#modern theatre

[if-you-fan-a-fire]

Waterfront Theatre, 1410 Cartwright Street, Granville Island

CAROUSEL THEATRE presents

THE CAESAR CONSPIRACY AN INVESTIGATION INTO THE DEATH OF JULIUS CAESAR AS REPORTED BY W. SHAKESPEARE

DIRECTED BY SUSAN FERLEY

DESIGNED BY DOUGLAS WELCH

COSTUMES BY CHRISTINE THOMSON

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The Waterfront Theatre Feb 4 To Feb 27/88 Reservations 685-6217

Photo by David Cooper Part of Perry Giguere 'Perry the Poster Man' collection SFU Archives, MSC197-0869

[ot9000]

cero / STUTS band modern theatre 2023.02.24. めぐろパーシモンホール 大ホール

cero 1. Cupola 2. Summer Soul 3. Nemesis 4. 魚の骨 鳥の羽根 5. Fuha 6. Fdf 7. Orphans 8. Tableaus 9. Poly Life Multi Soul

[chiscribbs]

Disaster Twins Karaoke Battle (alt title: Getting Hyped for the Next Lair Games)

These sketches are old, but I couldn't let National TMNT Day pass without showing my appreciation in some way. I drew these some months ago, while listening to the song Stalemate from the Death Note musical yes, that's a thing, go check it out on loop, and forgot to post them. The song is a bop and I could so easily see the twins loving it, and loving to perform it even more. Massive theatre nerds, the both of them, no one can convince me otherwise.

(In my mind, Leo is singing Jeremy's part and Donnie is singing Jarrod's, but it's interchangeable.)

[redmyeyes]

JONATHAN BAILEY (dressed as Tim Laughlin) rehearsing “Dancing Through Life”

[beardedmrbean]

[arc-hus]

The Leietheater, Deinze, Belgium - TRANS Architectuur

[finelythreadedsky]

underrated point of difference in the conventions of ancient and modern theatre is that the ancient chorus is all one gender and age group while a modern ensemble is more usually mixed, at least in terms of gender. must consider this more.

[fruity-pontmercy]

headcanon that Modern!Enjolras doesn't know how to smile for pictures so he just... doesn't, all the pictures the amis have with him just have him giving the camera the most blank, soulless, unexpressive stare in the world, and when he ends up actually smiling you can read the discomfort all over his face. I don't think he doesn't smile normally or anything, I just think the second you point a camera towards him he just immediately forgets how to.

[a-storytellers-wish]

Zahra & Noor's dynamic as shown in memes

I've always wanted to share how exactly Zahra and Noor pair with each other, and I feel like I can just best explain it by doodling them into memes XD

Admittedly, many of the planned dynamics and interactions I planned for them are inspired by the other Asha/Star dynamics from the other AUs. The third one, in particular, was inspired by the art-focused Asha and the music-focused Star dynamic; and I think that dynamic would be a very fitting dynamic for a story that is also a celebration of what are basically animated musical films.

Also, the idea of both quiet people, one who is shy and keeps to herself while the other who is literally mute, actually have so much to say and are most comfortable at expressing it through art is so cool.

Also the irony of Noor talking in visual language but is more into music and sound while Zahra can talk and sing but is more into visual arts and language??? Yeah I can already imagine an AU where they work together as partners to make an indie animated musical film/show XD

[decepti-thots]

the fact that in mtmte we establish that live theatre exists despite them presumably never having been without the ability to record things digitally in a way that for most of human history we lacked has fascinating implications for what, exactly, the idea of a live theatrical production even represents to an audience. why WOULD you invent theatre in a society where at basically no point do you have to physically show up and act things out for people to see it. you'd have to go out of your way for artistic reasons to do that when your planet has never not had the ability to digitally record things, right. 'theatre is seen as kind of a pretentious indulgence' means something totally different when there has literally never been a pragmatic reason to do that instead of recording it, right. you gotta do it On Purpose. sorry i'm in theatre mode tonight for unrelated reasons but i'm just always obsessed by the idea of 'what DOES cybertronian theatre even look like' ngl.

[corvidclub]

the parallel between Lestat marking all the tenor's flat notes and Armand writing all his aggressive director notes for Claudia on the 500th performance... the performing community of Paris better thank their lucky stars everyday that lesmand didn't become a real couple because there would be no survivors

[izzyhandsyouaglassofwine]

seen a couple people running to that "is it bad writing or do you not understand genre" post in regards to the ofmd upset. and let me remind people that this show was marketed as a romantic comedy, ESPECIALLY this season!

In that regard, I found an article/blog post that directly addresses the question "can you have character death in a romantic comedy?" And it really hits the nail on the head.

Even if you were to make the argument "well it's a dark comedy!" or "its a pirate show!" there's still a balance that needs to be met if you don't want to alienate your audience.

People are going to argue that the death was earned because they spent the entire season building up his character and "completing his arc". Well, I'll argue that they DIDN'T complete his arc. In fact they took about twelve steps back in his death scene by seemingly ret conning his progress and having him center Ed's feelings on his literal deathbed. So it really feels a lot like fridging, because that's exactly what it was. Izzy's death was for Ed's arc, not his own. And they spent so much time focusing on Izzy all season, focusing on his growth and giving him such a specific arc about queerness and recovery, that yeah, his death feels like a slap to the face and not a tragic story beat that makes the story all the richer.

[fenrichaita]

Sometimes I wonder if people understand that you cannot make people stop comparing mentally ill and neurodivergent people to like serial killers and horror movie monsters without abandoning most of how we conceptualize and categorize mental illness. It's not like an ableism that comes from outside of the DSM or ICD from laymen, it's entirely baked in. The entire mental health system is about categorizing mentally ill and ND people as threats, liabilities, and inconveniences, while blaming it on intrinsic brain illnesses based on the ideas of typically incredibly biased and bigoted psychologists from several decades ago which are not founded in evidence (and said ideas persist mostly unchanged with the reasonings merely altered or justified with a shrug). The fact that after every mass shooting there is more posturing of "mental health awareness" and increasing MH services, when most mass shootings are committed by radicalized cis (and usually white) men tells you that a lot of this is security theatre. The MH system really just makes it more unsafe to seek medical help but it helps "neurotypical" people feel better, and it is the comfort of "NTs" that is most prioritized by this system. And of course, anyone who commits acts of extreme violence like mass shootings will likely be labeled mentally ill first (rather than radicalized, exc.) because of the circular logic that no one can be a Threat without being mentally ill. Do you see The Problem?

[introverting-rn]

hey hey guys heyo

if you haven’t listened to g&s’ the Pirates of Penzance you NEED to it’s genuinely one of the funniest musicals in the world it’s just batshit insane. it reads like a crackfic and i desperately crave aus set in this world because g u y s

the pirates are so chivalrous that they never invade small ships, only ones bigger and better than them. they’re all orphans and when they manage to capture people everyone claims they’re also an orphan so the pirates let them go. the main character frederic works with the pirates because his nursemaid has bad hearing and was ordered to apprentice him to a pilot. frederic jumps out of his hiding place to tell these beautiful girls he was watching their conversation because they were about to take off their stockings how sCA nd aLoU s. frederic sings a whole dramatic betrayal ballad w his forty-year-old nursemaid because she told him she was beautiful so he’d marry her but he thinks she’s hella ugly. this kicks off her villain arc. he asks a whole, entirely unrelated group of ladies if they’re rly ugly and nobody wants to date them, they say no, so he goes ‘😬 u sure?’ twice in a row. THE very model of a modern major general sings his song upon entry, only afterwards asking what’s going on, implying that he sings it every time he sees people. the song is about how good he is at being a general but all he brags about are skills that are entirely irrelevant, eg, integral and differential calculus. frederic plans to exterminate the pirates because he’s turned 21 and left his indenture (they are very respectful about this) but realises he’s apprenticed to them until his 21st birthday and he was born on the 29th of february. there’s these policemen who are just absolute cowards and hide the moment the pirates arrive, then the pirates hear the general arriving and also hide - picture a pirate and a policeman standing obviously behind poles and completely failing to see each other. the policemen echo the ends of lyrics even if it makes no sense, eg “pied in crime” “culty smother”. the pirates sing a song about how stealthy they are, which could be interpreted as just how musicals are, but i’d like to think they’re belting the whole thing. the entire plot is resolved by the sergeant bidding the pirates to yield in Queen Victoria’s name, to which they immediately yield and become noblemen again. oh also it’s a full opera

[shakespearenews]

Elizabeth Russell was just as fiercely territorial in London, where she maintained a mansion in the upmarket district of Blackfriars. In 1596 the Lord Chamberlain’s Men, the playing company to which William Shakespeare belonged, was facing a crisis. The lease for the land where the acting troupe’s main venue, the Theatre in Shoreditch, stood was about to expire. Facing an uncertain future, the impresario James Burbage, who had created the Theatre, sunk a fortune into a new venture: a playhouse in Blackfriars. It cost a colossal £1,000 to purchase and renovate the property.

Unfortunately for Burbage and the players, the theatre was just over 120 feet from Elizabeth’s doorstep. Neither she nor her neighbours had objected to a previous theatre nearby, which had operated under the guise of a ‘private’ rehearsal space for the queen’s choristers (even though the paying public had attended performances there). But when she discovered that a ‘common playhouse’ was about to open in her elegant neighbourhood she was furious.

Galvanising her local community into action, Elizabeth got up a petition against the opening of the Blackfriars Theatre. Among its 30 signatories were Richard Field, Shakespeare’s first publisher, and Sir George Carey, the playing company’s patron. Neither dared object to Elizabeth’s anti-theatrical uprising.

[queeringclassiclit]

Elphaba & Glinda

from Wicked: The Life and Times of the Wicked Witch of the West by Gregory Maguire (1995)

see also: Elphaba and Glinda polls

submitted by @florencewelchsgrapejuice