#so there always was an album artist Original Broadway Cast that just consisted of Only Thinking Of Him I Like Him and D

[transfemgeorgecostanza]

Me: Well well well, if it isnt my old arch enemy, Accidentally Added Blank Space After Album Artist. You’ve been wreaking havoc in my music library for much too long...

:

[desmon1995]

Female Warriors, Broadway, and the American Dream.

The Warriors have been out for about 2 weeks now and it's slowly but steadily building up a pretty passionate following.

I think one of the biggest changes that have been rough for some long time over years 79 fans is that the Warriors are now female, which some argue ruins the point of the original and or softens the story too much.

While I do respect everybody's opinion when it comes to artistic criticism, I do think that dismissing the concept album just because it features women is a little short-sighted IMHO.

Regurgitating the original male cast just in musical album form would not only be repetitive but would make it no different than other Broadway show that focus on gang violence like West Side story or now The Outsiders.

We have so many shows that focus on brotherhood, kinship, and just masculinity not even within film but also on Broadway, but we hardly ever see the same for female characters.

The Female Warriors are very rough around the edges, foul-mouthed, violent at times, and in the case of cowgirl, lustful.

They're also different body types, present themselves differently, and are all played by BIPOC.

I've seen a lot of Broadway shows in my 30 years of living, and we just don't get diverse female characters like this a lot if at all.

If any female character had the above traits they would likely be presented as being the less than ideal woman or flat out villainous.

The girls have flaws, but these are just things they picked up because of how rough the world has been to them, and at the end of the day they're not only friends but a family.

That's a big difference between the female warriors and their male counterparts from the movie and novel.

The Male Warriors are supposed to be seen as what ends up happening when youths get tangled up in gang culture and how it turns them into monsters.

When the police arrest Ajax in the film it's because of how unruly and savage he was acting and likewise Fox getting killed along with Cleon is supposed to be seen as a consequence of them even being a part of this culture to begin with.

I've said it before, but I think while the intentions may be good it's viewing these marginalized groups through a very White and conservative lens.

Nobody wants to be a part of a gang or run away from home but sometimes living in poverty, an abusive household, or just being crushed by the system forces people to do desperate things and more often than not that's banding together with like-minded people.

Another thing is that most of the Warriors in the original film are White and that's largely just due to the fact that an audience back in the 1970s would be less willing to watch something that didn't at least feature several white main leads otherwise they'd be uncomfortable and uninterested.

From a modern-day perspective, a person like male Ajax would likely get away with his sexually aggressive behavior because of the color of the skin ( you can look at a certain orange politician to see that in present day) and we now know thanks to things like BLM that the police do not always operate in good faith nor to protect the people.

I think that's why the concept album is so good and culturally relevant despite having being created nearly a few years ago.

The Warriors consisting of a group of marginalized women that banded together to support one another to conduct a world that really doesn't care for them is a story you really get to hear not just on Broadway but in Hollywood in general.

Luther being a white gang leader and killing a black cultural figure like Cyrus in cold blood to stop any semblance of progress is the tale as all this time and how he mocks the AAVE the non-white groups he surrounds himself with after making life hell for them is especially painful.

Luther and Crosby literally don't have to worry about ever being hounded by the police because of how they look which allows them to get away with literal murder, but it is very telling that he ends up crumbling the moment he's confronted and called out for his misdeeds.

The cops themselves are also completely reworked for the concept album as opposed to them just being the boys in blue doing their job to get rid of the trash that is the Warriors like the original film, they're essentially the biggest antagonist even more so than the Rogues.

Both police officers that appear in the album have a cat calling motif which doubles as sounding like police sirens just to illustrate how dangerous and cancerous they are not just to the Warriors but to the community as a whole.

Captain Victor and Barnes abuse their power and end up nearly subduing the Warriors by killing Fox and sexually a harassing and later arresting Ajax.

In Derailed Victor even tries to kill the warriors with his squadron before they run away to the cemetery and all of this is done because they can.

The fact that these two are portrayed by people from the 1979 Warriors film sort of acts as a double entender because in the original, the Warriors themselves are supposed to be seen as monsters and what happens when kids fall too deep into the sins of the world, so the cops view the women as nothing more than street rats who need to be exterminated .

The Warriors are guilty because they're marginalized women and that's enough for them to be blown away as far as society and the system is concerned.

I think in some ways, the Warriors is basically the reverse of LMM's other work Hamilton because it shows that the American dream isn't really for everybody and that sometimes you have to find another means to live by.

The system very much failed the Warriors so they had to rely on themselves to make it through the world because nobody else would bother with them.

It's for this reason why I'm sort of against the idea that this album needs to be radically changed in order for it to move the Broadway.

Doing things like giving Luther more complex feelings, adding in things to help the predominantly white audience and critics understand how Urban culture works, and rewriting the characters themselves just to be more stage appropriate seems like it undoes what the musical was trying to say.

I think this story as it is is one worth telling and beyond maybe a bit of polish I don't really think it should be tempered with too much.

If Lin and Eisa were to doll the Warriors up too much it would basically be a completely different story altogether and what we would have is just another Broadway musical that allows the audience to digest certain things that they may not understand nor possibly want to hear.

I think we as a society have moved beyond watering down things so that people who aren't even from the community that these stories come from can sleep better at night.

I think that's why this album and the original movie have dedicated fan bases to them because it does speak to a generation of people.

[thegreatpapaya666]

hi i had a couple music related questions if you have the time

what's your favorite song

favorite album and albums you listen to often

favorite musician/band/artist and which musicians/bands/artists you listen to

favorite genre of music and what genres you listen to

song you listen to when you're happy

song you listen to when you're sad

song you listen to when you're angry

song you listen to when you feel empty

favorite cover of a song

song you only like for one or two specific parts

favorite song with no words

favorite song from a show

favorite song from a movie

favorite song from a musical

origin story of how you started liking a song

song you can listen to on repeat for hours

song you used to love but don't like anymore and the reason why

song you've listened to for the longest amount of time in one sitting

three song recommendations of different genres

most recent song you listened to

This is always subject to change but probably Finale from Hazbin Hotel

My favorite album is definitely the Mean Girls Broadway Cast Recording; albums I listen to a lot are Falsettos soundtrack, Hazbin Hotel soundtrack, The Rise and Fall of a Midwest Princess, and the Undertale OST

My fave band is Lovejoy and my favorite artist is Will Wood; artists I listen to are Cavetown, Goreshit, girl in red, Tally Hall, Conan Gray, TV Girl, MARINA, Femtanyl, Chappell Roan, and Will Wood and the Tapeworms

My favorite genre is indie rock; I mainly like musical theater, dubstep, electroswing, hyperpop, and pretty much anything indie

The Cult of Dionysus by The Orion Experience

Howl by The Family Crest or Dancing With Your Ghost by Sasha Alex Sloan

Two Birds by Regina Spektor

Dead Man by Self

Oh goddddd I love this question!! 100% the song She Used to Be Mine by Sara Bareilles covered by Lucy Hall [link]

Front Street by Will Wood and the Tapeworms

Spider Dance by Toby Fox

キラキラの灰 by Regal Lily from Dungeon Meshi

Under Our Spell from Equestria Girls: Rainbow Rocks

Noel's Lament from Ride The Cyclone

This morning, I was having trouble with math (as usual) and I bribed my friend Logan to give me the answers to the worksheet if I listened to a song of his choosing. Now, Logan's tastes are a little eccentric, and his playlists consist of a mix of the Undertale OST and Japanese imperial marches. But I let him look up a song on my computer and instead of Battotai (an imperial Japanese army march), he played Notion by The Rare Occasions. And I loved it. So now it's on my liked songs. Thanks Logan!

credits song for my death by vivivivivi

Consequences by Lovejoy because I used to love it for just the song in general. But now it makes me kind of sad because of everything Wilbur Soot did and how horrible the abuse was. I hate thinking about it. Support Shubble <3

I'll Look Good When I'm Sober by Lovejoy (it was the only thing I listened to for six days starting when it came out)

Three songs I'd recommend are Your Obedient Servant from Hamilton, Dance Magic from Equestria Girls: Specials, and Devil Town by Cavetown (also My Kink is Karma by Chappell Roan because I wanted to add a fourth. Just like in math class, I'm a flipping cheater)

Naked In Manhattan by Chappell Roan

[newyorktheater]

“Fairview,” winner of the 2019 Pulitzer Prize for Drama, began Off-Off Broadway.

“Small theaters” play a large role in making New York City the world’s cultural capital, according to  “All New York’s a Stage,” a report issued this week by the Mayor’s Office of Media and Entertainment that looks at the cultural and economic impact of Off-Broadway and Off-Off Broadway, a “sector” (in policy-speak) that is made up of “748 small venue theater organizations” that generate “$1.3 billion in total economic output” annually. They also generate much of the theater world’s cultural heat these days. One example: Some dozen Pulitzer Prize winning plays originating in NYC’s small theaters, including this year’s winner “Fairview” above (Soho Rep), 2016’s “Hamilton” (New York Public Theater), 2015’s “Between Riverside and Crazy” (Atlantic) and 2014’s “The Flick” (Playwrights Horizons.)   One arresting fact: The majority of staff of these theaters are volunteers.  Here are some charts from the report:

  Thanksgiving Week Broadway Schedule

including 15 shows adding performances today!

The Week in New York Theater Reviews

Ronete Levenson (Sue), Lindsay Rico (Paula), Helen Cespedes (Emma), Jennifer Lim (Cindy)

Fefu and Her Friends

Fefu picks up a double-barrel shotgun and shoots at her husband near the beginning of “Fefu and Her Friends,” billed as a modern classic and written by the beloved avant-garde playwright Maria Irene Fornés,  who died in October 2018 at the age of 88. “It’s a game we play,” Fefu explains matter-of-factly to her friends, putting the gun back against the drawing room chair. “I shoot and he falls. Whenever he hears the blast he falls.”

For the first time in 40 years, Off-Broadway theatergoers can actually hear that gunshot blast too, thanks to a Theater for a New Audience production, directed by Liliana Blain-Cruz, that is itself a blast….for much of the time. For the rest of the time, it’s…..well, to quote the director herself on her reaction when discovering the work of Maria Irene Fornés: “Oh my god. I don’t understand anything that’s going on, but I love it.”

The Half-Life of Marie Curie

Marie Curie won the Nobel Prize twice, but she was also a woman; so the Nobel committee asked her not to show up at the ceremony. We learn the specific reason why early on in this well-intentioned, workmanlike play by Lauren Gunderson about the friendship between two world-class women scientists who lived a century ago.

Samuel H. Levine as Adam, Kyle Soller as Eric, Kyle Harris as Jasper, Arturo Luís-Soria as Jasper2, Jordan Barbour as Tristan, and Darryl Gene Daughtry Jr. as Jason1

The Inheritance

“The Inheritance,” a long, ambitious play about three generations of gay men in New York, pays homage to two masterpieces, without being one itself. Yet the play by Matthew Lopez, making his Broadway debut, is both sweeping and intimate, sophisticated and raw, a weepy that is often funny. Several performances are transporting, including two actors making their Broadway debuts, and an actress who made hers 67 years ago. There are swoops into intellectual brilliance, such as when one of the characters elaborately compares America to a body, its democracy to a body’s immune system, and the current president to the HIV virus. There are dips into nudity and raunch. There is insight and debate and uplift. Does “The Inheritance” need to be nearly seven hours long and in two parts to achieve all that? The short answer is no. But there’s so much here that’s so wonderful that it’s worth it to those with the stamina.

A Christmas Carol

Who knew that “A Christmas Carol” could be so dangerous!

The assaults begin even before the first line of dialogue in the new, charming if overlong, and extraordinarily well-designed Broadway production of Charles Dickens’ 1843 classic, starring Campbell Scott as Ebenezer Scrooge and Andrea Martin and LaChanze as Ghosts of Christmas Past and Present. Cast members on the stage dressed as 19th century English blokes and birds throw clementines and cookies to (at?) the audience…vigorously.

“I’m suing,” said somebody sitting behind me, in a straight-faced impersonation of Scrooge, after he was hit by one of the packages of chocolate chips.  “Are you an attorney?”

Evita

It’s surely pointless, four decades and two billion dollars after its debut, to rant about Evita, and silly to blame Andrew Lloyd Webber’s theatrical canonization of the amoral historical figure Eva Per��n as paving the way for the elevation of another media personality remade into a dictator-loving populist. Still, this core problem I have with the musical stops me from fully embracing its revival at New York City Center, even as I acknowledge that the singing in this production is gorgeous, the orchestra lush, the choreography fun, and the story reinterpreted in some bold and intriguing if not always effective ways.

Two adaptations of novels by Édouard Louis:

James Russell Morley and Oseloka Obi on the video

The End of Eddy

Parts resemble a book report for school, but won’t be mistaken for a story hour because of the inventive stagecraft and the rawness of the stories — relentless bullying, deadened people in a dying factory town, his sad and funny efforts to ‘be a man,�� his sexual experimenting.

History of Violence

An examination of trauma; that in any case is the most consistently insightful aspect of the adaptation…. committed performances by the four-member cast…but the production ultimately felt more like an exercise in stagecraft rather than a pointed exploration of history or violence.

  The Week in New York Theater News

Grammy Award nominees for best musical theater albums: Ain’t Too Proud, Hadestown,  Moulin Rouge, plus the incidental music from the play Harry Potter and the Cursed Child. The 62nd annual Grammy Awards will be held on January 20, 2020.

Ephraim Sykes in Newsies

Motown’s Ephraim Sykes as member of The Temptations, Berry Gordy Jr.’s brother, member of the Jackson 5

Ephraim Skyes as Seaweed J. Stubbs —

Ephraim Sykes as David Ruffin

Ephraim Sykes will star as Michael Jackson in “MJ,” the musical slated to open on Broadway beginning the summer 2020. A thrilling performer, he’s had an increasingly high-profile career: Memphis,Newsies,Motown,Hamilton, Hairspray Live, and Tony-nominated for his role as avid Ruffin in Ain’t Too Proud: The Life and Times of the Temptations.

He is now both performing in Ain’t Too Proud and rehearsing for MJ. How can he do this? “I always say just a bunch of prayers, and drink as much coconut water as I can find,” he told Essence.

Lynn Nottage, the Pulitzer Prize winning playwright of “Ruined” and “Sweat,” is the book writer for MJ the Musical. In a mutual interview in Vogue magazine between Nottage and Slave Play playwright Jeremy O. Harris, he brings up MJ:

Can I ask you a question about Michael Jackson? How do you contend with the weight of that history?

We all, on some level, recognize the complexity of Michael Jackson. For many years, he has occupied a very specific space.

Going into this moment, when there’s such a spotlight on him, and such decided opinion on it now around what we should do with that history…

Cancel culture is the dominant culture in this moment. But my guiding principle is that you have to sustain the complexity. I really feel as an artist that writing this piece is me trying to process my complicated feelings about someone who I idolized from the time I was five years old. To reconcile that with that person who, in the media, was quite complicated. I can’t simply cancel that person. I have to, as an artist, lean into that complication—that is what I’m investigating by doing this. And I think that the easy thing would be to say no and run away. But for me the more interesting thing is to lean into it and try to figure out personally how I feel.

  Separately, John Logan (Moulin Rouge the Musical, Red, The Aviator) has been hired to writea movie script about Michael Jackson.

Patrick Stewart’s one-man version of “A Christmas Carol” will be presented for two nights only, Dec 11 & 13 at Theater 511 to benefit City Harvest and Ars Nova

“Soft Power” will release a cast recording in Spring 2020.

They grew up at Boston Children’s Theater. Now They Look Back with Alarm

“a group of 17 former students who sent a letter to the theater’s board late last month, detailing a range of negative experiences with [Burgess Clark, the director of Boston’s Children’s Theater]; three alleged that Clark had kissed or touched them inappropriately. Beverly police are investigating; no charges have been filed. A group of older alums sent a second letter describing their own disturbing encounters. Burgess has resigned.”

  Rest in Peace

  Michael J. Pollard in Bye, Bye Birdie

Michael J. Pollard in “The Many Loves of Dobie Gillis”

Michael J. Pollard in “Bonnie and Clyde”

Michael J. Pollard, 80, best known for TV roles (“The Many Loves of Dobie Gillis”) and his Oscar-nominated part in the movie “Bonnie and Clyde”, was also a 5-time veteran of Broadway, such as the original Hugo Peabody in “Bye, Bye Birdie.”

    Small Theater is BIG in NYC. Ephraim Sykes is Michael Jackson, Lynn Nottage answers why she’s taking on MJ. #Stageworthy News of the Week "Small theaters" play a large role in making New York City the world's cultural capital, according to