this recording, Fernando had been a part of the Royal Christmas Gala tour across Europe, which was headlined by Sarah Brightman, who originated the role of Christine in Phantom.

In the lead-up to the release date, Fernando posted a series of coundtdown images on social media.

This is Tony's third filmed iteration of the Phantom. Before VoicePlay's full version of the show's title song, he sang an excerpt in their "Aca Top 10 — Broadway" countdown, which they also performed on the 2015 Sing-Off tour.

PattyCake had released their own Greatest Showman medley in the form of "The Disney Showman" celebrating the life and legacy of the illustrious Walt a month earlier.

Layne later arranged a portion of "Never Enough" for VoicePlay as part of their "Showman Medley" video with Rachel Potter at the end of 2021.