#the choreography the costuming the music the lyrics. everything about it as a piece of art is so painstakingly done.

[fantasmadelaciudad]

unfortunately despite all of the actual issues i have with hamilton it's still one of my favorite musicals ever. everything about it makes me so so crazy i can't even put it into words.

[susandsnell]

i saw wicked today too and loved it! what did you think? (was i the only one who went "oh shit" out loud in the theater when That Cameo happened?)

well i may or may not have just gotten out of my second viewing of it in three days some fourish hours ago, so that should be some indication!

hiya bestie! sorry for the delays on this, things have been thinging and life has been lifing. I'll admit that as early as February I was not looking forward to this movie or its promised follow-up. Splitting it into parts confused me, I was dubious over some of the casting, the visuals, the lighting, and the use of CG, and was being a bit of a hater over the trailers. However, every hater worth their salt should eat crow when they're wrong, and wow was I ever wrong. I couldn't have been more wrong, actually, because I'll go so far as to say (though I have high high hopes for Nosferatu later this month)! that Wicked Part One was my favourite movie of 2024. Extended (gushing) quasi-organized thoughts under the cut, because like Elphaba, no I never stop talking.

Bit of background, I've been lucky enough to see the show live twice, plus countless bootlegs/the cast album being the soundtrack to my life since I was nine. I know the script, the score, and the lyrics back to front. So you can imagine how shocked/pleased I was to find that the movie retained just about everything! I know people are giving mixed reviews about the extended scenes/runtime, but honestly the Oz they gave us (which I'll get to momentarily) was so wonderful and the cast so wholly inhabiting of their roles that I could not get enough of the world and these characters. I also thought they fixed several plotholes/added depth and stakes to a lot of arcs from the musical with their changes, especially with respect to the villains.

Visually, the film is an absolute treat; the colour grading/lighting does have the unfortunate modern fantasy film vibe to it, but the sets, practical props/effects, and costumes more than make up for it. That rotating library portico set? Let me live there! The Wizard's invitation?? The choreography was fantastic and every dancing scene was shot so so beautifully. My only complaint really is the CGI; the animals looked really fakey and goofy, particularly poor Dr. Dillamond, to the point that my entire theater was cracking up when his little goat ears wilted at the blackboard scene during my first viewing. Which is...not really the reaction you want to go for with a scene that's supposed to be depicting a hate crime.

The costumes in particular were a standout; Paul Tazewell's work is so stunning (Morrible's gowns, the revised Popular dress, and Elphaba's little pirate academia number when she gets her Emerald City invite) that I feel comfortable saying with the exception of Glinda's Junon-takeoff bubble dress (because it's just so iconic), they vastly outdo the stage version's costumes. He needs an Oscar for this yesterday and I'm not kidding.

The performances!!! Oh my gosh! Everyone sounding great and there being good mixing?? in a musical movie made after 2007??? Who'd've thought!!! My only complaint musically was, unfortunately, during Defying Gravity. In the stage show there's like 2 pauses in the song for plot to happen (Morrible's call-out and making the broom fly), and through that iirc they keep the instrumental going. Today, at my second viewing, I counted like....6-7 pauses where the song just outright stops, including two instances where they play different sad piano music altogether and give Elphaba this big suit-up superhero moment because book cover nod I guess, and healing her inner child, and it was kind of a pain because part of what makes Defying Gravity such a memorable piece is its momentum and when you stop the song to do something else, the momentum really dies. With that said, all eight parts of Defying Gravity were, in each pocket, performed to perfection.

I had high hopes for Cynthia Erivo vocally, but was dubious about an apparently more earnest, innocent Act 1 Elphaba as opposed to the stage version which I'm more used to, where she's a lot more of a Daria type. However, I was so pleased to find that she deepened the aching tragedy of the character with this take, especially opposite a more sinister and insidious Wizard + Morrible, and her takes on these songs, her vocal choices, her runs...heavenly. Ariana Grande pleasantly surprised me as being much cuter and funnier than I expected, and her surprise option ups during Popular were an absolute treat. Jonathan Bailey was as charming and talented as any Fiyero worth his salt (also loved how casually they made him bisexual?), Jeff Goldblum as the Wizard killed me (especially since they played him as simultaneously more of a huckster conman and an Evil Walt Disney, and it worked), but the show-stealer was Michelle Yeoh as Morrible for my money.

From the moment Morrible swoops in to smoothly cover for Elphaba's power explosion, knowing what it would mean to her to be spared social ruin, I was on the edge of my seat with such a different take on what's usually just kind of a comic relief diva character. Michelle Yeoh's effortless grace and elegance command screen presence. But the slow creep of her goading Elphaba into intensifying her powers while playing the sympathetic ear/mother figure/mentor only to make the betrayal hit that much harder (I genuinely choked up during the cut to Elphie's face when she hears her saying that her skin is a manifestation of her twisted nature), to say nothing of dangling her approval over Glinda until becoming the shoulder for her to cry on at the end of Defying Gravity...my god. chills. Forget Gelphie, shoutout to all the teenage sapphics with something deeply, deeply wrong with them who are going to have an awakening over this chillingly manipulative milfy sorceress who presents herself as a twisted maternal figure and intellectual colleague.

On the note of Gelphie -- oh my god??? A homoerotic swordfight during What Is This Feeling - are you KIDDING???? They amped it up from the stage show if anything; the Ozdust sequence brought me to tears, and then ended with them joining hands and running off together and leaving Fiyero behind like???? The amount of times they fell over each other? Glinda's thousand-yard stare during No One Mourns The Wicked, Elphaba's longing/fond glances....the love note, are you kidding me. They were baby's first yuri for me so seeing them on the big screen played with such natural chemistry by Cynthia and Ariana warmed my heart and got me super emotional. Sidenote, okay, not to be the boss baby guy about Carrie, but with the changes/additions, Elphaba is kind of Carrie White now and I'm here for it? From the visions to the explosions to baby Elphie already having her powers in the flashbacks...and then you get to the Ozdust scene, and the extended cruelty towards her plays very much as Elphaba's They're All Gonna Laugh At You Moment...only for Glinda to swoop in and dance with her as the Sue Snell, so yeah, we now have fantasy CarrieSue in Oz. We won so hard.

Last bit, to address your point about the cameos -- I really was worried that I'd be cringing at all the lore tie-ins with the '39 Wizard of Oz or the Broadway cameos or any of the other fanservice, but it all tied in and flowed so smoothly at most I was rolling my eyes affectionately rather than in exasperation (the Ding Dong The Witch Is Dead tie-in to No One Mourns The Wicked was shockingly seamless). Stephen Schwartz being the one to invite them to see the wizard got me properly emotional!! Idina and Kristin were hilarious and 10/10 diva legends as always, and the extended Wiz-O-Mania propaganda play/Grimmerie Lore Dump is both a visual and auditory treat. The original Glinda showing up to tell Ari to shut the fuck up during her song got maybe the biggest laugh of the movie out of me, but then they had Idina doing her end of defying gravity 'aaaaaaah ah ahhhh' Elphaba War cry riff as a heehe gag just like...20ish minutes before Cynthia!Elphaba is going to do it for real. Which had me in stitches because it plays then as either subversion of the wizard's propaganda in finding her voice, or Elphaba's a theatre kid and said yeah that was a sick riff I heard 2 hours ago, I'm going to incorporate it into my political loudmouthing after nearly being assassinated 20 times. Fuck you, Oz man, I'm stealing your propaganda riff!

What an ending. What a movie. Can't wait for part 2.

Thanks for asking! <3 hope you're well.

[tangerinesgirl]

Kinktober 2024 - October 12th

Sex Toys // Dirty Talk // Breath Play

Alexander Lemtov x Fem!Reader

Rating: 18+, explicit

Word count: 700>

Warnings: public sex, sex toys, men trying to ruin your public image but failing (which we love to see), mentions of impostor syndrome

Kinktober List || Masterlist || AO3

Camera 1 on Y/N, music in 5...4...3...

The butterflies in your stomach make you nauseous. You make fists with your hands to calm your nerves, inhale...exhale...

This was night one of Evrovidenie; the televised Russian competition where the winner would be their entry to Eurovision.

You're not quite sure how exactly you ended up here. Part of you wants to think it was your talent, but the other part thinks it was Lemtov pulling a few strings. You've been together for about a year, he was also performing tonight and was waiting at the wings. He wanted to watch you preform live, which was sweet. But added to your nerves. Impostor syndrome through the roof.

The music kicks in and you somehow start to remember all your lyrics and choreography. Your mic is on top of your head like in theatre shows, so you could use your arms freely. The genre of your piece was very Babymetal inspired, you wanted to sing in Russian even if it lowered your chances, as it just sounded better with the backing track, in your opinion. Your costume hugs your curves at the top of your body, a black corset embossed with diamantés, with a poofy large black skirt coming to just above your knees. Black shorts underneath to protect your modesty. Followed by fishnet tights and New Rocks boots.

Your backing dancers trickle out onto the stage, leaning on one to blow a kiss into the wings. You catch the gaze of Lemtov, when you notice him waving a small remote in his hands, smirking.

Shit.

You completely forgot that was inside you, but there's nothing really you can do but carry on with the routine.

A faint vibration begins inside your core, luckily you were half expecting it so it doesn't catch you as off guard as Lemtov would like. You're about halfway through the routine now, everything is going well, and the crowd are into it, some are even starting to learn the chorus and are signing it back! This is amazing!

You're scared the egg will fall out of you as the backing dancers start lifting you up, but it stays firmly in place. You make a mental note to ask Lemtov where he buys such good quality sex toys from.

The vibrations start to change pattern and intensity. Ah fuck... You close your eyes trying to control your breathing. The intense dance moves only adding to the pleasure as you bend down onto your knees. You have to stop yourself from grinding down on the floor looking for release.

You surprise yourself at still being able to focus on the performance. Nearly there, just one more chorus.

Looking back briefly into the wings you see Lemtov annoyed and pressing every button on the remote. Your eyes roll into the back of your head as you realise you're reaching orgasm. You reach the end note as your walls clench down on the toy. You bite your lip, hard, after the note to stop yourself from moaning out. The lights go dark and you hear the roar of the crowd as you come down from your high. You let out a small shaky moan, praying your mic is turned off.

Cut to VT in 3...2...1...

The egg stops vibrating as you practically run off stage into the wings. Your manager catches you.

"Holy shit Y/N, best performance yet!"

"Yeah the crowd were really into it!", you reply, surprised.

"Not as much as you were", Lemtov whispers in your ear behind you.

You slap his arm lightly as your manager continues.

"Well enjoy the rest of the night Y/N, I'll leave you to catch up"

"Yeah you too!"

Your smile fades instantly as you turn to face Lemtov.

"What the fuck was that?"

"Just a little fun."

"And ruin my chances?"

"NO! No, if anything I bet it helped you reached the high notes."

You playfully shove Lemtov at the comment. Your mind starts racing at how you could possibly return the favour.

"Asshole."

"Hmm maybe next time", Lemtov winks at you as he starts getting his microphone pack set up.

"Fuck you."

"Fuck you t- oh wait I already have."

You snatch the remote out of his hand and whisper into his ear.

"Don't go thinking this is over...it's only just begun."

[wegottagetouttahere]

Reviewing every (professional) show I saw in 2024

It’s kind of a long post

Professional:

Sleep No More: 4/5 ⭐️ this was a batshit insane experience and I don’t really have anything to compare it to. I would have been content to just walk around the empty scenery because that combined with the top-tier lighting and sound design was engaging on its own. The performers were captivating and the final scene was one of the craziest pieces of live theater I’ve ever watched. Minus one star because they overbooked the night so there were about 1500 people in the building and it was sweltering in there. Also there was constant FOMO just because of how huge the warehouse was, I was sad that there was no way I could possibly see everything.

All The Devils Are Here: How Shakespeare Invented the Villain: 5/5⭐️This show occupies the perfect space between TED talk and masterclass. Patrick Page is an amazing performer, it felt like he was delivering the entire show as a single soliloquy, it was seamless. His transformations into each villain for short pockets of monologues punctuated the history lesson perfectly, and it was clear that everything was extensively researched. I need the book now.

Spamalot: 4/5 ⭐️ This was my first time seeing Spamalot, but I love Monty python so I was very excited to see it, and it did not disappoint! It was absolutely outrageous, I spent the entire night laughing. The set and costumes were very polished, the timing on every joke was perfect, it was everything you’d expect from a revival of an established Broadway classic! Leslie Kritzer was the outstanding actress of the cast, her vocal performance was to die for and she was just hilarious every time she stepped onstage. Ethan Slater was also a powerful presence , he had a ton of roles and his timing was on point. Minus one star because there aren’t enough female roles and also Ethan Slater was there

Turandot at the Metropolitan Opera: 4/5 ⭐️ THIS WAS MY FIRST TIME EVER GOING TO THE METROPOLITAN OPERA AAAAAAA I LOVED IT SO MUCH!!! What an incredible theater. We were wayyyy up in the family circle and the view was breathtaking. Unfortunately it also meant that the upstage wall of the set (I was so excited to see the Zeffirelli set) was completely blocked, so there were parts of the story we couldn’t see. What set we could see was gorgeous, it was crazy to see people perform on a stage of that enormity and not get dwarfed by the scenery. All performances were exceptional, especially SeokJong Baek as Caláf. The chorus also knocked my socks off. Minus one point for set visibility and also because while the music of Turandot is beautiful I’m not that into the story.

The Outsiders: 4/5 ⭐️ WHAT an experience to see the very first preview of the show that won Best Musical this year!! I loved reading the book in middle school so I had some pretty high expectations for the show, and it really blew me away. The two elements that impressed me the most were the staging and the choreography. This show really went all in on the visual aspects and it paid off because what sticks out in my mind nine months later is how fluidly the ensemble moved throughout the entire show. The dancing was INSANE and I still think about the insanity of the Rumble sequence (just those few minutes might be the best thing on Broadway right now). The sound design was also so creative and the SYNCHRONIZATION between the actors, lights, and sound cues was PERFECT. Brent Comer as Darryl Curtis and Tilly Ek as Ace were the standouts to me, though every member of this cast was a powerhouse. The story is very short on women so I was happy that the female ensemble was highlighted frequently. I wasn’t crazy about the music, it was pretty good and the style fit the story but some of it just missed the mark for me. The lyrics were clunky and tended to tell instead of showing. Also the Brody Grant (Ponyboy) wasn’t great at enunciating. Minus one star for that and because despite 90% of the characters being men they decided to write all of them as tenors.

Fat Ham: 5/5 ⭐️I went into this play pretty much blind and didn’t know what to expect, and I loved every second of it. I love Hamlet, and Fat Ham takes the ribbon for best adaptation I’ve ever seen. It perfectly captured the pace and feel of the original play while adding humor and commenting on its ridiculous characters and circumstances. Every time I thought it couldn’t get crazier something even bigger would come and smack me in the face, it felt like one of the Stefan bits from SNL. “This play has everything: Hamlet (or, as he is named in the play, Juicy) singing the entirety of Creep by Radiohead on a karaoke machine, Horatio disappearing for half the play then delivering a ten minute monologue about having sex with a gingerbread man in VR, gay hamlet, gay Ophelia, gay Laertes, straight Horatio, the king’s ghost in a picnic blanket, all this taking place at a cookout dinner, and a finale where Laertes performs in drag and showers the audience with confetti.” It was perfection

The Play That Goes Wrong: 4/5 ⭐️ my mom waited seven years to see this show, so I was very glad to be able to take her finally. It was hilarious! There’s nothing like good old-fashioned prop comedy. One of the marks of any good performance is if you can see the actors having fun onstage, and this cast had the energy of second graders let out to recess. All the moving parts and cues were timed perfectly, and it’s very funny to me that a play that goes wrong on purpose actually requires a great deal more precision because of all the little bits and pieces of the set and props that need to “break” on cue. Sometimes I found the gags a little predictable, but it didn’t detract from the fun. I do wish there were more than two female characters, because even though all the characters are pretty one-dimensional, I still felt like the two women were especially flat, reduced to just fighting with each other for the one role.

[tfatwsiguess]

Everything Wrong with Rogers: The Musical

So many things wrong with the Rogers musical in Hawkeye that I’m obsessing over 🤕 Welcome to my review where I get all the thoughts spinning in my head out of my brain and into yours 🙃

I haven’t been able to get over the brilliance of the entire musical scene in episode 1. This is in no way a hate list, it’s just stuff that makes me laugh throughout the entire scene. If anything it’s more of a compliments on the details the show puts into having a completely ignorant, concerning, and borderline offensive musical show placed at the top of Barton and his family’s first appearance in the series.

These quotes…

- “Black Widow’s a knockout who can knock you out” Nuff said.

- “Tony you’ve got nukes to catch, be careful not to crash” idek the best way to complain about this line

+ “The city’s smashed when you take your bow. We’ll blame you then, but you’re good for now.” The ONLY good line in this whole thing

The amount of cheesy references that no one but the Avengers would probably know about was a clever addition:

“We’ll conquer the Chitauri then get schawarma when we’re done”

“Just how are we to fight them?” “We’ll do it as a team.”

“Hulk you know the magic word is” “SMASH SMASH SMASH.”

Double pointer for this one: “Avengers unite ‘cause we’ve got to hear you say, I can do this all day” The irony. The forcedness. They really thought they did something leading up to that line 😂 👏🏽

- Something about that “I can do this all day” climax of the song strikes me as the part everyone gets annoyed at when you sing it in school. Like the MCU version of back when Let it Go came out and people were tired of hearing it everywhere 😂

- Please take the time to go back and literally just watch all the choreography and nothing else, it’s hilarious. You’ll thank me later.

On to the real critiques

- HOW WAS THIS A BROADWAY SHOW. I’ve never seen a more middle-school-theatre looking production. Everything about that number was so elementary and basic. The music, the lyrics and message of the song, costumes, choreography. *And let’s be clear, I appreciate Marvel for so clearly wanting this to be intentional, they executed it damn well.

Costumes

- Steve is literally wearing a CA t-shirt I could buy at Target and SWEATPANTS

- Same thing with Iron Man wearing a t-shirt with his “heart” on it instead something theatrical like a prop or costume ornamentation

- Black Widow is wearing a black jacket and black jeans over a red shirt. Ig that and the hairstyle was good enough for them lol

- Hulk, is in a green hoody.

- Not sure why Hawkeye is wearing just a tank top but I guess the nod of it being purple is nice?

- They got the basics of Thor down okay but in addition to being a Greek god from another planet, he is royalty and it’s reflected in the armor he wears all the time. The pulled shirt and red vest/cape look more like lounge pajamas lmao

- We don’t even know why Ant-Man is here but why is he played by a kid in comparison to everyone else, and why is he wearing his goggles over a backwards cap? (Also I’m starting to recognize him I think he was Romeo from Newsies on actual Broadway LMAO imagine going from that to this fake production)

- UUUMMM BACKTRACKING TO HULK I THINK ITS A BLACK MAN UNDERNEATH ALL THAT GREEN PAINT LMAO THEY REALLY STUCK TO THE STEREOTYPE WITH THAT ONE

- Why is everyone in the ensemble a police officer or a doctor or construction worker or cab driver, etc? Are there no normal dressed street people in this version of NY? At least throw a businessman or a homeless person in there idk

- Between the lyrics and costuming and the cardboard Chitauri ship zooming by there’s so much blatant lack of creativity 😂 But seriously, what was the budget for this musical ‘cause they could’ve thrown in a costume piece for Tony’s heart or an actual one piece suit for Widow or fake muscles for Hulk. Issa lotta street clothes for a Broadway show

+ Enough about costuming. The set is actually pretty good. It’s a good set up of an overpass for levels and the stairs on the sides are an efficient way of getting around that also looks like real architecture modeling. And the layer of set buildings and backdrops in the back actually portray a NY street point of view pretty well. Plus the damage on the buildings, a section under construction off to the right, lampposts, awnings and concrete, details like that

- I’m watching the rest of it now annnd I stand by what I said above about a good set but I’m seeing there arent actually any stairs that lead to anywhere, there’s just a ladder and a fireman’s pole allowing them to travel from up and downstage WHAT 🤦🏽‍♀️ 😂

- I guess I should also mention the weirdness of Loki and some Chitauri singing and dancing with the ensemble. I don’t think I even need to explain there

- I’m confused about how that song fits into the show. The sign starts out as the ensemble calling to The Avengers for help, then turns into a recap of who everyone is and what they do… Who is the song for??? The audience who already knows who The Avengers are?

- And where does this song go? Putting it at the beginning would spoil everything, the end wouldn’t make sense to recap the most basic thing everyone knows about The Avengers. And even in the middle of a Chitauri attack scene makes no sense. There’s no plot being conveyed and the show creators really wanted us to see that ig lol

- WHY IS IT CALLED ROGERS THE MUSCIAL?! 😂 I was expecting it to be about Captain America but they’re singing about everyone at the 2012 fight and then adding more Avengers that weren’t even there??? Steve doesn’t even have the solo for half of the song! Maybe they just added Ant-Man for the sake of making it 7 people so Steve could be dead center in the superhero pose lmao

The biggest question is: how did Clint’s family end up there??? I can’t imagine any of his kids, Laura, or Clint actively suggesting to see that musical given what it’s about alone (whatever it’s about anyway lol…) The only thing I can imagine is someone from Broadway publicly inviting Hawkeye to come see the show with comp tickets for the whole family, maybe as a publicity thing. That would really put the ignorance of this entire production over the top. And then there was some pressure involved between response on social media and maybe someone in the family mistakenly thinking it might be a nice thing to do with the family at Christmas time. The kids clearly weren’t enjoying it either and I can’t see Laura suggesting that to Clint either so that’s the only possible explanation I can think of

I mean the Clint Barton walking out in the middle of their show should say enough to them.

Now that I think about it, this is like the equivalent of if someone produced a musical about 9/11 or something… I mean in the show I get it’s to honor The Avengers but at the end of the day they’re singing and dancing onstage about an attack where people died and lost loved ones, and that the people who fought in it see it as a source of trauma. And it was that long ago for them either. They’d never dare to make a musical about Sokovia I bet but another attack on New York? Why not bruh 😂

I was prepared to be one of the weirdos who strangely like the Rogers Musical scene ‘cause I’m a musical theatre kid but geez I could not stop cringing and laughing. The hardcore MT kid in me would’ve been hurt seeing Clint turning off his hearing aid because he was at a Broadway show, but with this one I 100% support that choice lmao

- The only thing I absolutely love from this whole scene is that needlessly strong ass belt when they sing “I can do this all… DAAAAAAAAAY–” So much passion. It gives me life.

I just had to get this out of my head somewhere. Thank you for coming to my Ted Talk.

Overall review: 4/10

[imgonnapanic]

Third gym squad with a theater kid s/o:

Kuroo Tetsurou

Tbh, he knew what he was signing up for when he started dating you.

He’s just not used to it, because he doesn’t have many extroverted friends who aren’t annoying pieces of-

I can envision you both going on the hub to watch pirated musicals. Hamilton, Heathers, Dear Evan Hansen, you name it.

He loooves your singing voice, even if it’s your nervous purposely bad one.

You love the musicals that include allll the good stuff (trauma, death, tragedy, etc.)

Or the iconic ones. You can’t forget about those.

So you’re less-than-thrilled when your school chooses “Honk! The Musical” for this years play.

It’s a spin off of the ugly duckling that no one has heard of.

And when you come up to Kuroo sulking about this boring play you’re emotionally obliged to do, he can’t help but laugh a little.

But his laughter stops when he sees your eyes down at your shoes.

And then he shuts the fuck up because you’re actually upset.

After assuring that you will still be Broadway material even if you’re dressed up as a goose, you feel a little better.

In the two weeks leading up to auditions, Kuroo is starting to get caught humming “A Poultry Tale” at practice.

I mean, his Spotify feed went from Kendrick Lamar to Legally Blonde within one month of dating you, so cut the guy a break.

The day of auditions, you’re a bundle of nerves as you go over the dumb song again and again.

And Kuroo is like “calm down babe you’re gonna do great.”

That sure did a ton.

“Shut up Heather”

...

“Sorry Heather”

He’s also a bundle of nerves at practice, though. He just couldn’t let you see it.

By now, all of the Nekoma team knows you’re auditioning today, and the minute he walks in he just holds up a hand.

“They’re auditioning as we speak”

He’s not surprised when you get the lead.

He looks like the cat who ate the canary he’s a little amused when he figures out the lead is named “Ugly” but by now he has learned to keep it on the inside.

Your schedule is now jam packed, but that’s okay, because Nationals are also coming up for Kuroo and needs to put in some extra hours at the gym anyways.

You better believe two months later Kuroo is making his entire team buy a ticket.

Kuroo didn’t even get to see you on opening night because of dress rehearsals, but that’s okay.

He cleared his entire schedule that day and now has time to wallow in his own excitement and buy you some flowers.

He’s there with the squad team at 6PM sharp, dressed up, and trying to keep his dignity.

When you first walk on stage, the team snickers a little bit at your costume, but Kuroo was completely enraptured by your singing voice, your blocking, your makeup, everything.

This was much better than the demo CD that they had given you.

Afterwards, he gives you your flowers and is glued to your side for the rest of the night, babbling about how proud he was of you, and how talented you are, Nekoma team be damned.

Tsukishima Kei

Tsukki-poo already had a soft spot for the arts before he met you.

Not that he would tell anyone, ever.

When you started dating him though, it gave him an excuse to share his favorite soundtracks.

“you can hit that note, you know.”

*cue the arguing about how you aren’t Barbara Streisand*

When you two are walking through the hallway with him and you see the poster reading “Auditions for Karasuno High School’s ‘The Little Mermaid’ are open!” You start freaking out.

You love that movie! And Kei tolerates it!

Kei honestly thought you would be Ariel/Prince Eric when he first heard you singing “Part of Your World”

Like, you have the voice of a fucking lark. The directors have to be batshit crazy not to cast you.

In his humble opinion.

So he’s a bit taken aback when you get the role of Flounder, but he’s very proud anyways. Especially after you explain that there’s musical numbers that you’re in that aren’t in the movie.

He just hates your director for no reason now.

Practicing your lines with him in your free time becomes almost inevitable because you both have nothing else better to do.

And he can see how into it you are.

And let me just say that you are killing it.

Seriously. You have no problem getting into character, and Kei doesn’t say this much but-

It’s fucking adorable, okay? He has little goth moths in his stomach.

And he can’t wait to see the show, because then he can show you off.

That doesn’t mean he likes the other first years prying at your progress.

Hinata’s incessant questioning about theater anatomy and the memorization of your lines gets really annoying.

Even for someone with a normal temper like you-

“Yes it’s called the right wing. NOT wing spiker. Yes they’re off book. Now will you shut your trap already?”

Dress Rehearsals come, and you’re spinning around his room, face morphing from complete concentration to happy, go-lucky Flounder.

You, Kei, and Yamaguchi (your little third wheel-) all know the soundtrack pretty much up and down, left and right, backwards and inside out.

He still shivers remembering the time you just walked into his house not registering that Flounder’s makeup looks kind of scary up close-

All of his pride was sacrificed that day. All of it.

On the morning of opening night, Kei was walking you to the school, pretending to be bitchy about it being on a Saturday.

“C’mon, what am I supposed to do all day?”

As luck would have it, he’s stuck sitting next to one Hinata Shoyo. Lovely.

So he sat down next to him, and ignored him the whole show. I mean, it worked, he shut up after thirty seconds.

After the show, Kei has to wait a bit for you to take your makeup off, but when you come running out, he can’t hold back a tiny grin.

“That was good. I’m proud of you.”

And then he took you to dinner because singing makes a bad bleep hungry 😌

Bokuto Kotarou

Listen, you’re loud, Bokuto’s loud-

So basically you two are on a mission to not annoy Akaashi for as long as you can before inevitably getting yelled at for your affection and love and shit.

Now, both of you would love for this to be possible.

But the Frozen soundtrack makes it too difficult.

Especially when you can edit the lyrics just to piss off Konoha.

“Turn away and slAm the door *on Konoha”

“The wind is howling like the storm inside *of Konoha”

The possibilities are endless, really.

The game changer is when you two are belting out the song where Elsa and Anna are arguing.

And you accidentally hit the “I-i-I CANNNNT”

Akaashi is like for the love of GOD just audition for the play.

He quickly realizes that his suggestion was not a good idea.

Since guess what the musical is.

You’re auditioning as a joke, okay? You love Frozen, but this is a Fukurōdani Academy level play.

You didn’t expect to land the role of Olaf.

Your director sat you down and bluntly told you that he thought that you had the charisma and energy to be Olaf, but he knew that you were auditioning for a joke.

He needed you to be committed.

And hell yeah, you were gonna be committed.

At first, Bokuto was super proud of you! His s/o as a lead role? So impressive!

You even taught Bokuto your choreography for “In Summer”

He only retained half of it, but eh.

He’s a volleyball player. He tried.

As rehearsal times became longer and longer, Bokuto was a little upset at himself because he didn’t realize how committed you were until it hit him in the face.

Akaashi is there to get him out of his funk when you aren’t, though.

“They feel the same way when you need to be in the gym longer. It’s just a part of having a passion. Just utilize your time with them wisely.”

This bitch knows full well Bokuto doesn’t do ‘wise’ though, so he also sets to him a little more.

Dress rehearsals start, and Bokuto is always waiting for you to come out of the auditorium to ride the bus home.

You’re just bubbling over with stories about the magic of being on stage.

The lights, the microphones, the costumes, just talking about it makes you nostalgic already.

On opening night, Bokuto and Akaashi are there in the front row, going through the program.

“There’s y/n!!!!”

And you can’t see him because of the blinding spotlight, but you can hear Bokuto cheering for you after you finish “In Summer”

Afterwards he gives you a big hug, and you guys go home and watch Frozen.

Akaashi Keiji

When you start dating Akaashi in your second year at Fukurōdani, you’ve been on stage for the last ten years of your life.

Singing, acting, dancing, you love it all.

You’re even considering making it your career.

Akaashi doesn’t know much about theater at all, but he makes sure to do his research since it’s such a big part of your life.

The company you take acting classes with is having their winter show soon, and you couldn’t be happier when you figure out it’s ‘Into the Woods.’

Akaashi makes the mistake of asking the plot of the story.

“So basically there are these two infertile bakers with dead parents and there’s this witch that’s old and wrinkly and she comes to their house because fifty years ago the bakers dad stole her veggies and took the magic beans that made her look old and wrinkly-“

(A/n: this isn’t even half the plot)

He decides he’ll figure it out when he sees the play.

Akaashi knows that it’s a difficult one, though.

Sondheim doesn’t fuck around.

So you shouldn’t be beating yourself up about cracking on some of the high notes and screaming into your pillow.

He feels like an idiot every time you ask him to give you constructive criticism.

He doesn’t know what to say. “That was good” is obviously not what you want to hear.

When the date of your audition rolls around, he has early morning practice.

So he sends you a text saying how far you’ve come already and he’ll be proud even if you end up being a tree and break a leg (he’s very proud of that part. Theater lingo with Akaashi 101)

He’s very pleased to hear through your extremely fast and animated chattering that you killed it.

You were going to be Jack from “Jack and the Beanstalk.”

He’s still not sure how that correlates with infertile bakers, but he’ll go with it.

You also have a notoriously hard solo, “Giants in the sky.”

Akaashi is very impressed.

All you two do is practice that song, until Akaashi is half sure he could sing the song if he really gave an effort.

(He tries seriously one time. He can’t sing. To save his life. Sorry Keiji and RIP y/n’s ears.)

“Maybe you’re just not a soprano?”

“I’ll leave the limelight to you.”

Rehearsals always leave you drained. There are so many dance numbers in the play that you have to go over.

And songs, oh god, the songs are pieces of work.

But you wouldn’t trade it for the world, so Keiji stays close, and is endlessly supportive.

You sent him a picture of your Jack costume, and Keiji is like that is kind of adorable ngl-

He walks into the auditorium you’re performing in, and even he’s nervous to be in there. It’s huge.

But when you walk on the stage, and start belting, all the breath leaves his lungs.

Oh. Ohhhhhhh. He understands the plot now.

[milkywvy]

⇒ superNOVA! is the debut mini album from fictional idol NOVA. Released on 1st June 2021, the album marks the first solo debut from any MILKYWAY member. It is available both digitally and physically and consists of 5 tracks, with ‘Cynicism’ acting as the title track. Each song had a track video, all of which broke 12 million views within the first 24 hours of their release. The music video for Cynicism broke 20 million views within 16 hours of its release, making it the fastest music video by an artist under Nostos to do so. Cynicism was promoted for the entire month of June and received 3 music show wins, peaking at number 5 on the music charts. The album itself peaked at number 10 on the music charts. It was deemed a commercial success and left fans anticipating what NOVA would do next in her solo career.

⇒ TRACK LIST

Intro: Addict | 1:52 | insp.

Cynicism | TITLE | 3:30 | insp. | choreography

the perfect crime | promotional b-side | 2:56 | insp.

Cool Girl | 3:19 | insp.

Reason | 2:54 | insp.

⇒ ALBUM CONTENTS

1 sleeve, 1 disc, 1 photobook (72 pages), 1 lyric sheet, 1 ‘The Making of superNOVA!’ booklet (45 pages), 1 of 4 photocards (random), 1 lenticular card, set of 5 postcards (Behind The Scenes photos taken by NOVA), 1 of 5 mini track posters (random)

First press limited inclusions (only 50 available): 

1 of 2 polaroids (Behind the Scenes photos of NOVA taken by ?)

Handwritten message card from NOVA

CLICK HERE FOR YOUR SUPERNOVA! PHOTOCARD

⇒ STYLING

Blonde NOVA! She was blonde for the first week of promotions, after which she dyed her hair back to black except for front pieces that framed her face to match the look she sported in her track videos.

Everything was custom made for her, she worked really closely with the designers to make sure that everything fit her vision.

⇒ ERA NOTES

The album was released on NOVA’s 10 year anniversary of first becoming a trainee. The debut showcase was emotional.

Her being the first member to get a solo debut was both surprising and not at the same time; she made no secret that she’d always wanted to be a solo artist but Starbursts thought that the fact she hadn’t already had her solo meant it was never coming.

A total labour of love - her favourite people worked on the album with her, most notably Yujin, Dal from Headcount, and Minhyuk and Cheol from nycterine.

NOVA pretty much had full creative control over the whole project. She had to push really hard to make sure each song got a video.

She spoiled basically the entire thing on one of Dal’s Instagram lives like 2 weeks before it was announced but the two of them were so excited no one could even be mad at her for it. They talked about how they had worked on so many songs together that it was hard to cut it down to just the ones that were on the album.

The ‘Making of superNOVA!’ inclusion was really important for her - she wanted to make sure that everyone could have access to the full thought process behind the songs and the videos and all the work that went into them. All the creatives who worked on the album had sections where they talked about their process - Yujin, Dal and Minhyuk and the production, Yujin and Cheol and the songwriting, the directors and the track videos, the designers and the costuming etc. And of course NOVA talked about her side of those things too.

NOVA’s pre-debut dance crew worked as her backup dancers, she was featured in a lot of their TikToks and you could tell that some of her old friends really missed working with her.

NOVA doesn’t cry on camera but she got pretty teary eyed, especially for the first win. Her labelmates, Min, Cheol and even Jaesuk stayed on stage with her during her second encore it was sweet like that’s their girl. Byeol got to hand her the trophy for her third win and she stayed for the encore stage too - she was actually crying more than NOVA.

She also gave Dal one of the trophies because the song was his too - this wasn’t publicised but some fans clocked it on the shelves in his studio and Twitter kinda blew up a lil bit about it.

Basically she’d never been had more fun or been happier to clock into work.

[mcwriting]

Live from New York, it’s Saturday Night!

In which the reader is the musical guest at Saturday Night Live the same week Tom Holland is hosting.

Ship: Reader x Tom Holland

Word Count: 5747 (what in the heck?? my longest piece ever lol)

Warnings: Mild alcohol consumption

Rating: K

Preface: I mention the NBC page program, which is like an intense internship/fellowship with the company where college grads work with at least 3 parts of the company over a year to get job exposure. A lot of famous actors and actresses were pages!

***

Walking into 30 Rockefeller Center on Wednesday afternoon was a surreal experience for sure. As a young NBC page led you through hallways and up to studio 8H, you were getting butterflies.

On one side of the hall was a sign for studio 8G, which hosted Late Night with Seth Meyers, but the page turned the other way, guiding you through doors to the Saturday Night Live studio.

There was hustle and bustle all around you as she took you to your green room, which had a sign printed with your name on it over an NYC skyline. You almost pinched yourself.

You had known for about a month that you’d be performing as the musical guest for SNL the upcoming weekend, but now that you were here for your first rehearsal, things were getting real. 

When your manager had asked if you wanted to play the show, she’d been met by your enthusiastic “YES! Are you kidding me?!” It was even better when she mentioned who the host would be:

Tom Holland.

You’d watched every season of SNL since you were probably in middle school. You could easily name off every cast member but would have to remember to keep your cool until after Saturday.

Another thing you’d need to stay cool about was Spiderman himself. You had the biggest crush on him, but who your age didn’t? He was charming and British, disregarding physical features. You were most nervous to meet him. 

The page let you put your things down and took you to Lorne Michael’s office where he and some of the production team wanted to talk to you about your set. You’d only get two songs, but one of the writers also asked if you’d want to be in a couple sketches, too.

Later that evening would be the normal pitch meeting, where writers who’d spent all Tuesday afternoon and night into the early hours of Wednesday writing finally got to show the host and cast their ideas. They’d narrow it down to eight, so you were surprised they wanted you in not one, but two sketches.

It wasn’t difficult to say yes to that. You wouldn’t be present for the pitch meeting, however, because in just a few short hours you’d be heading down to studio 6B to film a segment for Jimmy Fallon’s show. 

Your management team stayed behind at the hotel to work on details for a couple concerts you had and were planning to head up to the studio before your interview.

After the meeting, you were shown around to familiarize yourself with the studio and stage before starting your first rehearsal. For one song, it would be just you and a piano, but the other song would have a band playing while you sang and did some limited choreography. 

You sat in front of the keys of a beautiful grand piano, stretching your fingers. Someone requested you play one of your songs, so you looked around, as if asking for permission. Everyone in the room nodded for you to play, so you began the tune of your favorite song from your album.

Your voice wasn’t warm and there wasn’t a mic on you, but you got lost in the lyrics and chords like you always did. By the song’s end, you’d drawn a small crowd. They clapped and you blushed when you finished, closing the lid and standing to do a sheepish curtsy. 

Most of the small crowd dissipated and you were talking to some crew about stage setup when someone interrupted you.

“Sorry to bother, but that was incredible. Can’t wait to hear how good you’ll be this weekend,” said a male voice with a distinct London accent. You turned to find Tom Holland right in front of you. 

“Oh, well, thank you! I- I uh, didn’t expect to meet you so soon,” you stuttered, thrusting out a hand. “Y/n y/l/n.”

He gripped your hand firmly and shook it, nodding his head once, too.

“Tom Holland. You know I was excited when I heard you’d be performing the same week I host. The last film I did, we listened to your music like, all the time. You could say I’m a fan.”

Was this real? Tom Holland was a fan of you!? You chuckled.

“I could definitely say the same for you. I love your movies. ‘Been a fan for years.”

You both smiled happily and Tom was about to respond when the page who’d been showing you around the whole time came up.

“Sorry to interrupt, but Miss y/l/n, they’ve asked to get your measurements in costuming if that’s okay.”

“Oh! Yes of course!” you said to her, then turned to Tom. “Sorry. It was nice meeting you! See you around?”

“Of course! Nice meeting you also!”

As the young girl led you away again, you missed where a younger brother of Tom said to him,

“Think you’re in love yet?”

***

After an eventful visit at the Tonight Show that included you and Jimmy playing box of lies and performing one of your songs for the audience, you headed back up to 8H alone. 

You’d remembered leaving something in your dressing room and had let your team go on back to the hotel without you. You’d felt confident that you could sneak back to your hotel safely without causing a big ruckus. It was only a few blocks away.

You were digging in your bag for your phone when you bumped into someone. Each of you said a quick “oh, sorry!” before looking to see who the other was.

It was Tom again.

You hadn’t realized before, but his room was the one right next to yours. It made sense, both of you being guests and all, but you were still caught off guard. 

“Headed out?” he asked. You felt yourself blushing a little.

“Yeah, well. I just finished at Fallon’s and they don’t need me back here until tomorrow so I’m heading back to my hotel to order pizza for my whole team and then crash,” you laughed. 

“Oh yeah? That sounds about like what we’re doing,” Tom gestured back to his brother and best friend, who you shook hands with gladly. 

You talked as you wound through the halls and quickly realized you were all staying at the same place.

“That’s crazy! We were just going to get a cab if you want to just come with us. I’m already paying for it, so...” he offered. You were surprised.

“What? No, no, I couldn’t just ride on your coattails like that,” you started.

“No seriously, y/n. It’s fine! We’re literally all going to the same place and no one can bother us from a taxi cab. You don’t even have to talk to us if you don’t want to.”

You looked at the other two boys questioningly and they nodded, encouragingly nodding for you to accept the offer. 

“Okay, okay! If all of you are fine with it, I’ll come.”

They cheered and you continued in happy conversation as you headed downstairs. A doorman called a cab for you and you piled in. Harry took the front and you offered to take the middle, sandwiched between Harrison and Tom.

Never in a million years had you expected to be in such close proximity to one, much less all, of them. It was a short drive and the driver took you to a back entrance, the place celebrities usually entered.

You still weren’t quite used to the star life. Up until you’d hit it big, it was normal for you to do pretty much everything yourself and stay in relatively cheap hotels like any other person.

Now, your management team handled most things and you were staying in five star places with secret celebrity entrances and prices that would probably make your grandmother faint.

Inside, you’d also realized you were on the same floor, both of you staying in large suites used by many elites over the years. You parted ways, anticipating seeing each other in the morning for rehearsals and later that evening when you’d be doing Seth Meyers’ show together.

***

The studio was buzzing when you entered Thursday morning. Your small team headed straight for the dressing room as you were taken away to a sketch read. Both sketches the writers had asked you about had been greenlit, so you were excited to work on them

“Morning, y/n. How was the pizza?” Tom asked cheekily when you first walked in. A couple of people passing by gave strange looks but said nothing.

“Well, who doesn’t love a good New York slice, huh? I’d say it was pretty darn good. And you?”

“We ended up getting room service, but pizza’s definitely next on my list,” he joked before you were handed scripts and asked to review them. The writers and cast were trying to figure out some basic spacing as you looked over your lines and cues.

You finally got to work rehearsing the two sketches. You broke a couple times when Kate landed a punchline and when Beck accidentally tripped. 

When they decided to move on from those, you where whisked away to wardrobe and makeup to shoot "bumper” stills and videos, the photos and clips between sketches and commercial breaks. 

You were excited to see how they envisioned your style and personality and would bring it to life. The photographer collaborated with you and shot some really incredible photos, both serious and goofy.

Next you were back in music rehearsals figuring out more about the staging and running some diagnostic sound checks. Once lunchtime came around, your stomach was growling.

You just barely caught Tom as you went for lunch, he was finishing up as you built your plate. As it always seemed, you only got a few words in with each other before someone was dragging Tom off for his own photoshoot.

You got to talk to Harry and Harrison for a little bit, too, until your manager asked to have a quick meeting about your schedule. Once you were free, you were taken to costuming to try a few things on and figure out hair styles that would fit the show.

There were more music rehearsals and you read the new scripts (as they had already been rewritten twice now). You were pretty tired by the time someone asked you to head across the hall to prepare for Late Night.

You grabbed a quick bite to eat on your way out of 8H and finished is by the time you were in the doors of 8G and a page led you to your green room, once again located next to Tom’s. 

Since you were both doing SNL together, you and Tom were going to be interviewed together, but you also had the added bonus of being the musical guest again. 

You only needed to rehearse a couple times to get the sound down (it’s not like it’s live, so you could easily restart if something went wrong). Once you were finished, they brought in the studio audience and you got a chance to go back to your green room and chill for a little while. 

Seth had a couple other guests, so while you were waiting, you knocked on Tom’s door to greet him and discuss the talking points each of your management had given Seth.

As the in-house band was warming up, Seth came into the room.

“Well I didn’t expect to see both of you in here,” he joked, shaking both of you hands. Tom had been on the show before, but this was your first time meeting the host. 

After a couple minutes, Seth was informed of the time and made his leave, going out to meet his audience and begin taping. After his monologue and the first guest, you and Tom were called to the stage.

“Now for our nexts guests we have both the host and musical guest of this weekend’s Saturday Night Live, Tom Holland and y/n y/l/n! Come on out here!”

Tom gestured for you to go ahead of him, so you walked out, waving to the cheering crowd. You took the seat nearest to Seth’s desk. 

“Well hello, there. Good to see you two,” he greeted as you settled in. “Welcome back, Tom, and welcome for the first time, y/n.”

“Wait this is your first time here?” Tom asked incredulously. You laughed.

“Yeah! Up until a few months ago like, no one knew who I was. Not even Seth!” you poked right back. Seth jokingly agreed. 

The interview went well, both of you telling some funny stories and explaining how the week was going. Finally, you cut for a commercial.

“Alright we’ll return with y/n and Tom after this short break!”

You were right back to the interview after the commercial “break.” Towards the end of it, you all got off on the subject of alcohol.

“You are 21, right?” Tom asked you. You rolled your eyes and gave an exaggerated hair flip.

“Yes, I am of the legal age. You should know as well as anyone what it’s like to have a baby face,” you roasted, causing the audience to go “ohh!” and Tom and Seth to raise their eyebrows.

“Wow looks like we’ve got a little rivalry now. The real question is who can handle their alcohol better. I think we oughta bring you two back for my day drinking segment to settle this!”

Both of you overconfidently pointed at yourselves when Seth asked who was better with alcohol.

“Now that’s an idea I can get behind!” you exclaimed before the interview finally wrapped up and you got ready to go sing. Tom and Seth stayed at the desk while you performed, which thankfully only took one shot.

As you wrapped up the show, you gave final waves to the audience and then headed offstage. You and Tom walked through the halls together and Seth caught up with you after finishing his outro.

He thanked you both for being on the show, you took a few pictures, then talked for a while. Seth was eventually called away to look at something, so you said your goodbyes to him and continued towards the green rooms.

“You were great tonight. Your voice is phenomenal,” Tom said to you. “and honestly I can’t believe you haven’t been doing talkshows that long. You’re a natural.”

“I think it has a lot to do with the fact that I love to talk about myself,” you quipped. “But seriously, thank you. Everything leading up to now has happened so fast, it’s hard to really gauge if things are going well or not.”

“I can relate to that. It’s hard, but having my family and brothers helps keep me grounded, you know? Harrison, too. They know that they can call me out and, yeah, I might get mad at first, but I understand that they’re keeping me from getting a big head.”

“Yeah I can’t imagine how overnight it must have been for you. My family and friends definitely don’t miss the chance to poke a little fun here and there to keep my ego down, too. You know, it’s nice talking to someone who understands for once. I love them, but unfortunately they’ll never fully get what it’s like, but you do,” you smiled.

You talked a little more, then spilt off to actually go to get ready to leave the building for the night. The upcoming Friday was going to be a long one.

Once again, you let your manager and assistant and everyone leave ahead of you. Regardless of whether you would hitch a ride with Tom again, you could find your way around easily.

You waited by the door until you heard their voices nearing and the boys came into the hallway.

“Oh y/n, you’re still here, too,” Harry said.

“Yeah, I was trying to decide what to do for dinner tonight before I head back to the hotel.”

“Well we’re going to grab some pizza if you want to join us,” Harrison offered happily, causing Tom to look at him funny. 

“Y/n probably doesn’t want to be bothered by us all day every day and plus, she had pizza last night, I’m sure she doesn’t want it again. Sorry, y/n, don’t feel pressured by this div,” Tom said apologetically.

“Honestly, I could eat pizza everyday, so that’s not an issue, and I honestly love hanging out with you guys. You remind me of my friends back home. If y’all want to eat together, I seriously would not mind.”

“Really?” Tom asked incredulously, then recomposed himself. “Well, yeah, sure. We were gonna head back to the hotel to change clothes and then figure things out from there, is that okay?”

“That sounds perfect, except I’m paying the cab fare this time.”

***

In most situations, a group of guys you’d only known a couple of days asking you into their hotel room would be a major red flag, and it probably still should have been, but you threw caution to the wind and went to Tom’s suite anyways.

Harry answered the door and let you in, and inside you found Tom and Harrison on the floor of the living space drinking beers. They both raised their cans up to you as you came in.

All three of the boys were in simple sweats and t-shirts, similar to you in your leggings and sweatshirt. It wasn’t much later that Harry went to the lobby to retrieve the pizzas they’d ordered and you were all digging in, seated around the coffee table talking.

You all discussed random things, poking fun at each other like you were old friends. It was like they’d already accepted you as one of their own.

“How you think this weekend’s gonna go, y/n?” Tom asked between swigs of his ale.

“I’d say pretty good. I’m hella nervous though. SNL is like its own universe.”

“You can say that again. This is like nothing I’ve ever done before.”

“Oh, come on. You two are both going to do great Saturday. Don’t think too much about it and just have fun,” Harrison encouraged as you continued eating.

Throughout the evening, you couldn’t help but pick up on the way you and Tom kept making eye contact. It was brief, but it was different than how you and Harry or Harrison looked at each other. There was something else there.

Your stomach fluttered. Who else could say that they spent an evening drinking with their biggest celebrity crush? And then continually exchange flirty looks?

At one point Tom even tossed a wink at you after cracking a joke, causing your heartbeat to quicken momentarily. 

After getting lost in conversation with the boys, you realized the time and prepared to excuse yourself back to your own room. The coming morning was going to be an early one, after all. 

“Oh man, I better head out. We’ve got a long day ahead of us,” you commented, stretching as you stood up. The boys followed suit.

“Wow I didn’t even realize how long we’ve been sitting here,” Tom added.

“Yeah. Thanks again for letting me come over tonight. I haven’t gotten to do something like this in a while so it’s nice to just spend time with people who I don’t pay to hang around me all day, you know?”

“I understand and definitely can agree, since these divs are kind of paid to hang around me.”

You all laughed as Tom walked you to the door. 

“Well. See you bright and early...” you trailed.

“Yeah, see you then,” Tom answered, awkwardly sticking out his arms for a hug. You obliged, squeezing your arms around his neck as his held your waist.

And goodness did he give good hugs.

***

You were definitely tired walking into 8H Friday morning. The caffeinated drink in hand helped a little, but late night beers paired with waking up early didn’t quite go hand in hand.

It wasn’t really a hangover either, since you hadn’t been fully drunk, but it didn’t help the exhaustion from traveling, working the past two days, and a lack of sleep.

The first thing you had to do was rehearse your songs for Saturday as the set team worked on transporting and putting together large set pieces that had been made at the navy yard in Brooklyn.

Tom and the cast weren’t far away, figuring the live show with costuming and quick changes along with doing some pre-filmed sketches. The writers were continually making adjustments and figuring out how things would be done. 

They eventually called you over, too, to rehearse your sketches and film one of them. You had to get used to the costumes and cue cards and blocking of each. There had been some minor changes as well, so you had to be quick on your feet.

By lunchtime, all the cast took a well deserved break to sit and have a bite. The writers were having to shuffle around while they tried to eat as you and Tom sat down to talk some more.

“Hey, sorry to bug you, but do you guys mind if I take a picture or two for the SNL social media accounts?” a page asked while you were munching on sandwiches.

You and Tom looked at each other and shrugged.

“Fine with me,” you answered, Tom giving a similar reply. The two of you leaned in next to each other, holding up your sandwiches and laughing.

A few photos were snapped and you and Tom approved of them to be posted online. You thought nothing of it as you went to more rehearsals, working through the show’s order and trying to get down timing before Saturday’s dress rehearsal and show.

You couldn’t help but laugh watching the sketches, as this was your first time seeing the ones you weren’t a part of. Tom’s comedic timing and dry British humor paired well with the material he was given.

When the day came to an end, you were looking through instagram and gathering your things. You went to SNL’s page and put the post of you and Tom together onto your story, adding the text “Can’t wait for everyone to see my favorite sandwich partner host the show tomorrow!”

As before, you thought nothing of it and posted the story, heading out the door to ride back with Tom and the boys.

***

At the hotel, you and Tom had decided to not hang out for the evening since you’d be having a late, late night Saturday and wanted to get some sleep. You opened up social media as you laid in bed to wind down.

You decided to look at the picture of you and Tom from lunch again and read some comments, hoping there would be some funny ones and whatnot.

Instead, you found hundreds of comments saying “omg ship” and “my two faves together” and “this couple would be everything!!” 

You were honestly shocked to see people saying that about you, especially since you had never heard of your fans indicating that they wanted to see you two together.

Twitter was also buzzing over you and Tom’s picture, some fan pages just talking about either one of you, while others also talked about shipping you.

In your heart, you kind of enjoyed it, since you were hardcore crushing on Tom now, but you had no idea how he felt.

Did he like you back? Did he just think of you as just a friend or acquaintance? Was he secretly dating someone and you were just reading too much into it? 

It was much to think about, so instead you closed your phone and fell into a deep slumber.

***

You didn’t have to be in the studio as early as the past days since dress rehearsal wasn’t until 8pm and the show started at 11:30. You felt better rested than the day before, but butterflies were constantly erupting in your stomach.

You and Tom caught each other at the building’s entrance and went up the elevators together.

“Ready for tonight?” you asked, tapping a foot anxiously.

“Absolutely not. You?”

“Same here. Not only is it going to be watched by millions, but some of the most important people in my life are coming and I’m freaking out a little.”

“Oh yeah?” he asked softly. “And who would that be?”

“Well, my parents and some friends from home. I can sing in front of sold out stadiums but I still get nervous if I know they’re in a crowd. It’s stupid, I know.”

“No I totally get it. My parents and brothers will all be here, too, and my heart races when they watch my work. The best advice ever given to me, though was ‘turn nerves into excitement,’ and that’s exactly what I’m trying to do.”

You nodded and smiled up at him.

“That is pretty good. Thanks,” you replied as the elevator doors opened. 

The halls were bustling with what seemed like every employee as you headed to your green room. It wasn’t long before you were being thrown updated scripts and rehearsing again.

Finally as dusk turned to night, the dress rehearsal audience seats began filling up. You were bouncing nervously in the hall as you watched the cast begin the cold open on a monitor.

“Nervous?” a male voice asked quietly next to you. It was Tom, of course. You bobbed your head from side to side.

“Excited,” you replied cheekily. He smiled and was about to say something else when a crew member came by to lead him to his starting place for the monologue. He gave a quick wave before heading backstage, instead. 

The dress rehearsal went okay, certain jokes and lines being cut and rearranged by the end for time. Thankfully the audience received everything well, for the most part. 

Your own music and sketches felt like a rush, but you were proud. Tom’s advice had really gotten to you, because you were bubbling with excited anticipation for 11:30 broadcast to begin.

There was about an hour between dress and the actual taping, so you scarfed down a few bites of food and tried to shake out some jitters. You also sipped some caffeinated hot tea and did vocal runs to stay in tip top shape. 

Your friends and family stopped by the green room to say hi before they joined the audience, giving you hugs and encouragement for the evening ahead.

As the clock neared 11:30, you were walking down a hall already dressed for your first song when you almost bumped into Tom.

“Oh, hey! Great job at dress! You’re gonna do amazing,” you immediately said, making him beam.

“Thank you! And you too! Your voice is on fire tonight, as if it’s ever not.”

“You haven’t heard me try to sing sick, then. I sound like a diseased animal.” You shook your hands and head to dismiss yourself. “But, uh, earlier I was gonna tell you ‘break a leg’ and then I remembered you used to dance, sooo... merde.”

Tom raised his brows and chuckled. 

“You know that phrase too?” You nodded. “Well then merde to you, too. Oh, and I was wanting to ask if tonig-” 

Tom was cut off by someone once again needing to drag him away to prepare for the show, causing you both to toss waves at each other again. Maybe he’d finish his thought later.

This was it. The real deal. 

You took that as a cue to find your place by the monitors until after Tom’s monologue and the commercial break, when you’d start moving to stand with the band.

The cold open landed well, and you felt chills hearing two of the cast yell,

“And live from New York, IT’S SATURDAY NIGHT!”

The classic jazz music of SNL played over the intro and Tom made his way down the iconic steps to do his monologue. 

Your heart fluttered seeing him stand on that stage with a wide smile, waving at the crowd. He was dressed in a blue suit and his curls were styled just right. He looked incredible.

The monologue landed well and you felt an even bigger flutter as you heard Tom lead into commercial, saying the iconic line,

“We have a great show for you tonight! Y/n Y/l/n is here! So stick around we’ll be right back!”

With that the camera panned out and cut, and chaos began as the crew moved everyone to set the first live sketch. In the meantime, a prefilmed sketch played, the one you had participated in.

The audience cheered and laughed at your surprise appearance in the sketch, which made you feel really good. You had moved now to a place where you could see the stage in person.

The camera panned in as the audience applauded and the next sketch began. Even after having seen it multiple times that week, you couldn’t help but laugh as the ridiculous character Tom played so well. 

When they cut to another commercial break, it was your time to get ready to sing the first song. 

Your stomach fluttered like it always did before a show, but Tom shot you a thumbs up before the break ended and boosted your confidence. A camera was pointed in his face as he calmly said,

“Ladies and gentlemen, y/n y/l/n,” as he gestured towards you.

The lights came up and you began playing, and you became lost in the music like always. It came and ended quickly, and suddenly you were listening to the cheers of the audience. You waved and bowed in thanks as the cameras panned again.

Up came the weekend update, your favorite part of any Saturday Night Live. The jokes for the segment were typically written on Saturday, so many of them were new to you. 

Tom came and stood next to you during the update with a bowl-cut red wig dressed in khakis and a sweater vest over a button up. You looked him up and down amused.

“Your performance was amazing,” he whispered.

“Thanks. You’re doing great out there. They love you,” you whispered back.

“I sure hope so. Hey I’ve been trying to ask if-” he started, but then was cut off by someone grabbing him and leading him towards stage for the next sketch. Your stomach fluttered again.

What could he possibly want to ask me?

The live sketch transitioned into a prefilm and then you were up again, this song was more energetic and included some choreography, and you felt confident in the shimmering gold bodysuit and boots you were wearing. 

You happily danced and sung after Tom reintroduced you to the crowd and got a large round of applause. There was only one sketch left of the show and you were in it, so the team rushed you into a quickchange booth offstage to put on your costume and a quick wig.

The sketch began and you stood to the side nervously. When your cue came, you burst onto the stage clumsily, as directed by the script. Your character made some inappropriate comments to Tom’s which garnered you many laughs again.

It was satisfying.

Once the sketch ended, all that was left were the goodnights, so you were again rushed off to change into a cute jumpsuit and reaffix your hair. Tom came out in a blue suit with the jacket unbuttoned, a black tee underneath. 

You rushed to take your place next to him as other cast members filed in around you, Lorne standing in the middle of the room watching to make sure everyone came out. The audience applauded as the music played and camera panned.

After they gave the final countdown, Tom began giving thanks to many people, from cast and crew, to family, and to you.

“I want to give a huge thanks to tonight’s musical guest, y/n y/l/n,” he exclaimed, gesturing to you. The crowd cheered and you laughed and waved, giving him a joking elbow. 

“I love you all! Goodnight!” he finally exclaimed. 

With that, the music was brought up and everyone began hugging as the credits rolled. You immediately turned to Tom and he to you, both of you throwing arms wide. 

You wanted to hug him forever, but realized that it would look fishy and there were many people you still wanted to hug and thank.

Both of you pulled back, giving each other a quick “good job!” before turning to others.

***

You were finally offstage and had said quick goodbyes to your family, who wouldn’t be staying for the afterparty. As you headed towards the greenroom for the last time that night, you were stopped by Tom.

“Hey! Y/n,” he said, putting a hand on your shoulder.

“Oh my gosh there you are!” you said, turning to give him another hug, this one more emotional and less performative.

“I’m serious y/n, you were incredible. I know I’ve said it a million times but you have a real gift. Not to mention your acting skills,” he said into the crook of your neck.

You pulled away to look at him, arms still loosely wrapped around him.

“Well thank you, but you were great too. Everyone loved you. I loved you out there.” You paused for a moment, arms sliding from his shoulders as you continued to walk down the hall. “You know I had a lot of fun this week. Doing this and just hanging out. I was really nervous to meet you.” 

“I did too, and yeah, we were all super nervous to meet you, too. Like I told you before, we listen to your music a lot. But, uh, that being said. All night I’ve been trying to ask if you’d like to go to the afterparty with me?”

“Oh yeah that’s perfect! Are the guys coming too?” you asked enthusiastically, not detecting the nervousness in his voice.

“No, no. I mean, yeah they’ll be there but...” he stopped and you followed suit. “I’d like you to go with me with me. And ideally leave with me... alone.” 

Your eyes widened and breath hitched. Now it clicked. He was asking you out.

“Oh! Well then... I’d like that very much.” You smiled.

“Yeah?” he asked, incredulous.

“Yeah,” you answered.

Let’s just say you were singing a different kind of tune that night once you left to your empty hotel room “with him.”

***

A/N: omg omg omg I started this story forever ago but finally got around to finishing it! No new marriage project chapter this week, I thought I’d just post this to hold y’all over ;) Thanks for reading!

Permanent tag list: @jackiehollanderr, @one-big-fangirl

If you’d like to be added, pls message or send an ask so you can verify that I’ve added you!

[ryqoshay]

Tri-Arame: Feelings Astray

Primary Pairing Trio: YuuAyuSetsu Words: ~1.5k Rating: G Time Frame: Something like their 4th or 5th week of college Story Arc: Stand Alone

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Author’s Note: Some practice drama as well as setup for future stuff.

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“Ne, Ayumu, Setsuna-chan.” Yuu said, turning around on her piano bench. “Would you mind listening to this for me?”

“Of course.” Ayumu and Setsuna replied, practically in unison.

Yuu smiled, stood, and walked over to Ayumu to hand her a set of headphones before giving a set to Setsuna and returning to the keyboard.

The three girls had spent the bulk of the afternoon in Yuu’s room, a bit of a change from their established habit of gathering in Ayumu’s room. This was actually their third day here, as Yuu was working on composing a new piece and needed to use her keyboard. There wasn’t space to move the device to Ayumu’s room so Ayumu and Setsuna mutually decided to keep her company. As Yuu lacked a kotatsu for her guests to gather around, she let Setsuna use her desk to study and Ayumu was sitting on the couch taking a break from her own studies to play a game with Rina on her phone.

Ayumu sent a message to her gaming companion and closed the app before donning the headset. She nodded to Yuu to indicate that she was ready. The twintailed girl smiled again and turned on her bench.

After a deep breath, Yuu positioned her fingers above the keys and began to play. Music poured out of the tiny speakers into Ayumu’s ears as she leaned back and let the experience wash over her. By the gods, she loved listening to Yuu play. Ever since her childhood friend had changed her class course to music back in high school, getting to be part of the audience for small, private concerts had become one of Ayumu’s favorite pastimes. Even if the song was still a work in progress, like today.

Movement off to Yuu’s side caught Ayumu’s attention. Setsuna had sat up straighter, closed her eyes and lifted her chin. Was she…? Ayumu slid one side of her headphones off. Yes, Setsuna was indeed humming along, adding a melody atop Yuu’s piece. Did she already know the tune?

“La la la… Lalala laaa~…” Setsuna apparently was not content to merely hum and began vocalizing instead. No actual lyrics, just the sound of her voice.

And it was beautiful. The harmony was perfect. Ayumu wanted to simply sit and bear witness, but she found herself wondering if Yuu could hear Setsuna as well. She was about to stand and either try to get Yuu’s attention or discreetly move one side of her headphones off like she had done herself. But then Yuu’s hand shot up and quickly did exactly that, barely missing a note. Oh, good. Ayumu relaxed and continued to enjoy the performance.

Then, all too soon, it came to an end.

Setsuna opened her eyes as though coming out of a trance. She blinked and stiffened as she noticed that Yuu’s headphones were half off and it was obvious she had heard her. Pink began to dust her cheeks.

“I’m sorry, Yuu-san!” Setsuna blurted out. “I didn’t mean to interfere! I just couldn’t help…”

“That was amazing, Setsuna-chan!” Yuu interrupted excitedly.

“Eh?”

“I hadn’t even considered adding another melody like that, but it was perfect!”

“It really was amazing.” Ayumu agreed, earning a toothy grin from Yuu and a more bashful smile from Setsuna.

“Do you think maybe you could write lyrics to this?” Yuu continued.

“Me? Lyrics?” Setsuna asked.

“Well you just came up with that lovely melody. Surely you could put some words to it, right?”

“Maybe.”

“Obviously I would be happy to help. But, hey, if we do that, maybe you could even use it as a single!”

“Oh, uhm…” Setsuna’s blush deepened. “I wouldn’t want to interfere with your schoolwork.”

“It’s fine.” Yuu assured. “The assignment is just to compose an original work, there’s nothing against turning around and letting a professional idol add lyrics and use it herself.”

“You’d really be alright with that?”

“Of course!” Yuu was practically bouncing in her seat. “It’d be like old times back in the idol club, except now Setsuna-chan is a professional idol.”

Like old times…

“I’d like that.” Setsuna’s smile became more natural as her blush began to fade. “It really is a wonderful work and it would be an honor to sing to it. Thank you, Yuu-san.”

As the two started talking about potential themes for the lyrics, Ayumu found her own thoughts drifting.

There was no doubt in Ayumu’s mind as to Setsuna’s musical prowess, specifically when it came to utilizing her voice. But still, to predict and adjust on the fly like she had just done also implied an implicit trust in Yuu and incredible knowledge about her style of composition. And that was a bond Ayumu simply did not share with Yuu. Or Setsuna for that matter.

Sure, back in high school, Ayumu had done well enough as a school idol, when it came to performing. But she was nowhere near as active as either Yuu or Setsuna when it came the creation of the songs they would sing or the choreography they would use.

Ayumu’s contributions to the club were more of general support. She helped the costume club occasionally with outfit design and creation. She often helped the baking club make snacks for the other idols. And of course, she very much enjoyed being the go-to individual for help with styling her friends’ hair before Live performances or photoshoots, particularly for those with longer hair, like Kanata, Shizuku and Setsuna.

But that often meant that she was doing something for the club other than either Yuu or Setsuna. And they were often doing something together, like when they were spearheading the efforts to organize the School Idol Festival. So, of course they would develop that sort of bond.

And nowadays, they had bonded over many other things as well. They geeked out over idols and anime, often to the point of seeming to forget Ayumu’s presence; not unlike right now. And sure, Yuu had taken to snuggling into Ayumu in bed, but Setsuna seemed to cling to Yuu with a desperation that neither did with her. Even their morning meeting on the balcony, they were more often next to one another. Who knows, the next thing they’ll bond over might end up being cooking.

Was Ayumu getting in their way?

No. That couldn’t be the case.

Both actively sought her out for drying their hair whenever they washed it. Yuu was very open about that fact that she had no desire to go to any hairstylist other than her, for cuts, dyeing or anything else. And while Setsuna hadn’t said as such out loud, her actions seemed to imply that she felt similar.

Both girls were also vocal in their gratitude for all of the cooking Ayumu did for them. And knowing how much they enjoyed her food was something in which Ayumu did take some pride. Not too much, as she knew there were far better cooks than her out in the world. But if the two people she loved most were happy with it, then that was enough to make her happy.

And then there was the fact that Yuu was quite insistent on walking to class with Ayumu, despite having a later schedule. And Setsuna always greeted her enthusiastically when she arrived home. Although she greeted Yuu the same way. And Yuu greeted Setsuna the same way as well… Perhaps that wasn’t the best example.

Even the private piano performances had started out only being for Ayumu. But then Setsuna started to join in regularly. And while Ayumu was certainly happy when the three of them were together, there started to be more and more times like now. More and more times that the other two seemed to forget Ayumu was present.

Maybe I should just move out and let them be a happy cou…

Wait, where did that thought come from?

Ayumu physically shook her head as though it might help rid herself of that thought.

“Ayumu?”

“Mm?” Ayumu blinked to find Yuu had turned her attention to her.

“You alright?”

“I’m fine. I just…”

Ayumu was interrupted by the sound of Setsuna’s stomach growling. Loudly. Yuu immediately started laughing while Setsuna’s face flushed adorably.

Ayumu held back a laugh of her own. “I suppose it is about that time.” She said, checking her phone. “I’ll go make dinner.”

“I’ll come with.” Yuu said, bouncing up from her bench.

“Oh, I’ll be fine.” Ayumu assured. “Please continue to work here if you want.”

“I’m good here for now.” Yuu shook her head. “And I need to do a few things on my laptop anyway.”

Ayumu noticed Setsuna close her own laptop and stand as well. “I’ll come as well.” The raven-haired girl said with a smile.

“Mm.” Ayumu agreed with a nod and headed for the door.

So, Ayumu and Setsuna had decided to keep Yuu company in her room. And now Yuu and Setsuna wanted to keep Ayumu company in hers. That meant they all wanted to stay together, right?

Yes. That had to be the case.

Ayumu thought to herself as she led the way back to her room. It was fine. That strange thought from before should just be forgotten.

Everything was fine.

Right…?

----------

Author’s Note Continued in Followup Post

[elle9095]

So yesterday The Boyz’ Checkmate performance on Road to Kingdom completely blew my mind and it's been all I can think about for like 15 hours so I figured writing basically a dissertation explaining what I saw in their performances is going to help me make sense of life again.

The narrative that I got from the performances tells a story about the power struggles of monarchy, both literally and metaphorically, when you consider the industry. It’s also the concept of the show, giving these bands a chance to play in the same league as the so called kpop royalty.

It like the Boyz were on a show called Road to Kingdom and decided to make it literal.

First performance: Hwarang/ Sword of Victory

I think no one could've imagined what was to come when they made this performance. It was meant as an intro to the group so it was short and impressive and I’d say that it sort of set the style of their performance but not yet the general concept that has developed over the show.

Also I just learned that hwarangs were entertainers before they became a legion of warriors and later an institution, so they're basically old-timey boy groups turned soldiers.

How quaint when you consider the later performances.

Second performance: Danger

This is where it all started I guess. They went with the thieving concept of the song, decided to take inspiration from their first performance and bam now they’re stealing crowns and climbing walls.

Third performance: Reveal (Catching Fire)

So obviously referencing the Hunger Games which is a survival game but essentially a story of revolution.

Fourth performance: Heroine

This one's a bit different since it's a collab but yeah the whole performance is basically a person's journey to center stage, which is usually occupied by the winners/royalties.

Fifth performance: Quasi una fantasia

This one didn't look like it was going to fit the narrative with it being so ethereal and so hopeful, what with the branch slowly blooming, like a good thing coming to fruition, but this is the euphoria after you've made it and they sort of tell you in the title that yes this is basically a fantasy.

Final performance: Checkmate

This one is fucking insane okay? They start off with a deja vu: Yonghoon's with the hypnotizing watch again and you notice the blooming tree in the background but there's something uncanny and the watch stops, you get flashbacks of Juyeon taking down the king, wearing his crown, Q stealing the crown, stealthily sliding and passing it on to Sunwoo who seems like he's finally going to ascend to the throne and next thing you know he's falling and waking from a bad dream…

At this point I was already cursing and gasping and having a heart attack and they haven't even started singing. And it's like everything they've done so far was just a dream, the game is on let's start all over again.

And isn't it exactly like that? Because a game of thrones (though not explicitly referenced) is exactly just that: a game. You come to power but how long is that going to last? Sunwoo’s (literal) fall from power lasted a breath. You win first place on a music chart this week, you start all over again next week. And The Boyz would know that, having spent the the first weeks on top, but it only took a single performance in one episode for them to drop to third place.

And the chess concept is PERFECT. Chess is a game of war and strategy and the big picture and that's all they've been doing on this show: they've stolen, tricked, rebelled, and dreamed before they finally checkmate. All these performances make up one big picture and I don't know if they've planned this from the start but it’s fucking genius.

The Boyz are so good at coming with a concept and sticking with it, they make a song called checkmate and whoa they have a chess concept now, they have black and white costumes, dancers dressed as pawns, chess board effect and choreo, chess piece props… Which all seemed like obvious artistic choices but there's always MORE.

Like can we talk about that fucking table? I was like 'where did they find a three-way chess table omg it's gorgeous' and then someone's dancing on it and you see the glass tube thingy under the table and MOTHERFUCKER ITS A FUCKING CHESS HOURGLASS

Also for someone to be able to dance on it they flipped the table upside down and it's either like turning back time (rewind sound effect at the beginning) or starting all over again, but also I was like 'huh the tables have turned' and then 'OH FUCK OFF'

And it's all in the details in the performances, the small things that they reference, the same imagery that comes back again and again, every time I rewatch a performance I notice something I didn't before.

There’s the flower, something that's fragile and fleetingly beautiful, also the 'hwa' in hwarang. The moon, which is always changing, like an illusion, the full moon referenced in Reveal, which originally had a werewolf-y concept.

The fire, the sword, all associated with war and power. Even the tricks and optical illusions. The chess, the crown, the king. Everything came together so perfectly in that final performance and wrap up so nicely like HOW IS THAT SHIT EVEN REAL

I love how they have all the names of the song in the title cards (Thieves, Reveal, Paradise, Checkmate) and I’ve been thinking about the lyrics 'the show must go on' and 'the game starts again' and how Sisyphean it all is.

And it's almost like in the end they understand how futile the pursuit of power is but is still pushed by their drive to thrive for better, and in the end they realize being king isn't winning the game. Chess isn't about being king, you don't have to be king to win the game.

Their final card says 'As long as the moon shines, the king of all games is the Boyz'. They don't say 'we're the king' they say 'we're the king of all games'. It’s like 'yeah we're good at this and we're ready to go at it again' be it the hunger games, a game of thrones, or a game of chess.

DAMN THESE PHILOSOPHICAL REBELLIOUS BOYZ

These performances are inspiring and stimulating on so many levels, I mean yeah, the concept is mind-blowing, and of course the performances are just (literally) breathtaking but we haven't even talked about the technicalities.

Yes, I know these performances are great but more importantly I love how self-aware they are. They really seized the opportunity to do the kind of performance that they couldn't be possibly allowed to do anywhere else.

You can hardly do these things for a live audience, since so much rely on the camera work. You can't do this on music shows or music awards where people only care about the more famous groups.

And while these performances were created with the camera in mind, they still make the watching experience so incredibly live by making the performances so risky, upping the stakes to insane levels, and I don't just mean having to catch flying weapons or falling members, but like having a crazy domino choreography where one member's misplaced limb could ruin the whole shot, or using cool props and tricks that could so easily go wrong.

Like the branch that Juyeon was so upset about? The whole trick relied on everyone doing the right thing with the right prop at the right time right place TWICE all the while making it look effortless and seamless.

Can you imagine what kind of crazy you have to be to come up with that?

I personally think that mistake was a perfect imperfection when you look at the whole picture: something not quite right in this otherwise perfect dream that proved to be a mere fantasy, too good to be true.  

Watching the Boyz on Road to Kingdom was pure delight, and for people like me who get off on the thrill of live experience, performances like these are SUCH A TURN ON. And as a writer I'm just a sucker for conceptual plots, unexpected twists and experimenting with structures.

I’m currently torn by a mix of feelings: excitement for Kingdom, anxiety about the safety of the performers, dread of the inevitable end of the show. It kills me a little to think that we'll probably not see this kind of performances as much. That they don't get to perform like this again: go all out and not just tell a story but a fucking epic that will make Bertolt Brecht cry.

I hope they get their own comeback specials or that the company does like OK Go and makes all these crazy fun performance music videos. At this point I don't even know how to organize my thoughts to express my love for the creative team behind the productions, like someone there's got imagination to spare and I want to pick their brains so bad.

I didn’t know anything about this group before my sister showed me their Danger performance clip, and I’m 98% sure I’d never have discovered this group have they not gone on RTK but holy fuck am I glad that this happened because this is probably one of the best things that came out in 2020, making this disaster of a year almost bearable.  

So yeah, that's what I thought about the Boyz performances. Thank you for coming to my ted talk or whatevs

Also I have a second theory that the whole season is just Sunwoo getting over his fear of heights through exposure therapy.

[shemakesmusic-uk]

Jorja Smith has unveiled a standout new video for latest track ‘By Any Means’. The powerful video (directed by Otis Dominique and Ellington Hammond) shines a spotlight on communities across the UK, complimenting the track’s vital message around social issues and the civil rights movement. As noted by Jorja about the track: "The inspiration behind 'By Any Means' really came from going to the Black Lives Matter protest and leaving thinking, what can I do to keep this conversation going? It’s not just a post on social media, it's life.” ‘By Any Means’ is the first track to be unveiled from a new project titled ‘Reprise’, curated by the team at Roc Nation with the sole aim of bringing awareness to social justice issues. A portion of proceeds will go to funding organisations that support victims of police brutality, hate crimes, and other violations of civil rights. [via Dork]

Madison, WI-bred and Chicago-based band Slow Pulp recently announced Moveys, their self-produced debut album, and shared its first single 'Idaho.' Now the band shares another song off of the forthcoming record, entitled 'Falling Apart.' The track, featuring Alex G collaborator Molly Gemer on violin, is accompanied by a fantastical music video about feeling lost in a familiar landscape. Director Jake Lazovick, places Emily in a transient world, surrounded by flying objects and missing pieces. The clip features nostalgic animations, body doubles for social distancing purposes, and an homage to Massey's background as a ballet dancer. Read more about the song from Massey below: "As we were finishing up writing the album my parents got into a serious car accident and I came back home to help take care of them. A couple of weeks later COVID-19 started getting worse in the US, and quarantine began. Life felt completely surreal, everything had drastically changed and at such a rapid pace. It was especially strange because everyone was experiencing the same thing at the same time, but couldn’t be physically with each other to support each other. I felt like I couldn’t process any emotions I had about the whole ordeal because I had to keep it together to take care of my family. It became easier to stay numb, and create a facade that I was doing ok, than it was to release any type of healthy emotion for a long time. Luckily I did allow myself to have a full on breakdown induced by a stubbed toe and confusion over taxes, sometimes it’s the littlest things that finally get you."

Soap Detox met a party, and somehow their friendship sustained during the lengthy hangover that followed. A frisky Swedish three-piece with a lust for melody and good times, their raucous garage-pop is already making waves in their homeland. A full EP is incoming, with Soap Detox trailing this with their irresistible new single 'Give Me Gore'. A three minute fuzz pop wonder, it's a clanking, cheeky, subversive statement from a group who thrive on such things. The video features their shorn-headed lead singer in full form, accompanied by her band mates. Directed by Evelyn Del Carmen and Ebba Sylvan, you can check it out above. [via Clash]

It’s been a decade since we’ve heard from multi-hyphenate musician and producer The Angel, who last made a splash as a musician in 2009 with her single 'Ultra Light,' which featured the singer/producer Jhelisa on vocals. Focusing more on her career in film/TV composition and music production in recent years, she’s planning to return to recording her own music later this year with a new LP entitled Xtra Sensory Goodness. Now we’re getting the first taste of this project, which is yet another collaboration with the vocalist Jhelisa. “Jhelisa and I have become close friends over the years,” she explains. “There’s a lot of sisterly love and mutual respect between us, so Jhelisa already understood the mournful weight of the track before I asked to feature her. I’m always grateful that she’s willing to experiment with me because it’s not something she does lightly. Jhelisa beautifully channels the essence of whatever emotion needs to come through in the most evocative and visceral way.”  The song arrives beautifully packaged with an entrancing video directed by none other than Mark Pellington (along with co-directors Sergio Pinheiro and Sweeten), known for his concert docs for Pearl Jam, INXS, and The Flaming Lips, as well as an extensive music-videography including iconic visuals for Public Enemy, Nine Inch Nails, and plenty more artists. “I wanted the song to sound like a memory, like you’ve entered someone else’s dream space,” The Angel continues, noting how the video perfectly syncs to the song’s mood. “The emotion is contained, very internal, so I juxtaposed a vocal vulnerability against a driving, incessant rhythm, where you can feel the underlying tension at the same time as experiencing the gentle plea, ‘Where’s my shelter…?’” [via Flood]

A few weeks ago, Ciara gave birth to her son Win. Last night, she shared a video that she evidently recorded while she was very, very pregnant. Ciara’s new song 'Rooted' is a statement of Black pride, a clear statement of solidarity with the protest movement that’s swept across America and the rest of the world these past few months. It’s a hard, kinetic track with vocals from the songwriter Esther Dean. But the song, at least right now, feels more like a vehicle for the video. Like a lot of Ciara videos, the 'Rooted'” clip is built around bodies dancing. In this one, though, one of those bodies belongs to Ciara, who dances with her belly exposed and who looks like she’s about to give birth any second. To watch someone dance this hard while that pregnant is an actual marvel, a near-superhuman feat. The 'Rooted' video is full of Black iconography, and it features the faces of George Floyd and Breonna Taylor. All throughout, Ciara presents an image of motherly strength. Annie Bercy directs. [via Stereogum]

Hazel English releases the new video for her single ‘Five And Dime’ taken from her debut album Wake UP! which is out now on Marathon Artists. ‘Five and Dime’ is a woozy, idyllic view into Hazel’s world, which is built on timeless-sounding melodies, retro-tinged soundscapes and a knack for resonant lyrics. The mid-tempo number is reminiscent of the playful love songs of ’60s pop, as Hazel frustratedly muses on a love interest who is consuming her thoughts and detracting from her focus, “Gotta get away cause you’re taking up all of my time / You know I need my space so I’m heading to the Five and Dime.” Speaking about the new video, Hazel says: “'Five and Dime' is about longing for escape and freedom so I thought it would be fun to create an idyllic beach vacation, constructed from a set with cardboard cut out waves and fake palm trees. The idea behind it is that while I'm fantasizing about escaping to a tropical place, it's clear I'm just kind of stuck in this pretend version of it. I wanted to evoke the nostalgia of Hollywood musicals from the '50s and '60s, complete with dance choreography and bright colourful costumes.”

Katy Perry has released her second video for 'Smile,' featuring the pop star playing a video game version of herself as she battles giant spiders, circus trapeze acts and more while dressed as a clown. Much of the video is in CGI, with a live-action Perry playing the video game in her house (while also dressed as a clown). [via Rolling Stone]

Global superstar, Miley Cyrus has unveiled 'Midnight Sky,' a track that showcases a new direction for the always evolving artist.  The song, which was inspired by the past year of her life, is accompanied by a video that Miley self-directed.  In creating the song and video, Miley drew from strong female musical icons, like Stevie Nicks, Joan Jett, and Debbie Harry, who have always been so generous, and have been her greatest allies and inspiration.  The video showcases Miley as her true self: unapologetic, diverse, sexy, confident, experimental, and strong. The video takes viewers through Miley’s creative vision which displays her complete control of the narrative often told through the mouths of the media. Miley is at peace with who she is and has nothing to prove. As a musician she continues to push boundaries and experiment with her sound and look. Miley has proven to be many things, but boring is not one of them.

Chelsea Collins is nonconformist pop singer with a vision. For the captivating new 'Water Run Dry,' a collaboration with rapper, singer and fellow Bay Area-native 24kGoldn, Collins's infectious pop melodies glide over a hypnotic beat. Relatable lyrics about a faltering relationship reveal a depth of experience for the 21-year-old, with a wistful chorus lamenting, "there's no good in goodbye." The Roxana Baldovin-directed visuals for the track are an eyeful — Collins and 24kGoldn play house in an oversized, colorful California dollhouse, interspersed with images of a little girl playing with literal Barbies. The message? "I wanted this song and video to execute the world that's inside of my head — somewhat similar to a weird vintage rom com where at first the drama of love is so toxic, passionate and thrilling but eventually my lover and I have a happy ending," Collins tells NYLON. "Unfortunately reality isn't as fun and it kinda feels like some cranky dude is controlling your path, who's lowkey salty whenever something feels too amazing," she continues. "My intuition will tell me to run, but I'm notorious for acting like a Stepford wife, trying to recreate my past feelings yet they're all super robotic. Maybe one day I'll get lucky and love won't have to be so bittersweet, but until then I'll learn to smile even when things blow up in my face." [via NYLON]

Kali Uchis shared the visuals for her latest single 'Aquí Yo Mando' on Monday. Featuring a verse in Spanglish by Rico Nasty, the single is Kali's first release since her TO FEEL ALIVE EP from earlier this year. The Phillipa Price-directed clip finds the pair on a weapons-filled rampage, dropping bodies in underground parking lots and filming each other along the way. With co-production by reggaeton hitmaker Tainy, the booming track sees Uchis assertively laying some ground rules over trappy 808s. "Haces todo lo que diga (You do everything that I say)," she raps. “Si estás conmigo solo mando yo (If you’re with me, only I call the shots).” [via The FADER]

[mth-ppg-trashcan]

Boomer Blossom 🎶

Blossom let out a deep breath as she stretched her arms above her head. She leaned backwards and felt her back slightly crack before lowering her arms. Blossom had stayed late after dance practice to finish choreography for a hip hop routine she was in charge of. She was getting stuck on the last third of the routine. Blossom couldn’t figure out exactly how she wanted to end the high energy piece.

She’d just finished her cool down stretches and was ready to head home. Maybe Buttercup would already have dinner ready. Blossom was getting hungry and food might help her think.

Suddenly, the door to the dance studio crashed open. Blossom whipped her head over to see a panting Boomer. He grinned when he saw her. “Yes! Thank goodness you’re still here,” Boomer whooped.

Blossom gaped at him. She wasn’t aware Boomer even knew where the dance studio was. What in the world was he doing here well after school hours? And why was he looking for her? Blossom started to speak, “Boomer, what are-“

Boomer bounded over to her. He grasped both her hands in his. “Blossom, you HAVE to teach me how to move like Britney,” he said.

Blossom stared at him like he’d grown a second head. “What are you talking about?” She asked.

“You know, Britney! Britney Spears!” Boomer started to sing, “You’re toxic I’m slipping under.”

“I know who Britney Spears is,” Blossom deadpanned. “Why do I need to teach you how to dance like her?”

“Because I’m surprising Bubbles next Friday!” Boomer started waving his hands around. The only problem was still holding her hands captive. Blossom pulled her hands away before he dislocated her shoulder.

He kept talking like he didn’t even notice, “And I’m going to sing her song ‘Oops...I Did It Again.’ I have the red latex suit and everything already.” Blossom shivered. She did not need a mental image of Boomer in latex. Boomer said, “The only problem is you can’t sing Britney without dancing like Britney. I’m pretty sure that’s a federal crime.”

Blossom shook her head. She did not have the time for this. She was ready to go home, eat dinner, do her mountain of homework, then go to bed. Any time she found for dance would be spent finishing the choreography for her hip hop routine. She felt guilty about having to say no, but she had other priorities to take care of. “I’m sorry, but I don’t have the time.” Blossom moved to start packing up her stuff. She needed to put away the boombox and music as well.

“I’m a quick learner! I promise!” Boomer was tailing Blossom as she moved through the dance studio. “And we only have to practice when you have the time! Just say the word and I’ll come!”

Blossom pinched the bridge of her nose, “Boomer-“

“Please, Blossom.” Boomer’s puppy dog eyes were like bullets shooting at Blossom’s resolve, but she did her best to stay strong. Blossom had plenty of years practice with Bubbles’ puppy dog face. “I really, really need your help,” Boomer said.

That one word was her weakness. Blossom could never turn down someone in need of her help. She sighed and mentally ran through her schedule for the next week. They had ten days for Boomer to get the routine down. If they squeeze in short practices throughout those days, it should be enough time. “Okay, I’ll do it.”

Boomer let out a whoop and hugged her so tightly she could barely breathe, “Thank you! Thank you, Blossom! I won’t let you down.”

Blossom did her best to pry Boomer’s limbs off of her. “If I’m teaching you, I’ll expect perfection. You can’t ruin my reputation as a choreographer.” Boomer nodded vigorously. “You’ll have to show up wherever and whenever I say. I won’t have much time available to teach you,” she said.

“Of course, whatever you say,” Boomer said.

“Alright, we’ll start tomorrow at lunch,” Blossom said. She really did not know how she was going to pull this off, but Boomer needed the help. Besides, it was for Bubbles.

___________________________________________

Boomer was a quick learner, just like he promised. Blossom taught him a dance routine pretty exact to the music video’s choreography. She was able to take some liberties with it. Blossom had never been able to incorporate superpowers into her dance routines. When Blossom performed, the use of her powers would be tasteless. It would seem like she was showing off. However, for Boomer serenading Bubbles, it seemed okay to do. Some of the stunts in the video would be impossible for a normal person, but flying allowed Boomer to do them with ease. At one point he could back flip over to Bubbles to give her a flower. Instead of doing the floor work portion on the ground, Blossom had Boomer do it floating. Blossom mentally cheered herself over how cool that portion looked.

They crammed in thirty minute practice periods every day. Blossom even had Boomer show up to the dance studio at six in the morning one day so they could practice before zero hour started. Boomer came without complaint.

Surprisingly, the practices helped Blossom through her creative block. She figured out how she wanted to finish the hip hop routine she was in charge of choreographing. Dancing with Boomer helped her find new inspiration. Blossom was excited to show it to the girls on the team.

It was the morning before the serenade, so Blossom made Boomer do a dress rehearsal. Blossom was a professional and knew a dancer needs to be comfortable moving in their costume before performing. Unfortunately, this meant she would have to see Boomer in the latex suit. Maybe it wouldn’t be so bad.

Boomer walked out of the changing room and struck a pose. It was bad. Not because Boomer looked bad. He somehow pulled the suit off. It fit him in a flattering way that Bubbles would love. Actually, Bubbles would love Boomer in that suit more than Blossom was comfortable with. Bubbles already gushes over her love of Boomer’s butt enough.

Blossom clapped her hands together. The purpose of the action was to focus herself more than Boomer. “Alright, time to run it from the top,” Blossom said. Boomer got into position and Blossom started the music. She was playing the version without lyrics since he needed to practice singing while dancing. The first couple run throughs, he had a couple missteps. By the third time, he was nearly flawless. Blossom felt a swell of pride. She had him do it twice more, then decided Boomer had it down. He was ready.

Boomer ran up to Blossom and hugged her. “This is going to be so good! Thank you, Blossom. I seriously could not of done this without you.”

Blossom laughed and hugged him back.

[theaterdisneynerdsunite]

A (Controversial) Ranking Of 2010’s 10 Tony Winning Best Musicals

Remember when I thought this blog would be full of original theater content? Oops. Anyways here’s my list. Keep in mind some of these were incredibly close. I kept switching around 7/8, 5/6, and 3/4, but this is what I ultimately settled on. There’s a certain placement that I’m sure a lot of people are going to say is way too low, I’m not saying this is the definitive ranking or “correct”, just my personal opinion based on my individual taste. There are a bunch of musicals from this decade that I love that didn’t win the Tony, but that’s an entirely separate list lol.

10: Memphis

Tbh I know nothing about this show. It could be fantastic, but I’ve never heard the soundtrack, know nothing about it, and am unfortunately unable to listen to the soundtrack until 2020. Nothing against Memphis, I just don’t know anything about it which is why I put it at the bottom

9: Dear Evan Hansen

Put down your pitchforks. This is why I put controversial in the title. I’ve listened to this show multiple times, I’ve read the plot a bunch of times, I’ve had DEH Stan’s try to change my mind, I really, really wanted to like this show. The actors are incredibly talented and have great voices, no complaints there. I have anxiety and other mental health conditions and I was ecstatic at hearing about a show getting popular being about those things. I wanted to like this show. I wanted to connect to Evan, I really did, but the way the story is written makes me deeply uncomfortable with what it says about mental illness, and the music is fine but doesn’t distract from the story for me. It’s sort of generic music wise in my opinion. The way they portray both Connor’s and Evan’s characters makes me actively dislike the show, and it is really, really hard to make me actively dislike a show. I feel ambivalent sometimes, I have mixed feelings sometimes, but I actively dislike this show and that almost never happens. Also NPATGCO1812’s score and staging was phenomenal, Come From Away was sentimental and moving without feeling corny, and Groundhog Day surprised me by being better than I expected. I literally preferred every other show in the category from that year, I know a lot of people love it and that’s great but this is where it falls for me.

8. Once

I love the song Falling Slowly, and I think the actors dancing with instruments on stage was really cool. I think it was one of the first times it was done on Broadway, but I’m not sure. Other than the plot being a bit contrived and flat for me, there’s nothing I really dislike about this show. I just...feel nothing about this show. It’s fine, the music is good background study music, it just didn’t leave much of an impression for me.

7. Book of Mormon

So the songs in this show are absolute bops, and some of the wordplay is fantastic. I can appreciate this show for what it was trying to do. But ultimately, this show comes down to the humor, and you either like this style of humor or you don’t. I never personally found South Park to be my taste in humor. If you like South Park, you’re going to love this show. Even though I don’t find South Park funny, there were parts of this show I laughed at. But there were also parts that I cringed at and the cringe parts increased in hindsight. The songs are my favorite part: Hello, Sal Tlay Ka Siti, Turn it Off, Baptize Me, Mostly Me, I love those songs.

6. Fun Home

This show may have three Alison’s, which are all really good, but it felt like two plots to me. There is the story of Alison and her relationship with her father, and there’s the story of Alison’s self discovery and realizing her identity. These stories intertwine, but I personally find the self discovery and realizing her sexuality story much more interesting and compelling, and I also prefer the songs that are a part of that journey. Ring of Keys and Changing My Major are my favorite songs from the cast album. I read the graphic novel and it seems like it is really true to the spirit of the book. This and Memphis are the only ones I haven’t seen or seen a bootleg of, so I’m not really able to comment on the costumes, acting, choreography, setting etc, but for the most part I like what I’ve heard.

5. Band’s Visit

Another show that really comes down to taste. I liked this show when I saw it, the person who came with me didn’t. Part of the point of the show is rather than go to a big exciting city, they end up in a tiny town in the middle of nowhere in a desert where nothing happens. There are multiple songs dedicated to how nothing happens. And there are a bunch of mini story arcs with varying degrees of focus put on them, the focus shifts to much for anything to really happen. Which is the point, and it’s interesting, you just have to know what you’re in for. It feels like Waiting for Godot set to music, which if you like waiting for Godot like I do is a good thing. The romances are sweet. It feels like it should be in a more intimate off broadway setting, but I like it. The music is hit or miss for me, but the hits nail it out of the park. I like a lot of the songs but I love Omar Sharif, I could listen to it on repeat for hours.

4. Kinky Boots

This show is absolutely fantastic and I love everything about it. The fact that it’s at #4 for me was a shock, because this show is so good. This shows how strong the top of the list is in my opinion, because this show knocks it out of the park. This show has so much heart and sole. The costumes, especially for the drag queens, are stunning, the choreography like the boxing match and the conveyor belt dance are really cool, the acting is phenomenal, and the songs. The songs are so good. If they want to make you laugh they make you laugh, if they want to make you cry they make you cry, if they want to make you dance along belting out at the top of your lungs they are going to make you do that. Seriously, this show is so good.

3. Gentlemen’s Guide to Love and Murder

This just barely edged out Kinky Boots, because I feel like most people like and appreciate Kinky Boots, and I feel like Gentleman’s Guide is severely underrated and ranking it higher is going to let me talk about it even longer. This show isn’t as deep as Kinky Boots but it doesn’t try to be. What this show is, and why I think it’s underrated, is pure comedy. There are a lot of comedic Best Musicals sure, but the comedy is only part of it, but this one is wholeheartedly a comedy, which I feel is kind rare. A lot of things have comedy but it seems like not many are straight up comedy anymore. And the thing is... I’m not usually a fan of straight up comedy, like there are very few straight comedy movies that I enjoy, so the fact that I love this so much when I expected to only like it makes it even better. And as much as I call it a pure comedy, it’s got beautiful love song, great commentary, and a couple of twists that are fun even though you see them coming. The murders are really creative and funny. The characters are great, I love the gag with the Dysquiths where all of the murdered people are played by one actor. The acting, costume quick changes, and everything involved in pulling it off is so cool. I love the songs so much, I don’t think there’s a weak one in the bunch. And one scene may have one of my favorite bits of choreography of all time. It only needs three people, a doorframe and a chair. It’s not flashy or involves a million moving pieces like the costume bit does, but it is ingenious in its simplicity and comedic timing. This show seems largely forgotten by people, maybe because it’s not trying to be deep, but it 100% deserves more love than it gets.

2. Hadestown

If Gentleman’s Guide is one of the funniest shows I’ve ever seen, this is one of my favorite modern cast albums. This also hits a lot of my personal interests, so that definitely helps. I love Greek mythology, I love the anachronistic but also roaring 20’s setting, I love the genres of music they pull from, I love the oral tradition storytelling feel it has, it hits so many of my stylistic favorites that I naturally feel pulled towards it. I love the music, if you asked me to pick my top five, no top ten songs from this show I couldn’t do it. The casting fits the characters perfectly, and the songs match the characters so well. The lyrics are fantastic and the themes are both timeless and incredibly relevant. It feels like it was written in the past year or two, especially the song Why we Build the Wall, but it was written way before ‘Build the wall’ was ever a thing. And the design of the show is so incredibly effective, everything contributes to the feel of the piece and the function of the show. Everything seems so well thought out and crafted, from the costumes to the choreography to the script to the music, there is so much attention to detail and is so intricately tied together even though it feels simple, earnest and straightforward. Which to me is an incredibly difficult needle to thread. Like the famous Dolly Parton quote “it takes a lot of work to look this cheap”, it is such a complex show that looks so simple. And it’s so immersive, you fall into the story. You know how it ends, it tells you from the beginning how it ends, but that doesn’t stop you from feeling exactly what they’re feeling, from believing wholeheartedly that it could end differently despite knowing how it ends, it’s a masterful piece of art.

1. Hamilton

I doubt this comes as a surprise to anyone, even if I did technically make you Wait For It. I feel like calling it a cultural phenomenon is underselling it’s impact. There’s nothing I could possibly say about this show that hasn’t been said hundreds of thousands of times already. This show is a piece of lyrical genius, of musical genius too but a lyrical masterpiece. This show was like Rent was in the 90’s or Wicked in the 00’s, not only an instant classic that permanently affected the modern theater world, but outside of theater as well. I have loved theater long before Hamilton, but this show spoke to so many people outside of theater, made so many people fall in love with theater that wouldn’t have otherwise. It might not be my favorite show by Lin Manuel Miranda, it might not even be my personal favorite one on this list to see live, but nothing else could possibly take the top spot of this list for me. Who would have thought a hip hop inspired rap musical about a relatively ignored founding father would become the juggernaut it is. I don’t know what else to say that other people haven’t said already. It’s Hamilton, what else can I say?

[king-of-the-issues]

I am going to see the cats movie tonight and I have some thoughts before I see it.

Anyone who knows me, knows that I love musical theatre. I always have. I remember my first introduction to musicals was the Really Useful Group VHSs we had of Joseph and the Amazing Technicolour Dreamcoat, Jesus Christ Superstar and Cats. I would watch these three on repeat, eventually buying multiple copies on DVD when we got rid of our VHS player. These three musicals have had such an impact on my life, so much so that I would still put them in my top 5 of favourite musicals.

Anyway, on Cats in particular. I have always loved cats (the animal). So to have a musical/film all about them when I was growing up was the best. Lots of people dressed as cats dancing around and singing amazing songs. What more could you want.

As I’ve grown older I have so much more respect for this show. What appears to be a weird show with people dressing up as cats and singing songs is in fact a masterpiece on every level. Beginning with the songs. T.S Elliot’s ‘Old Possums Book of Practical Cats’ offers lyrics that make characters that we care about and understand. These cats are no longer cats, they are people, like ourselves. I have never been a lover of poetry, but this book is something else. I have even had my own copy for nearly 20 years. paired with the beautiful music or Andrew Lloyd Webber. We can say all we want about Lord Lloyd Webber, but he sure knows how to compose some good music. Each song beautifully describes each cat, without even having to listen to the lyrics. I can listen to a single bar of any song and be transported back to being 5 years old, at in front of my TV watching the 1998 VHS. One thing I think people get the wrong impression of is the idea of people playing cats. They envision people in furry costumes crawling around the stage licking their hands and scratching their ears. In fact, Cats is an enthralling, almost, ballet. With stunning choreography that uses the movement of both people and cats to form something that tales a wonderful, believable story, without seeming like a child’s game or a long, serious art piece. As a child I loved dance (unfortunately I gave it up a long time a go due to various reasons) and cats was one of the reasons I did. In fact, in one of my later classes we choreographed a piece to Jellicle Ball, which unfortunately we never performed, but reminded me just why I was there.

When I first heard that they were making a movie of the musical, you can imagine that I was ecstatic. One of the first castings I was aware of was Sir Ian McKellen. To be honest, I can’t really think of a better person to play Gus. I was excited and hoping for something brilliant. Then further cast started to be announced. Judi Dench as Old Deuteronomy. Yes the character has always been played by a man, but I didn’t see why they couldn’t be played by a woman and Dame Judi was probably the best actress to do so. Then more, Taylor Swift, Jason Derulo, James Corden, Rebel Wilson. At this point, it just seemed like they were trying to get as many ‘big’ names into the cast. Not thinking about whether they were right for the role or not. Jennifer Hudson as Grizabella. I’ve personally always thought that Grizabella should be played by an older actress, as she is supposed to be a character that is ‘past her prime’. So I’ve never been a great fan of the younger actresses playing her, like Nicole Scherzinger and Alexandra Burke. However, I think, I they were going to go with a younger actress, Hudson is one of the better choices they could have made.

From then, all I had was hope that they would make something that respected the original show, characters and poems, whilst bringing it ‘to the masses’.

And then the trailer was released. What had they done?! One of the appeals of the stage show and the ‘98 film is that characters look human enough for it to be taken seriously as a dramatic musical piece. But enough like cats for them to be believable characters. In the new movie, the overuse of CGI has blurred the line between the two (quite literally in some cases) and made some weird human cat hybrids. It would be so much better without the CGI. You can even see how the characters do look like the originals and the costume design is there, but it has just been completely ruined by the CGI.

Then the soundtrack was released. I thought I’d give it a listen. Maybe they’d for that right. First, the modernisation of most of the songs, which I sort of understood, to keep it in line with the more modern set and look. Other than that, everything seemed alright. Then I heard Swift singing Macavity. Hang on, is that an English accent? That’s a choice. Then onto Jason Derulo singing Rum Tum Tugger. And there it is again. An English accent. Yes there are some references to English locations within the show, but it is never stated that that is were they are. Even if they, who’s to say all of the characters are English. In fact, in past many of the characters have had non-English accents. Putting all of this aside. THEY’RE CATS! Who on earth said that their accents had to reflect those of the humans around them?! What I’m saying is, they could have improved the film a little, by not insisting that clearly American actors TRY and put on English accents. Particularly when singing, when most actors are more likely to skip back into their native accent.

Aside from all of the negative feelings and opinions I have already made about this movie, I have to give it a chance. I was originally unsure about whether I wanted to waste my money seeing at the cinema. But at the very root of it. I love this musical and always will. If I don’t like this version, then there are others that I can still watch.

To be honest, I am going into it expecting the worst, so surely the only way is up. If it is as bad as I am expecting, all I can hope is that it will have introduced people to an amazing musical that is often underrated and encourage them to seek out other versions. Maybe bringing more people to the theatres. We all know that going to the theatre is expensive. So the more available we can make musicals to the masses, the better.

[droughtofapathy]

Hadestown Song-By-Song:

Notes: Hadestown is still in previews so things are still changing even now. We won’t have a definitive show until opening night. Even from the first preview to the second there were still changes. But yeah, this show now owns every single dollar I have. Other Broadway shows? What’s that?  

Now buckle in, because this is long and I’m just going to give it to you.

Road To Hell I:

·       We open on this gorgeous set that’s something akin to an old French balcony café (it’s the green door and iron staircase that really does it) and 1920s speakeasy. The band is onstage and nearly every one of them are the same people from the NYTW days. They have fantastic costumes too. No basic black here.

·       The cast casually enters the stage and the applause was deafening both nights. There are five ensemble members and they are all so fucking ripped. Both women in the chorus can probably kill me and that’s totally okay.

·       Also, on the first preview night the opening applause lasted 40 fucking seconds. Yes, I timed it. It was amazing, Amber was tearing up, I was almost crying. What a great start. Then, after a long silence, the applause started up again for another fifteen seconds or so.

·       Such great opening trombone.

·       So there’s been a bunch of significant lyric changes to this song. Hermes now gives the characters, including the “hardest working chorus in the goddamn world”, an official introduction. And there was uproarious applause for every single person.

·       When Hermes calls the Fates old women they all simultaneously turn and give him the most attitude-laced look I’ve ever seen. Yes.

·       Side note: the Tony Awards needs to create a category for best ensemble because these people are fantastic.

·       Persephone has a wicker fan and bag and yeah I’m liking this costume more and more.

·       They changed Orpheus’s characterization. He’s much less suave and cool now, and definitely reads on the spectrum. It fits Reeve better, I think. Now Orpheus is a gentle, good-natured bumbling sweetheart who is said to be “a little touched.”

·       Eurydice is a firecracker. A jaded bitter little ball of attitude. Eva Noblezada is perfect.

Any Way the Wind Blows:

·       I love the original lyrics to this song because it felt like a fantastic prologue. But now it’s more story-centered, and I love it. Eurydice and the Fates (and the Fates have the most beautiful harmonies I’ve heard in a long time).

·       The Fates truly are the ones singing in the back of our minds. I love them. They could snap my life thread whenever they want.

·       This song establishes more of why Eurydice is so bitter and used to being alone. She’s been fucked over by the weather and by people so much that she’s just fed up.

·       Also, the Fates used to be three voice parts (I assume. I’m not an expert at all in this): soprano, mezzo, and alto. But now all three are much lower. I’d have to guess it’s a low mezzo, alto, and contralto because Jewelle Blackman’s voice transcends humanity. It is beautiful and impossible. Like, I know I advocate for Grace McLean as Hades one day, but like…Jewelle Blackman as Hades would be everything I’ve ever wanted.

·       Orpheus takes a piece of paper and makes it into a flower, and in the first preview there’s a long moment of silence, but in the second preview Hermes narrates over it so it’s not a big long awkward silence.

·       Also all the Fates are women of color in this production and I am in love.

Come Home With Me:

·       So Hermes warns Orpheus not to come on to strong, and what is the first thing this idiot boy asks? Come home with me. And it’s fucking hilarious. Especially since he immediately follows up with how he’s going to marry her. Like, boy, calm down.

·       Eurydice is decidedly unimpressed and borderline belligerent because she’s had enough of liars and players.

·       When Orpheus says how his song will make spring come again, the chorus says the same thing and has a fantastic harmony.

·       The plot now has Spring or Fall as something no one’s seen in a long time. It just goes from Winter to Summer because Hades keeps Persephone in the Underworld longer and longer.

·       When Eurydice asks “what else you got?” it’s not passive. She’s mocking and aggressive and I love it.

Wedding Song:

·       That mocking tone continues in her first verse in this song. She’s like, ‘you think you can change shit? Fucking prove it, bitch.’

·       And Orpheus is an awkward noodle who sounds so earnest. In the NYTW version (especially since these songs were cut on the recording, but bless bootlegs) I don’t think we see much of how Orpheus gets Eurydice to fall in love with him. Here her journey is so much more clear. She starts out so skeptical, and goads him into singing his song to impress her.

·       The La La La etc. part is now a huge motif. Orpheus sings this angelic medley and literally conjures up a red flower, and that’s how Eurydice starts to fall. She’s just in such awe that a voice could bring something to live.

·       Now they’re singing together and it’s really quite cute. Eurydice is totally on board with this romance now.

Epic I:

·       The La La La is a melody from long ago. And it comes back in a big way. Spoiler: it’s the song Hades sang to Persephone in the garden.

·       Big lyric changes here. The Epics all have gone through major revisions and I’m not sure how to feel. Like this Epic is fine because it’s still in the works, but later…well, I’ll get to it.

Livin’ It Up On Top:

·       We’ve now got an anticipation first verse about how everyone’s waiting on Persephone and Spring.

·       And Amber just prances down the staircase in a huge fur coat. What a voice. So know how NYTW Persephone is very distinguished? Now she’s a disaster goddess who literally sings about how she’s just “doin’ the best she can.” Which is great.

·       Mentions of Demeter. Yes.

·       She’s got two bottles of wine and a circular flask and is perpetually adorably tipsy while up on top.

·       Great dance break by the ensemble here. Brian Drye on the trombone comes to the center of the stage to play, and it’s a fantastic moment.

·       Orpheus’s toast is awkward and earnest. Which is his entire personality to be honest. But when he says “to the world we dream about and the one we live in now” it’s said without any music accompaniment and it’s such a sobering moment the audience murmurs. Also because the entire cast turns to the audience during that point.

All I’ve Ever Known:

·       Also Persephone, when she’s not singing, spends her time onstage almost constantly just draping herself on a step and watching the action. It’s a lot like what Hélène does in Great Comet, and Amber is so good at looking casually regal.

·       Eurydice has her love epiphany. They both sing, and it’s such a good song. Eva’s delivery is delightfully vulnerable.

·       We see the start of Orpheus’s insecurity about how Eurydice could ever love him, leading later to his paranoia as he exits the Underworld. It establishes more of his doubts because Hades preys on his very insecurities. And it’s some good characterization shit right there.

·       There’s a very suggestive sensual sex thing going on. And Eurydice is a TOP. We all knew it, but now we’re validated.

·       The wind’s never going to change? Think again bitch.

Way Down Hadestown:

·       The whistle sounds and the train comes and you can see the pure dread and horror on Persephone’s face.

·       And the Fates, these bitches, gleefully tell Persephone to pack and even help her get her suitcase. Persephone is not amused. What icons.

·       Okay, so Amber has this amazing choreography here. She’s bent completely in two, and it’s like she has no limbs with the way she fluidly moves. Her spine must be otherworldly. Amber Gray for the Tony.

·       Hermes now has a beaded umbrella and does some fantastic dancing with it. It’s huge. The exact extraness we need.

·       Persephone now sings the “chromium throne” and all those lyrics with such vehement disgust.

·       And here comes Hades. He has fucking those sunglasses. And his “I missed you” line is heavily laced with all of that.

·       When Eurydice sings about how she wonders how it feels to have everything, Hades stares right at her over his sunglasses.

·       When the floor drops down and Hades and Persephone descend into the underworld it is a beautiful and terrifying moment. For the first preview I sat in the mezzanine so I could look down into that pit and it’s great. Persephone looks near tears.

A Gathering Storm:

·       What a great little addition. It establishes how Hades keeps coming sooner and sooner for Persephone and how winter comes faster and fiercer with each passing year.

·       Now Eurydice snaps out of the honeymoon phase, and gets to work. You can see how she becomes more and more impatient with Orpheus as he works on a sing while they starve and freeze to death and doesn’t hear her when she calls at all. Eurydice deserves better, damnit.

·       The Fates are so ominous here.

Epic II

·       More Orpheus song workshop.

·       Okay, so. I think Reeve has come a long way since the bootlegs I’ve listened to. The change in characterization really does him a lot of favors. We see more of his struggle to find the right melody.

·       The Ensemble enters in their workers uniforms and it’s fantastic costuming. They’re all dressed the same regardless of gender. They have their leather overalls and tool belt, everyone’s head is wrapped, and everyone’s chest is bound. There is no gender down here. Everyone is the same and everyone is dead.

Chant:

·       The music turns so fucking ominous. Hades and Persephone are on the middle turntable that elevates while the ensemble chants and surrounds them. And she just stares at these dead souls with a mix of morbid horror and fascination.

·       She’s not fucking impressed with Hades and his desire.

·       Meanwhile, Orpheus is struggling to find his La La La melody.

·       The ensemble moves with perfect synchronization. And the lighting goes all orange and spooky.

·       We see more of Eurydice’s futile efforts to keep herself and Orpheus from starving. And clearly Orpheus doesn’t understand the dangers they’re in. He keeps singing, and Hermes even tries to get him to come back to reality because there’s a storm coming and Eurydice is alone, but he’s just stuck in his song.

·       The storm catches Eurydice. The Fates are the wind, and they gleefully tear her bag and coat from her and leave her with nothing. She calls to Orpheus with such terror but does he hear? Nope.

·       Persephone’s verse now has a nod to the turmoil above and how the earth is in chaos as the oceans rise and temperatures heat up.

·       She descends into the underworld alone, and it’s terrifyingly good how Amber can look that angry and scared and resigned all at once.

·       Also, when Hades sings his final “think if it as my embrace of you” Persephone is now gone, so he’s staring right at Eurydice. And it’s a moment of blocking genius.

Hey, Little Songbird:

·       This song highlights the wonders of Patrick Page’s voice perfectly. It’s basically the same song as NYTW because it was already perfection so why mess with it?

·       And after seeing the terrifying storm Eurydice has just been caught with, it’s so understandable why she’d see this promise of a better life enticing. Orpheus is off doing whatever he does. He hasn’t come to help, he hasn’t heard her scream. But Hades has. We see the conflict in Eurydice. She doesn’t want to leave the man she loves, but the vipers and vultures (the Fates! Looking deliciously diabolical) will kill her. And he has a ticket with her name on it.

When The Chips Are Down:

·       If ever it was possible to experience an auditory orgasm, it would be with these harmonies. Goddamnit this is a good song.

·       This would be a dream role if I had any talent, which I don’t.

·       And yeah, Hades was seductive and convincing, but the Fates are the ones who really get Eurydice to make her choice. Which, if these women wanted me to do anything and tried to convince me by singing like this? Yeah, I’d do it without question because I’m a weak lesbian and they’re so fucking good.

Gone, I’m Gone:

·       Eva sings deep at one point and it’s so good. And down into the underworld she goes.

·       Then the Fates come in and sing right to the audience basically saying ‘you can blame her all you want, but what happens if you’re in her shoes? Yeah, you’d do that too.’

·       The line about having principles when you have a bellyful is so damn poignant.

Wait For It:

·       Orpheus, this idiot, didn’t even know Eurydice was gone. So when Hermes breaks the news to him he’s devastated.

·       And okay. This whole scene is the most visually magnificent thing I’ve seen, possibly in my entire life. There has never been a moment when I’ve been so awestruck by a set change and lighting that my jaw has dropped.

·       So, Orpheus starts his long walk down. And the workers have headlights and are armed with those lights that hang from warehouse ceilings. And let me fucking tell you this whole thing is a theatrical masterpiece.

·       The Fates stand at the gates and ask who Orpheus thinks he is to do this. But he sings and (yeah, Reeve was fine here) but it’s supposed to be such a beautiful song that the ceiling lifts and the walls literally crack open to reveal the Underworld. And holy shit it’s gorgeous. This is the best set change I’ve ever seen.

·       The “ceiling” lifts to reveal the copper pipes and the ominous orange lighting and there’s smoke curling everywhere and holy shit it’s not something that can be described or captured in photo. You need to see this because Bradley King and Rachel Hauck deserve their Tonys right fucking now.

·       The ensemble has their lights and they attach them to cables that come down from the ceiling. They take the lights and in perfect synchronism they swing them like pendulums and they move perfectly like physics was made exactly for this moment. And the harmonies as they do this. Yes.

·       This scene is so visually gorgeous that there was a fucking forty-second round of applause that shattered the house. Oh my god. Just wow.

Why We Build The Wall:

·       Hades is center stage. When the company sings about why they build the wall, it’s sang with such vehement belief in it that it’s terrifying because they’ve _all _been brainwashed by this man to believe it. Even Persephone sings the response with a hopeless sort of defeat. She doesn’t believe a word of this shit but what can she do?

·       What a politically appropriate song. And yes, Anais Mitchell wrote this

·       Eurydice enters. And suddenly there’s this world that promises her freedom and security. As they sing the final line, everyone has their finger up in some sort of salute that really just turns your stomach, and Eurydice sees it and joins in. Only Persephone, though she sings the words, does not make the sign. Everyone looks so proud and gleeful in their freedom but she’s horrified.

·       Then Hades ascends the staircase to his office and Eurydice follows. And Persephone knows what is going to happen but she’s helpless to do anything. And goddamnit the music is ominous.

·       We’re left on such a heavy note, but then Persephone turns to us and asks us the real question: anybody wanna drink? And yeah. We fucking need a drink after that.

·       Also I should mention, Persephone is now in her black costume which is identical to her other green dress in every detail save for the color. Her hair is now tucked up into a snood, and the flowers are now black.

Act II:

 Our Lady of the Underground:

·       Intermission just sort of fades out. The band reenters the stage and starts playing as the audience scrambles back into their seats. And it’s such a great song to open up an act.

·       Persephone mocks her husband “step into my office” and she’s like two sips from drunk off her ass.

·       It’s just her, the band, and Hermes on stage. This is just a song about getting blind drunk to forget the horrors of the world. She’s got her little flask and is chucking that shit all damn day.

·       Side note: when she sings about having the wind right here in a jar she grabs her boob and jiggles it and it’s everything the gays want. Then she while she’s dancing up a storm she decides the best way to hold onto her flask is to tuck it in her bra and she gives the audience this playful coy look when she does it.

·       The moment she sings about seeing the sky it’s so sobering and she’s on the edge of being devastated again, but then comes the crack in the wall and the alcohol and it’s all okay again.

·       And yes, they kept the band introduction and I’m living for it. Everyone is the same from the NYTW days except we lost Jenny Shineman and gained Dana Lyn. But I’m so glad an orchestra is getting their fucking recognition. Deafening applause for everyone of them each night. It’s them who sings the “our lady of the underground” parts.

·       They’ve changed “one at a time boys…” to “tell my husband to take his time” and it’s sung in a way where Persephone is trying to make light of her husband’s infidelity by pretending she’s okay with having this time to fuck around, but like she’s still afraid for the poor soul he’s with.

Way Down Hadestown II:

·       Eurydice enters now dressed like every other worker. And the Fates order her onto the line. Gone is the enticing promise, and now they give a fuck about any illusion.

·       Side note: in the program this and every other song that was once II is now (reprise) and I do not care for that shit at all.

·       She joins the line and starts doing the workers’ movements. But now there’s a thing about how none of the workers will look her in the eye, and she’s a little terrified because they’re all just mindlessly working themselves to death.

·       The Fates gladly inform her how she’s fucked herself over. The lyrics are now: “but why won’t they look at me? It’s like their eyes don’t see.” instead of “there must be some mistake…” and the Fates answer: “they don’t//it’s easier that way//and your eyes will look like that someday.” It’s a scary moment. That Eurydice, so full of vinegar and life, will become a dried husk.

·       She tries to leave, but we visually see how the life begins to drain from her. We see her begin to die.

Flowers:

·       This song is heartbreaking. Eva sings it so wonderfully.

·       When she sings how she opens her mouth and nothing comes out it’s sung with such despair and terror. And the regret when she sings about how she turned away into the shade.

·       She lies down and who should pop up? Orpheus.

Come Home with Me II:

·       In the second preview he enters from the audience aisle. He’s all battered from his long long walk.

·       So, lyrics: Eurydice says “I called your name” Orpheus: “I know” Eurydice: “you heard?” Orpheus: “no…” And what a good addition.

·       This is where the tightening of the show really happens. Orpheus says how he’s going to sing them home again, but there’s no back and forth callback to Come Home With Me I. Instead, Eurydice tells him in a anguished voice that no, he can’t. And he doesn’t get it. And then Hades enters.

Papers:

·       What a guy.

·       Persephone tries to step in but Hades isn’t having it.

·       In a moment of confidence, Orpheus tries to argue, and Eurydice can’t bring herself to tell him what she’s done. How she’s signed her name.

·       And it’s a whole thing. Where he asks if it’s true, but oops. It’s fucking true. And this is where Eurydice says “I did…I do.” Which takes out the double marriage acceptance//signed life away meaning, but still. Okay.

·       Fight scene is so well-choreographed. Reeve is just tossed around like a hackey sack and the ensemble beats his ass. In the first preview he has a visibly bloody lip that stays for most of the show, but in the second preview it’s toned down and I think it was the right move because it looked pretty ridiculous throughout the whole emotional bits.

Nothing Changes:

·       The fighting freezes and the Fates come in to offer their message of ‘give the fuck up cause you ain’t shit’ and wow they just roast this boy. What an ultimate defeatist song.

If It’s True:

·       Orpheus starts out echoing the Fates and their defeatism, but then…

·       Just before he turns to go…the walls have ears. It’s the workers who hear his song in this production. And suddenly their perfect synchronization is broken as they start to wake up and it’s beautiful. It’s their spark of something that gets Orpheus to stop in his tracks.

·       “Brother who are they to say?...Cause the ones who tell the lies…” His entire mood and tune changes. This is a rebellion in the making. Suddenly he turns and asks Hades how the fuck he is to tell the many what is true. It could have been more powerful, I think. And it was better in the second preview.

How Long?:

·       So things were changed in this song. Persephone is now much more angry and accusatory. They took out the lines about ‘looking at other girls now and then’ and instead it’s Persephone getting fucking pissed off and saying how Orpheus and Eurydice have the love they once did.

·       And Hades at one point tells her to basically calm down and have a drink, which is not the fucking right thing to say my man. She responds by saying she’s “had enough” which is an incredible character development moment because thus far we’ve seen her fucking wasted, but she’s also saying how she’s had enough of everything that’s been going on.

·       So when Amber sings “Hades my light” she does the exact same movement she does in Great Comet’s Charming when she sings “oh, how she blushes…” You know, that thing where she bends her knees and extends her arms in presentation. And that is some good shit.

·       The song is now less about an old couple trying to reminisce and shit and now about Persephone being fucking done. There’s some good back and forth here. They’re standing opposite on the stage, with the pit between them and a bit of smoke and it’s great blocking.

·       The question is how long they can stay married like this. And the answer is: not very.”

Chant II:

·       So the platform rises back up and the ensemble workers are surrounding Orpheus asking is it true? They’re no longer mechanically working. There’s a spark of life again, and Hades is not having this.

·       So when Patrick Page says “It’s the boy!” he does a great delivery but it kind of sounds a bit Disney villain to me, I don’t know.

·       There’s a steam whistle on stage and I want one.

·       Now the workers are working, but there’s something different. A recognition of what they’ve become.

·       The verses in this song have gone through some big changes. I’d recommend listening instead of me trying to relay.

·       But what there is in this song is some fantastic usage of turn tables spinning in different directions. Hades and Persephone stand completely opposite, and as they walk in different directions of the tables they’re stationary. But then there are moments when the pause and are whisked around. And always opposite. Then Persephone sings to Eurydice and they’re opposite because she hops onto the middle turntable and it’s some amazing choreography and blocking here.

·       The part in this song marks the first time the chorus sings as individuals. Some of them get solo lines that are echoes of Orpheus and Eurydice “If I raise my head…if I change my voice…” and it’s a sign of them waking up and remembering themselves as individuals. Now they’re out of sync, and they fucking start to question everything. They question the wall and why they can’t even look at each other if they’re supposedly free.

·       Persephone is really fucking at her breaking point in this relationship.

·       I like the additions of the workers verses because holy shit that’s fucking great. I’m not sure about Hades and Persephone’s verse changes yet. And they’re still being developed I think, because there are some very subtle differences from first preview to second.

·       But yeah, the Electric City line is still a jaw-dropping moment. When he sings it, to prove it, the lights all blow out. And it’s great.

·       Hermes hands Hades a stool that he dramatically slams down and sits on as he demands Orpheus sing for him,

Epic III:

·       Alright, so this is why I’m not sure the lyric changes work. The first preview night, Reeve’s singing didn’t convince me that it would be able to evoke such a viscerally emotional response out of stoic Hades. It was just eh. For the second preview, I don’t know if it was the developed lyrics, or if Reeve just stepped it up and did a better job, but I was more open to believing he could convince the king of the underworld.

·       Also, side note: when Orpheus sings his opening line about “Hades is king of the underworld” Hades chuckles and says “oh, it’s about me” and almost preens and both nights the audience can’t handle it and erupts in two rounds of raucous laughter. It’s such comedy gold.

·       When Orpheus sings the la la la melody, Hades is ready to kill him right there, but Persephone is not having it.

·       The La La La is fully established as the Song Hades Sung to Persephone and suddenly everyone, the chorus, the Fates, Persephone they’re all echoing this symbol of Hades’ forgotten love. And wow. Vocally stunning.

·       Here is where Orpheus makes Hades realize that Persephone is one step away from leaving him entirely. And he’ll lose her if he keeps this shit up.

·       And Hades tentatively sings is melody, and Persephone is so damn happy about it. She gives him this just soft wistful look and it’s so cute. And and when Hades sings he conjures up a fucking red carnation and what a fucking moment.

·       There’s some really adorable dancing between Hades and Persephone to some ethereal orchestration. And they end up embracing and staying like that for a long ass time. Like throughout Promises.

·       And yeah, Orpheus breaks the tranquil moment by being a clueless idiot who asks Eurydice what he does now.

Promises:

·       They moved Promises up and changed it up so now it’s less the two lovers being scornful about how they haven’t kept their promises and more about how they don’t give a fuck about promises as long as they have each other and a few basic needs.

·       They don’t need fair skies, or kind roads. They just need each other.

·       And god fucking damnit. Goddamnit. It’s so fucking hopeful, and Eurydice even says the workers can make the journey too, that everyone is filled with anticipation and just for one fucking second you believe that maybe it’ll be alright. Maybe, just fucking maybe, everyone will be okay. And you know it can’t end like that, but damnit if it doesn’t make you believe it.

·       But then Orpheus asks if they can go, and Hades says “I don’t know.” And let me tell you, I’ve never seen a woman pull away from a man with such horror and disgust on her face in my life than Persephone in that moment. She practically staggers across the whole stage to get away fast enough.

Word to the Wise:

·       And then the Fates come swooping in to offer their two cents. What icons. What a song. Hell fucking yes. What taunting bitches. They’re the real orchestrators of these events, literally.

·       And such good voices all converging to bring us a masterpiece we’re unworthy of.

·       Question: can the tony award go to all three women? Is that a thing?

His Kiss, the Riot:

·       Now Hades has to make a choice. He’s got to do something to keep his wife from never acknowledging his presence again, and he’s got to keep his reputation.

·       How does someone sing this deeply? How is this possible?

·       He has his little epiphany and shares it with his pal Hermes.

Wait For Me:

·       When Hermes relays the news that they can go, everyone is given this little jolt of hope before he rips it away as he lays out the terms.

·       And here is where Orpheus is convinced it’s a trap, even though Hermes tells him it’s a trial, not a trick. So they start.

·       What a great arrangement of a song. The workers chorus sound so hopeful, so excited to be shown the way the world can be. “If you can do it so can she, if she can do it so can we.”

·       And yes, Hades and Persephone will try again next fall. They’ll wait for each other.

·       It’s such a triumphant moment, but then the Fates come in and start asking Orpheus who he thinks he is to be able to lead anyone out of anything.

·       The turntables are going, and Eurydice is right behind him singing joyously to “wait for me.” It just sounds so beautiful and lifts us up like yes, they can fucking do this. They can do it.

Doubt Comes In:

·       But then it grows dark and terrifying, and Eurydice slips out of view. And who should be two steps behind Orpheus? Our favorite Fates.

·       These bitches come out of the smoke and darkness with their lanterns and they’re circling and slipping into shadows and turning their lights on and off and whispering into Orpheus’s ear. What diabolical voices. Where is she? They ask and taunt and Orpheus’s La La La melody fades out as he’s overcome with doubt.

·       But Eurydice is right fucking there. She’s right fucking there singing about the coldest night. Offering her encouragement even though he can’t hear her. He can’t hear her and that’s why they’re in this fucking mess.

·       And yes, it’s a valid paranoia, but come on. Just keep going. Just keep walking, damnit.

·       The workers are there too, and they’re all ready to go.

·       And as Eurydice sings her last verse, where she sounds so joyous to finally be able to see the sun, Orpheus stumbles up the last few steps to the beacon of light.

·       And he fucking turns around. He fucking turns around and the entire audience knows it’s coming because they warned us, but damnit if we don’t all gasp anyway.

·       “Orpheus.” “It’s you.” “It’s me” and she says it with such anguish and heartbreak, like yes, ‘it’s me I’m right here, we were right there, we almost made it. All of us,” and then he reaches for her, but she’s on the turntable that drops, and she’s dragged back down to the underworld. And everyone is in tears because they were so fucking close.

Road To Hell II:

·       The opening song starts up again, but so much sadder. As if the joy has gone from the world, but it’s time to start up again.

·       Such devastation. Such anguish. But we sing it again.

·       The lyric changes emphasis how this is very much a circular story that will continue to go around and around forever. We are right back where we started, but we know how it ends. That is how it ends.

·       “It’s a sad song. It’s a sad tale. It’s a tragedy. It’s a sad song. But we sing it anyway. Cause here’s the thing. To know how it ends and still to begin to sing it again as if it might turn out this time. I learned that from a friend of mine. See Orpheus was a poor boy…”

·       And right then Eurydice reenters asking for a match just like she did in the beginning of the show. Full circle.

·       “Oh a sunny day there was a railroad car.” And the turntable rises once more with Persephone in her green dress reclining on the speakeasy tables. Spring is back. Again.

·       The lyrics focus more on the old song and how they sing it again and again, and the echoing harmonies are so good.

·       They cut out “it’s a tale of a love that never dies…it’s a love song about someone who tries” and instead repeat the again and again.

Bows:

·       Standing ovations, deafening applause and cheering. What a fucking great show.

I Raise My Cup:

·       The program says nothing about this song, but it’s still fucking here bitches.

·       I was skeptical about having it after bows, but not a single person even attempted to leave. The music started, and we all instantly shut up to see what beautiful thing would happen next.

·       Everyone has their cup, and Orpheus starts strumming his guitar (which by the way looks a bit too shiny and new to be in character, but sure). Amber does the bulk of the singing, but Eva joins in and the chorus harmonizes and it’s good.

·        

Final notes: This is basically just me talking Tonys and I’m not an expert on anything so don’t take what I say too seriously because I don’t know what the fuck I’m talking about.

·       I’m excited to see the final product. Will definitely be going again, and again, and again.

·       What a stellar cast. And yeah, I was hesitant about Reeve Carney, but he was fine. Wasn’t exactly blown away, but it’s adequate. He did well, and I saw major improvement from one night to the next to the next so hopefully it’ll just keep getting better and better.

·       I’m living for Eva’s Eurydice characterization. The embodiment of “looks like a cinnamon roll but could kill you.”

·       Amber Gray needs a Tony right fucking now.

·       I’ve seen a number of the new shows this Broadway season and if this doesn’t win what it deserves to win I will riot.

·       Okay, I really enjoyed The Prom. It was a fun, heartwarming, touching show. Especially since I’m a lesbian who grew up in a small town and is now in her twenties and has since gotten out of that. I loved it, and I believe it really deserves recognition and I want it to get it…But Hadestown is just better. It has a stronger book, score, and overall presentation.

·       I saw The Cher Show, and it’s a great production of a jukebox/biography musical. I thought Stephanie J. Block did a phenomenal job. I’m sure this show is likely in the top running for costumes purely because they’re so flashy and hell, Cher’s actual designer did them. But I kind of want a more nuanced designer to win than just whoever has the most zazz.

·       I know Be More Chill is really relatable for the young people out there, and I think that’s great we’re getting a bigger audience demographic than just old white people (which is mostly what the theater is filled with regardless, however) but I’m not convinced it can come even close in terms of Best Book. And DEH aside (I’m still fucking bitter about that show winning over Great Comet or even Come From Away, and I’ll never not be) we’ve seen musicals geared towards that generation with that sort of message not get awards, which is probably not right. Legally Blonde didn’t win because it was too “pink” and “pink” musicals don’t win. And in this case Be More Chill should not win over a better show.

·       And it’s kind of down to just a few musicals realistically to win Best Musical. A lot of shows that opened this year are either for only limited runs (look if Oklahoma or Kiss Me Kate do really well, they might extend them, but if they’re just doing alright it wouldn’t be profitable to give it more awards than necessary. It’s strange how the revivals aren’t open runs) or are already closed. Head Over Heels was a fun riot of a time, but since it’s closed (like Torch Song, Choir Boy, Getting’ the Band Back Together) it wouldn’t be profitable to give them anything.

·       Pretty Women and King Kong aren’t doing so hot either. And we have to wait on Tootsie and Beetlejuice, but I can’t see any of them winning big.

·       I’m interested to know what the American Theater Wing rules on Acting eligibility here. The rule is that if the name is below the title, they’re a featured actor, but if it’s above they’re leading. That’s why Yul Brenner didn’t get a best leading actor Tony in The King and I. The rules are a little bit more flexible these days, I think. And I know for the Prom, at least, even though some of them aren’t above the title, they’re still considered leads, but who knows?

·       And like, who constitutes a definitive lead in this show? Eva probably does, but for Reeve it’s a little different. See he’s not exactly given any more or less stage time than, say, Hermes who is with us for the whole show but might somehow be more of a Featured Actor role. The five principle characters are all pretty solid leads (maybe Persephone a little less so but she’s still very much leading) so who knows? Not me. I have no understanding of how this works.

·       Bottom Line: Give Amber Gray, Rachel Chavkin, and Anais Mitchell their fucking Tonys. If Rachel Chavkin doesn’t get the recognition she deserves I’ll riot.

·       Bradley King for Lighting and Rachel Hauck for Scenic should be shoo-ins. Nothing I have seen this season will ever be this fantastic.

Edit: Alright, who wants an audio bootleg?

[official-michael-afton]

Some Theatre AU fluff

GUESS WHAT I WROTE THIS IN ONE SITTING- NO PROOFREADS OR SECOND DRAFTS ON THIS BLOG WE PUBLISH OUR FICS AS CRUDE AND UNPOLISHED AS THEY COME- ALSO NO ONE ASKED FOR THIS BUT YOURE GETTING IT ANYWAYS

No content warnings- just Michael discovering he has a knack for performing on stage and some Mike/Will fluff at the end!

Michael had never considered himself to take the spotlight. That was his father, his mother- hell, even his younger sister Elizabeth had the natural knack for performing in front of others. Not Michael, though, he kept more to himself. Not that there was anything wrong with that. No, Michael was just the more… introverted type.

Not that he didn’t love theatre as much as his family! He was raised on it, practically. He would listen to Les Mis while working on homework, Phantom of the Opera sent chills down his spine with every performance, once he was older, he was allowed to indulge in Jekyll and Hyde’s musical, and even recently he got into the more modern tones of shows like Hamilton.

Even when he turned teenager, his father let him work alongside Henry in taking care of backstage work. Michael was nothing short of ecstatic to help out however he could- and he got to see the strings behind the magic! Every prop and set piece, where actors would rapidly change costumes between scenes, and every last piece of equipment. It was like he was let in on some mystic secret, knowing what went into making every scene as powerful as possible for the audience.

Today, the theatre was empty, and the teen marveled how his footsteps echoed through the room as he walked down the aisle. Something about “acoustics”, Henry would describe it as. He didn’t know the science of a hall like this, but it was still super cool the way sound bounced all around. He trotted up to the sound and light board, flicking through each stage and spot light, testing to make sure nothing burned out since their last performance. Once he determined everything was in order, he went through a sound test with a pre-recorded track(it’s not like the orchestra was there quite yet).

Michael hummed, a feeling of serenity washing over him as sound filled the theatre hall. As the tech crew were not set to arrive until later that afternoon for their performance, and the actors all in a rehearsal room to go over their songs, Michael had the entire stage all to himself.

All to himself…

That gave him an idea as one of the main tracks began to play, and the teen stepped away from the light and sound board, and instead favored approaching the stage. It was high up from the audience seats, but he was able to hoist himself up onto the frontmost lip of the stage. The music picked up from the orchestral prelude, and Michael felt his heart swell alongside the music.

Every light was on him, and it was warm- hot, even. He could hardly see into the audience- imagine how many loving audience members these actors are unable to see… Though, that didn’t sadden Michael- not at all. It felt… different. Working behind the scenes, he was able to watch the audience and see how they reacted to the magic… but being blinded by the stage lights… it felt like he was in a world disconnected from the audience. He felt like he was a part of the magic that the audience drank up.

Next thing he knew, his feet were going along to the music. He saw the lead perform this song dozens of times, he knew the choreography by heart. Every movement across stage- granted, he wasn’t able to do any fancy footwork, but he knew his way around the set, and found himself climbing the stairs of the set house, standing right in the spotlight. He began to mouth along to the lyrics-

Only, there were none. He must’ve played the instrumental track, shoot, and he was really getting into it…

Michael looked up at the lights that seemed to radiate energy onto him… and remembered the theatre was empty. It was just him and the stage. Maybe it’s not that bad if he sings along… since there’s no one to judge him. It’s just him and the magic of the theatre hall.

… So, he began to sang. He of course knew every track by heart, and since he had the security of being alone and unheard, he had no qualms in singing full volume. It was something he never really had done before… and holy shit, did it feel good. As he reached the end of a verse, and had to hold a note for a few seconds, he felt the air leave his lungs and leave him lightheaded… and yet, it filled him with more energy. He sucked in a deep breath, feeling how his lungs inflated to prepare for the next verse, and suddenly he felt the need to move again.

Navigating across the stage felt natural- as if he wasn’t on a stage, but rather in the actual location of the set they built. His imagination ran wild- he could see himself as the main lead, serenading a full house and moving an audience to tears; sending chills down their spines just as he feels watching every show. His legs ached from the running back and forth, from the movement he never practiced, yet it felt so wonderful, it felt like every step- every note- was an extension of himself. Every last ounce of his energy- of his being- went into his performance… he began to see the thrill of why so many choose the acting life.

His heart was racing as the song reached its end, and he ran to the front of the stage- right under every light- feeling how they warmed him and set his soul on fire… here he was, just him and the stage, him and the show…

The music gave one final swell as Michael belted the last note- inwardly surprised he was able to not only hit such a high tenor note, but hold it. His arms were outstretched as he held the note, eyes closed and feeling magic replace the air that left his lungs, feeling some unseen energy swirl around him and fill his being. In this moment, he felt more alive than he ever had before, and in this moment, time almost seemed to stop…

Suddenly, time had returned to normal, and the track ended, leaving Michael breathless and tired… oh, but did he feel so fulfilled. His chest heaved and he held the pose, smiling up at the lights above and imagining a full house in the audience- cheering and giving a standing ovation, throwing roses at him, clapping-

Clapping?

It took him a moment to realize he wasn’t imagining it, but someone has been applauding him- When did they get there?! How long had they been watching him?! He tried to see, but the lights were blinding him from being able to see out into the seats!

Suddenly, the stage lights dimmed and the house lights brightened, making it just as bright on stage as it was in the audience, and Michael could finally see past the stage… only to find his own Father and the sound and light board.

“Wh- Father-!!!” Michael’s face flushed in pure embarrassment to find he wasn’t as alone as he led himself to believe. “How long had you been-?!”

“I saw nearly the whole thing, to be blunt.” William chuckled, stepping away from the equipment to approach the stage “I was going to check on you and make sure you were alright, though when I stepped in here, you were going through… quite the sound check. The stage mics work quite well.”

“Oh, bloody hell…” Michael sat down on the edge of the stage, burying his face in his hands and wishing he could just shrink into his hoodie and hide there forever. “Why are the gods so cruuueeel…”

“Hey, hey, and here I was told I’m the dramatic one.” William chuckled to himself, then finally reached the stage and hopped up beside his son, placing a reassuring hand on his back “Why are you so embarrassed? Michael, that was… wonderful! Especially for someone with no practice!”

“…” The teen hesitantly pulled his hands away from his face, which was still red, and looked up at his father “You really think… that was good?”

“Listen, I know I’m your father and everything you do is amazing to me, but… speaking from a purely theatrical standpoint… Michael, that was amazing! Not many can hit a high note like that so naturally!” … He smirked “Maybe I should replace our lead with you.”

“Daaaaaaaaaaaaad!!!” Michael hid his face again, shaking his head “It’s bad enough when one person was watching me!!!”

“Okay okay, no leads for you quite yet… But… Could this possibly be my chance to convince you to audition for our next show~?”

“…” Michael stayed still and quiet, clearly taking his time to answer… but soon gave a very muffled, but very definitive “Maybe…”

“That’s not a no!!!”

“DAD!!!”