#tony dress rehearsal

[eddie-redmayne-italian-blog]

My gifs from video shared by Brianansanchez on IG of clCabaret Tony's rehearsal.

This is another video from Brianansanchez about Cabaret Tony's dress rehearsal

And a new photo of cast waiting for the rehearsal

[necromancy-savant]

Skip to 27:30 for the hardest, highest song I have ever sung in my life. I practiced every day for months because I was so scared I couldn't do it

[the-scarlet-witch-22]

The Lark Ascending: Chapter Four (Agatha Harkness x Reader)

Summary: The working relationship between a conductor and their soloist was supposed to be seamless. But what happens when you're dealing with the notoriously fickle (and your ex to boot) Agatha Harkness?

Word Count: 4.7k

A/N: Hello! Here's chapter four of my conductor!Agatha sequel. Updates unfortunately depend on my schedule, but I always try to write when I can :) I've updated my tag list for Lark, so if you'd like to be added feel free to let me know! This is my favorite chapter yet, and I've linked the main piece I listened to while writing, Rachmaninov's 14 Romances: Op. 34: No 14 (Vocalise) . As always I hope you enjoy and feel free to let me know your thoughts!

Tag List: @fanficreadinglistandarchieve @chiar4anna @marisacoulterswife @getlostsquidward @rigglemethat @aquvr1us @dazzlinghahn

Previous Chapter

The relationship between a conductor and a soloist was special, as you had learned throughout your various performances. There was a certain level of trust that was required on the soloist’s end; to have no doubt that the conductor would follow their lead and guide the rest of the ensemble along with them. 

The conductor needed to hold the same belief, only that the soloist was confident enough in their music to make it through the selected concerto without faltering. One missed entrance or unsteady tempo change could send the entire orchestra falling off the cliff with them.

It was a push and pull dynamic, with the temperament of the conductor and potential ego of the soloist threatening to throw everything off balance. You had never experienced any issues with past conductors you had worked with, but none of them were Agatha.

You had scarcely seen the conductor since your intimate conversation at the gala the week prior. While her words of encouragement had been giving you the boost of confidence you had been lacking, it was hard to focus on any of that when your brain had been so fixated on what happened right after. Or rather, what would have happened if you hadn’t been interrupted. 

It didn’t help that you failed to catch Agatha alone in the days after. She was usually with Tony going over (rejecting) his new marketing ideas, or being trailed by a frazzled looking Scott frantically writing down whatever instructions Agatha would bark at him from over her shoulder. 

The more you thought about it, you really didn’t understand how that particular arrangement was working out.

You had been trying to work up the nerve to approach Agatha all week, which was why you decided to come in earlier than was needed. There wasn’t a rehearsal you needed to attend and no meetings until the afternoon, so you were hoping to catch the conductor when she came in.

It was strange, feeling this conflicted. To not really know where you stood with her after all this time. You believed her when she said you were friends, and maybe that was all you were supposed to be. 

You didn’t want to linger on why that thought made you as upset as it did.

However, it appeared luck was on your side this morning, as Agatha was rounding a corner, engrossed in reading something on her phone. Her dark brown hair fell over her shoulders, and your eyes focused on her white dress shirt that was tucked into her purple dress slacks. You couldn’t help but notice her bare skin, as she had left a few of the buttons undone. 

She noticed you after a moment, and her face lit up.

“What are you doing here?” Agatha asked curiously, pocketing her phone and removing her glasses. “I don’t have you scheduled for rehearsal until Friday.”

“I know,” you said suddenly, craning your neck to look over at her. “I was hoping we could talk about the other night.”

“Hm?” Agatha responded as she glanced at you, rolling up the sleeves of her shirt. “Whatever do you mean?”

You averted your gaze at the sight of her toned arms and her lithe fingers securing the sleeves stayed in place. If Agatha noticed the faint blush on her cheeks she didn’t comment on it.

Clearing your throat, you gave her a pointed look. “After the gala?”

The conductor had a blank expression on her face, before she nodded. “Oh, you mean my assistant? It’s so hard to find good help nowadays.”

“No, I don’t mean Scott,” you dismissed her, frowning as you tried to get her attention. “Agatha, come on, are we really not going to talk about what almost happened?”

Agatha feigned innocence, giving your arm a quick gentle squeeze . “You’ve been under so much stress these past few weeks, dear. Consider it all forgotten.”

“What?”

As the conductor went to open her mouth, she shook her head. “If you’ll excuse me, I have an assistant to reprimand.”

Whipping your head around, you found Scott struggling to carry three huge cardboard boxes down the hallway. 

“Lang! I know I asked to have those delivered to my hotel. What are they doing here?” Agatha seethed as she stormed off.

As Scott started to explain, he dropped one of the boxes in the process and you watched as it comically fell to the ground. Agatha pinched the bridge of her nose in frustration, not assisting him in picking it up, merely instructing him to take them one by one to her office. 

“Believe me, none of us get it either,” Monica said as she came to stand next to you, observing Scott and Agatha. 

“How long has Scott been working for her?” You asked, as you couldn’t help but wonder if he had just started.

Agatha wasn’t known for her patience, or for giving second chances. The multiple assistants she had apparently fired before you, and dozens of interns after, serving as proof to the high standards she tended to live by. 

“I think he’s been her assistant for over a year now,” Monica explained, looking puzzled as Scott tried pushing all three boxes stacked up on top of each other. “It’s funny, it’s the longest she’s kept someone around since…”

It took you a moment to realize she trailed off, and you forced yourself to look away as Agatha told Scott to stop, insisting that she would take care of it herself.

“Since what?” You prompted, and Monica uncomfortably looked to the ground.

“Well, since you,” Monica said, keeping her voice low enough so none of the other musicians could hear her. 

“I’m sure that’s not true. She had to have kept someone around for a while, right?” You asked, thinking back on if your former stand partner ever mentioned any of your replacements, until you came short. 

Out of all the things you and Monica would discuss whenever you both had time to catch up you realized she never once brought up Agatha.

Monica grimaced, shooting another quick glance in Agatha’s direction as she was shooing Scott away from trying to help her. “Not really, no. It was pretty bad after you left.”

“Bad how?” 

Monica sighed, and it seemed like to you she was torn between telling you or not. She tugged on your arm, leading you away from the concert hall to a deserted corner.

“None of us thought anything of it at first. You know how she can be,” Monica said quietly, and you nodded because you did know how difficult Agatha could be to work with. “A few people thought she was trying to annoy Hayward by firing them so quickly, but then he was arrested.”

“Yeah, you could have mentioned that before,” you said, remembering Agatha dropping that bomb on you last week.

Monica shifted then, an uneasy expression on her face. 

“What?” You questioned, not liking the way she was looking at you.

“Nothing,” Monica insisted, but she refused to meet your eyes. “Hayward was gone, and she seemed to get along better with the new guy, but she was still going through a new assistant every few weeks.”

“I’m sure it wasn’t that bad,” you commented, but Monica looked at you then and shook her head. “So what changed?”

“No one knows,” Monica admitted. “She hired Scott on and it’s been that way for around a year, maybe a little longer. To be fair she’s been gone a lot of the time, but still.”

Right, you thought to yourself, Agatha had been traveling a lot. Not that you knew where she was going.

Unfortunately that was the moment the conductor in question came traipsing back around the corner, more agitated than before, and you could just barely hear her telling Scott to go feed Scratchy after rehearsal. 

“Orchestra,” Agatha called out, roughly running her fingers through her hair as she strolled past you. “As much as I’d love to sit around a campfire with all of you and join hands as we go around sharing stories on our past traumas and various metaphorical battle scars, I believe it would benefit all of us to be on stage for rehearsal, yes?”

“I’ll see you later,” Monica said reassuringly, before taking off in the same direction as the rest of the orchestra. 

Later that afternoon, you were getting ready to go home for the day. You had a rather productive meeting with Pepper over any changes you wanted for promotional materials going into opening night.

Unfortunately, you spent most of the time stewing over Agatha’s typical elusiveness. You were used to it by now, but you couldn’t help but feel frustrated over her hot and cold behavior. It was just how she was with everyone, and if Agatha hated anything it was being inconsistent.

As you prepared to leave, you noticed someone entering the building. It was a woman you had never seen before.

She was beautiful, you noted, and wore an expensive looking pale pink pantsuit. Holding a matching clutch in her hand, she took off her designer sunglasses and she appeared to be lost. When she noticed you, her face lit up, heels click-clacking on the floor as she walked over to you. 

“Excuse me,” the woman said, lowering her clutch to her side as she looked at you. “Do you know where Tony Stark’s office is?”

“Oh, yeah it’s right down that hallway. First door on your left,” you answered, pointing in the correct direction. 

“Thank you,” the woman replied politely, sticking out her hand to shake yours. “I’m Jennifer Kale, but I’m sure you’ve heard of me.”

The name sounded relatively familiar, but you failed to place how you knew of her. Giving her an apologetic smile, you shook your head.

Jennifer raised her eyebrows, surprise coloring her features. “Well, I’m the founder of Kale Kare. We focus on providing musicians with holistic health and wellness.”

Kale Kare…you had heard of that once or twice, but you still couldn’t remember how. Maybe a social media ad?

“Oh cool,” you said sincerely, blushing slightly at the small smile Jennifer gave you in return. “I’m-”

“I already know who you are,” Jennifer said, and laughed at the dumbfounded look on your face. “I mean, how could I not? Half the city is plastered with posters of your face.”

Oh right, the LA Symphony promotional posters, you had actually passed a few on your way into rehearsal earlier.

“I keep forgetting about those,” you quietly admitted, and Jennifer laughed again.

“Besides, even if I hadn’t seen those, you certainly look like her type,” Jennifer added conversationally, and you froze.

“I’m sorry?”

“Agatha is a lot of things, but she’s always been predictable,” Jennifer sighed, looking you up and down. “You’re not the first soloist she’s been with.”

Letting out a nervous chuckle, you looked down at the ground. “I’m not with Agatha. You must have confused me with someone else.”

“Oh?” Jennifer asked, tilting her head to the side as she regarded you. “Are you not the assistant she was sleeping with back in New York? The one who left for Vienna?”

Oh.

“That’s not…” you trailed off, wondering if maybe you somehow hit your head earlier and were actually dreaming this entire interaction from a concussed state. “That’s not how I’d describe it.”

“I must have it wrong then,” Jennifer shrugged, but gave you a look that suggested she didn’t believe you. “That’s just what I had heard.”

“Heard from who?” You hesitantly questioned, as you had been under the impression you and Agatha had been rather discreet during the time you spent together.

“You know how musicians are, always gossiping,” Jennifer offered, giving you a wink. “But I guess they were mistaken.” 

There had been a few instances in which you had wondered if you and Agatha weren’t as careful as you once thought. But, replaying the conversation you just shared with Monica, you wondered if there was truth to what Jennifer was suggesting. Both that you were less discrete than you thought, and more troubling- that Agatha actually cared when you left. 

No, that can’t be it. You were sure Agatha’s attitude after you left didn’t have anything to do with you, she didn’t strike you as the type to pine. 

If only you had been as lucky in that department.

“Yeah, they must have been,” you insisted, trying to shove those thoughts to the back of your mind.

Maybe you should talk to Monica later, get some peace of mind.

“I thought I smelled the faint stench of desperation and fraud,” Agatha’s voice cut through the awkward silence that had filled the hallway, and you jumped at the sound. 

The conductor approached you and Jennifer, hands in her purple dress slacks as she sauntered over, a hesitant Scott closely following her. “What pray tell have we lowly peasants done to deserve such a pleasant surprise, Jen?”

“I’d say it’s nice to see you again Agatha, but lying is more your specialty than mine,” Jennifer greeted the conductor, a smile tugging on her lips. “I’ve heard you’ve been keeping busy.”

Agatha sniffed, tossing her bag at Scott, nearly taking him down to the ground. “No more than usual. What are you doing here?”

“I’m expanding my business to the LA Symphony,” Jennifer announced, her eyes locked on Agatha’s. “I have a meeting with Tony to go over our upcoming partnership.”

“Oh good, another potential lawsuit to add to your ever growing collection,” Agatha quipped, raising her left hand as her index finger tapped against her cheek, a contemplative expression on her face. “By the way, how are your legal woes faring?”

It was then you remembered how you knew of Kale Kare…Agatha. The conductor had once briefly ranted about the company and its founder, Jennifer. It was unsurprising that Agatha wasn’t sold on the holistic remedies that the company swore by, but you never asked what had happened between the two of them that made the conductor as sour as she appeared to be.

“Funny, Agatha, but almost all of those were thrown out by the judge,” Jennifer fired back, and you wondered what ‘almost all of those’ meant. “Besides, based on what I’ve been told, you could actually benefit from some of our treatments.”

Agatha pursed her lips, the frown lines on her forehead becoming more prominent as she arched an eyebrow. “I highly doubt that, I’d be surprised if any of that goop you sell is actually organic.” Turning to Scott, she tossed her keys at him, shaking her head as he fumbled attempting to catch them. “Lang, why don’t you make yourself useful and go lock up my office.”

Scott looked thankful to be excused from the conversation, as he scurried away. You had to admit, you were slightly jealous he was able to leave, as you were currently stuck between Agatha and Jennifer.

“Well Stephen certainly seems to think differently,” Jennifer continued, taking a step closer to the conductor, folding her arms across her chest.

“Of course he’s one of your clients. That man has been living in LA for far too long,” Agatha deadpanned, shooting Jennifer a nasty glare. 

“Typical Agatha, hiding behind some biting insults,” Jennifer observed, giving you a quick once over. “Besides, there’s no need to be so humble. I’m sure your…soloist was flattered by it.”

“Flattered by what?” You questioned, looking back and forth between the conductor and Jennifer, confusion growing.

��You didn’t tell her, did you?” Jennifer guessed, poorly attempting to stifle a laugh whilst Agatha balled her hands into fists at her side. “It’s nice to see you haven’t changed, Agatha.”

“Didn’t tell me what?” You asked, focusing on Agatha who shrugged in response.

“That’s my cue,” Jennifer said, brushing her hand against your arm as she started to walk away. “It was nice to meet you, good luck with your concerts.”

“Thanks,” you mumbled, waiting until the woman was out of earshot before narrowing your eyes at Agatha. “Agatha, what was she talking about?”

“Ignore her, all of those wellness treatments and supplements have made her more delusional than normal,” Agatha insisted, wrapping an arm around your shoulder to turn you around in the opposite direction.

Your breath hitched at the physical contact, but attempted to remain your composure. “I thought we were done with the games. What aren’t you telling me?”

Agatha froze for a moment, eyes shifting around before refocusing, not removing her arm from where it was wrapped around your shoulders. “It’s nothing to worry about, dear. Jen just enjoys getting under my skin.”

Only, the more you thought about it the more you realized you didn’t believe her. There were far too many inconsistencies in the conductor’s stories, but what you were failing to grasp was why she wasn’t just telling you the truth. 

What she was doing in LA. What happened to Stephen, because that particular question had more bad possibilities than good. Where she had been traveling to so secretly for the past year. 

Why she refused to talk about your almost kiss.

Shaking her arm off, you shook your head. “No. This isn’t like before, Agatha. I’m not just some assistant you can boss around and belittle.”

“I don’t think I ever belittled you,” Agatha lightly corrected you, and you let out a deep sigh. 

“That’s not the point.”

“Oh? Is there a point to this little temper tantrum?” Agatha questioned as she crossed her arms across her chest. “I was worried you were breaking barriers and rising above the diva allegations most soloists succumb to. It’s nice to see that isn’t the case.”

“That’s really nice,” you said sarcastically, attempting to keep your temper in check. “What did Jennifer mean when she brought up Stephen?”

There was a flash of displeasure on the conductor’s face before she masked it. 

Giving you a sly grin, she winked. “Are you interrogating me, dear? Should we take this somewhere more private?”

“Stop it,” you said dismissively, growing more irritated with every word she spoke. “Why can’t you just give me a straight answer.” 

“Well I think we both know the answer to that,” Agatha teased, leaning in closer until her breath was warm against your face. “But if you need a reminder, I’d be more than happy to provide one.”

“Stop it,” you repeated, patience wearing thin. 

Agatha always enjoyed having the upper hand, and as easy as it felt to slip back into a role you were once very comfortable with, things had changed. You changed. Deciding to switch up your line of questioning, you thought back to what Monica had just shared with you.

“Why did you go through so many assistants after I left?”

Agatha noticeably tensed at that, her eyebrows furrowing and she took a step back, putting her hands in her pockets. “I’m afraid I don’t know what you’re referring to.”

“Of course you don’t,” you said, letting out a bitter laugh as Agatha’s expression hardened. 

“Whatever it is you’re implying, I suggest you stop. Maybe spend more time focusing on your upcoming performance,” Agatha suggested, lips curling upwards to form a smirk. “After all, we wouldn’t want a repeat of last week��s…incident, would we?”

The memory of your anxiety attack and conversation that had followed with Agatha came rushing back to you. You bowed your head, feeling your cheeks warm at the humiliating reminder. 

“I should have known better,” you mumbled, each second you chose to stay in this conversation proving to be a mistake. “I thought maybe you missed me, but you aren’t capable of feeling that way towards anyone, are you?”

Agatha’s eyes flashed menacingly, and she recoiled as if you struck her. Turning on her heel she stormed off without another word, leaving you alone once again.

The regret hit as soon as she was out of sight, you knew you shouldn’t have said that to her. But then again, maybe if she was more forthcoming and honest with you, then you wouldn’t have snapped. 

Agatha had a special talent to make you lose your mind, in more ways than one. She was unlike anyone you had ever met, and as many positives as that held there was the occasional reminder of her darker side. 

You sometimes questioned if any of her feelings for you back then were real, or if she just got off on the power trip. 

It was hard, being this torn, and as much as you still cared for her you were starting to get the feeling that it wasn’t reciprocated. At least, not in the way you wanted it to be. You didn’t just want to go back to how things were before. You weren’t just an assistant anymore, you had made a name for yourself.

It was foolish to think you’d ever be as well-known or talented as Agatha, but you liked to believe that you were on a more equal footing this time around.

But it appeared Agatha didn’t feel the same way.

As you finally left for the day, one of the interns came running up with a bag addressed to you. Apparently Jennifer Kale had left some of her products for you to try, along with a note suggesting the two of you talk about a possible PR partnership for the brand.

You spent the rest of your afternoon and evening the way you typically did when you needed to unwind and not spend too much time practicing. Setting your violin in the sitting room, you spent a few hours curled up on the couch reading a book. You would periodically check your phone, some part of you secretly waiting for a text or message from Agatha, but there was nothing.

It did cross your mind that maybe you should apologize, but knew it was moot. You both needed time to cool off.

Deciding to look at the products Jennifer gifted you, it wasn’t a surprise that everything looked and smelled nice enough. Her company certainly seemed to spend enough time with the presentation, as the bottles were all beautiful and almost looked like potion vials. You decided to try out one of the face masks, and you briefly read a few of the ingredients. 

A small voice did question how 100% natural it was, but it smelled nice and it was free so you weren’t going to complain.

You were so wrapped up in applying the face mask you barely heard your doorbell ring. It took you a moment to register the noise, and you checked the time on your phone to reveal it was half past ten. You weren’t expecting company, so you ignored it, spreading the mask evenly over your face. 

The buzzing of your phone caused you to pause, rinsing your hands in the sink before grabbing the device to reveal you had a new text message.

Agatha: Knock knock

After your last conversation with the conductor she was the last person you wanted to see right now, but if there was one thing Agatha was, it was persistent. The doorbell rang again and you huffed, she really had some nerve. 

Storming out of the bathroom, you whipped the front door open, revealing Agatha with her finger pressed against the doorbell. The conductor’s dark brown hair was pulled back with a hair tie, loose strands flying everywhere. You did a double take at her casual attire, the baggy black sweatpants and tight fitting t-shirt that read ‘What’s The Difference Between A Conductor And God? God Doesn’t Think He’s A Conductor’. 

“Took you long enough,” Agatha mused, nose scrunching in disgust when she saw what you had on your face. “Didn’t realize you were interested in having hives break out across your face.”

“What do you want, Agatha?” You questioned, ignoring her jab.

The conductor paused, appearing to realize how irritated you were. Her bright blue eyes were locked on your own, and she took a small step forward, placing her hands against yours. “Can I come in?”

“You’re joking,” you retorted, the earlier argument still ringing in your ears. “You have to be joking. No, you cannot come in. Goodnight, Agatha.”

As you went to slam the door in her face, she stuck her foot in, blocking it. She gave you a rare pleading glance. “Please?”

You could count on one hand the number of times she had ever said that word to you, or to anyone for that matter. Feeling your annoyance fade slightly, you relented. Moving to the side to allow her to come in, trying to restrain the shiver of feeling her body brush against yours. 

“What are you doing here?” You asked again, folding your arms across your chest after you shut the door, locking it.

The conductor was looking at you with an unreadable expression, as her tongue slowly licked her lips. Your eyes were fixated on the gesture, unable to look away until you finally cleared your throat, forcing yourself to look at her with a newfound sense of confidence.

“If you don’t have anything to say I think you should be going,” you asserted, something that surprised both you and the conductor as she raised her eyebrows. 

“You’re wrong,” the conductor said, so quietly you could barely hear her.

“What?” 

“You’re wrong,” Agatha repeated, louder this time.

“If you came here to insult me, you can leave,” you stated, going to open the door.

It was hard to say how it happened, really. Agatha was a lot faster than she looked, and she had your back pressed against the wall, hands pinned at your sides before you could blink. She towered over you, chest heaving as you felt her breath hot against your neck. 

“Agatha…” 

“I’ve never met anyone as stubborn as you,” Agatha breathed out, releasing one hand to gently cup your chin, forcing you to look up at her. “Do you have any idea how infuriating you are?”

You blinked, feeling your head spin as you wondered if this was really happening. Agatha had made countless appearances in your dreams over the years, each feeling more real than the last. It felt like she was haunting you, a cruel shadow you could never escape from. 

But this was real, you noted as you breathed in the subtle but rich scent of her floral shampoo. After all this time, she was really here.

“Agatha,” you whispered again, heart pounding against your chest as blood rushed in your ears. 

The conductor released your other hand, raising her own to tangle in your hair as she pulled you impossibly closer to her, lips ghosting over your own. 

Before you could form a coherent thought, Agatha finally did the one thing you had been yearning for since you left her all those years ago, closing the distance as she smashed her lips against yours. 

All of the times you had reminisced on this, the random bodies you had used as replacements over the years, nothing could ever come close to the real thing. The very real feeling of Agatha’s mouth moving fervently against your own, as she hungrily drank from you like a woman dying of thirst. Her tongue darted out, seeking entrance to your mouth and you could only let out a small whimper as she deepened the kiss.

Agatha let out a muffled groan at that, growing more desperate in her attempts to unravel you, which is why you let out a disappointed whine as she broke away, fingers still woven in your hair.

Panting, the conductor closed her eyes, trying to catch her breath, and you were thankful she had you pressed against the wall because you doubt you’d be able to stand on your own. When she reopened them, her pupils were fully blown out. Her hand caressed your cheek, and you leaned into the tender gesture. 

“I missed you,” Agatha murmured, and she was holding you so delicately, like she was afraid you would break if she pushed too far. 

“I missed you too,” you echoed, feeling tears begin to swell in your eyes.

You thought getting your big break as a soloist would fix the giant hole leaving Agatha had created. But despite all you had accomplished, it still felt like something was missing. You had tried everything, but it wasn’t until this very moment, feeling Agatha’s body flush against your own, with her bright blue eyes searing into your soul, did you come to the startling revelation of what you had been missing. 

Agatha. 

It was always Agatha.

[gardenschedule]

Quotes about the Lennon-Mccartney rivalry & John's insecurity

A long one!!

Pre-fame

“Paul was very good,” said Eric [Griffiths, of The Quarrymen]. “We could all see that. He was precocious in many ways. Not just in music but in relating to people.” […] His charm also worried John, according to Eric. “We were all walking down Halewood Drive to my house to do some practising. I was walking ahead with John. The others were behind. John suddenly said: ‘Let’s split the group, and you and me will start again.’ “We could hear Paul behind us, chatting to Pete [Shotton] as if he was Pete’s best friend. John knew we were all his pals, but now Paul was trying to get in on us. Not to split us up, just make friends with us all. I’m sure that was all it was, but to John it looked as if Paul was trying to take over, dominate the group. I suppose he was worried it could disrupt the balance, upset the group dynamics, as we might say today. “I said to him: ‘Paul’s so good. He’ll contribute a lot to the group. We need him with us.’ John said nothing. But after that the subject was never mentioned again.”

Eric Griffiths, c/o Hunter Davies, Sunday Times: A Beatle’s boyhood. (March 25th, 2001)

"It was uncanny. He could play and sing in a way that none of us could, including John," Eric Griffiths recalls. "He had such confidence, he gave a performance. It was natural. We couldn't get enough of it. It was a real eye-opener." After listening to Paul play, John recalled, "I had thought to myself, 'He's as good as me.' Now, I thought, if I take him on, what will happen? It went through my head that I'd have to keep him in line if I let him join [the band]. But he was good, so he was worth having. He also looked like Elvis. I dug him."

Bob Spitz, The Beatles: The Biography, 2005

Mimi remained resolutely unimpressed by anything her nephew composed with his ‘little friend’. ‘John would say, “We’ve got this song, Mimi, do you want to hear it?”’ she recalled. ‘And I would say, “Certainly not… front porch, John Lennon, front porch.”’ What she overheard that clearly wasn’t ‘caterwauling’ became another way of discomfiting John. ‘[He] got very upset with me when I mentioned one night that I thought Paul was the better guitar player. That set him off, banging away on his own guitar. There was quite a bit of rivalry going on there.’

Philip Norman, Paul McCartney: The Life. (2016)

Friends looked to Paul to control the damage, but it was beyond even his know-how. When John “went off like that,” Paul usually waited for the storm to pass or humored John to keep him from turning up the heat. And unbeknownst to Paul, some considered his presence in these situations more problem than solution. “It was obvious that John had big reservations about Paul, too,” says Hague, who absorbed his friend’s harangues during their drinking binges. “Even then, there was great jealousy there. He was all too aware of Paul’s talent and wanted to be as good and grand himself. After a while, you could see it, plain as day: the subtle body language or remarks that flew between them. He wasn’t about to let someone like Paul McCartney pull his strings.”

The Beatles – Bob Spitz

Yesterday

Barrow describes an incident from 1965 where McCartney ran through a dress rehearsal of “Yesterday” for a live evening performance on Blackpool Night Out. “Beatles Book editor Johnny Dean sat in the stalls close to comperes Mike and Bernie Winters and the other three Beatles, and watched Paul in solitary rehearsal on the stage, singing the song to his own guitar accompaniment. At the end, everybody heard John’s loud and decidedly sarcastic comment.” The nasty remark from John was said to upset Paul for several hours afterwards.

Beatles publicist Tony Barrow

At the end, everybody heard John’s loud and decidedly sarcastic comment. He made no secret of the fact that he thought ‘Yesterday’ was a slice of sentimental rubbish, and this led to several heated exchanges between John and Paul in the privacy of the group’s dressing room after the rehearsal.

Tony Barrow, c/o The Best of the Beatles Book (ed. Johnny Dean). (2005)

Following Paul's rendition of 'Yesterday', a comedy link was rehearsed for when the others reappeared on stage: John clutched a plastic bouquet of flowers which came away as Paul accepted them, leaving him holding only the bottom stems. As if to further puncture any pompous formality, John announced "Thank you Ringo, that was wonderful." "The Beatles were in a terrific mood..." Sean O'Mahony wrote in his editorial (Beatles Book #26), "laughing and gagging their way through rehearsals as though they were preparing for a private Beatle People Telly Show for the fan club rather than a national networked performance to millions of viewers." However, he now remembers a charged atmosphere at Blackpool that day after Lennon sarcastically roared "Thank you, Paul, that was bloody crap!" following McCartney's debut of the song during the afternoon rehearsal. If there was any tension it was swiftly diffused as Bryce's photographs reveal the two relaxed and joking in each other's company. Paul and John rode back to London together in comfort that night in Lennon's new black Phantom V Rolls-Royce.

Looking Through You: The Beatles Book Monthly Photo Archive

Throughout the Beatles’ 1965 summer concert tour of North America, Paul avoided doing the number on stage, partly in order to avoid further unpleasant conflict with John [and partly because nobody would be able to hear it in open air stadiums full of screaming fans]. it was the danger of giving added strength to the ‘Paul is leaving’ rumour that helped to prevent ‘Yesterday’ from being released there and then as a single in the UK. As Paul knows, it could have been a smash hit at home as well as all over the world but it would have annoyed the rest of the group, and their hostility in such circumstances would have caused him a lot of personal grief which he didn’t need.

Tony Barrow, c/o The Best of the Beatles Book (ed. Johnny Dean). (2005)

"John came to my loft and he was all excited," Smith recalls. "He said, 'I think I finally wrote a song with as good a melody as Yesterday.' Yesterday drove him crazy. People'd say, 'Thank you for writing Yesterday, a beautiful song...' He was always civil, but it drove him nuts."Sat at Smith's piano, Lennon revealed a title - Imagine - but only a smattering of lyrics. For the rest he sang "scrambled eggs" - just as McCartney had when inspired to write Yesterday. "He played it through and asked me what I thought. 'It's beautiful.' 'But is it as good as Yesterday?' 'They're impossible to compare.' So he played it again. And again. And he said, 'You'll see, it's just as good as Yesterday."

Howard Smith (DJ), interview w/ Danny Eccleston for Mojo: The Lennon tapes. (July, 2013)

After a particularly heavy session with the lawyers (he was also fighting deportation) Lennon would flop into his music room, pick up a guitar and tear into a primal-scream version of ‘Yesterday’. Sometimes he tried a little writing of his own. Usually he just sank further into the one Beatles song he never quite got over. Friends would find him sitting in the dark, lost in Paul’s ballad.

Christopher Sandford, McCartney. (2005)

PAUL: [laughs; mock-indignant] No. The worst thing for John was, that he didn’t write ‘Yesterday’, I wrote ‘Yesterday’, and he used to get really quite miffed, because he’d be in New York and he’d go into a restaurant, and the pianist would go du-du-du… [sings tune of ‘Yesterday’] And he’d go, “Oh… [grumbling] It’s Paul’s.”

September 19th, 2019: On BBC Newsnight

“Once we were in a Mexican restaurant, in a back room. We’d just been to see the musical Lenny, about Lenny Bruce. In the main room John spotted this strolling guitar player, which used to be standard in Mexican restaurants. He turned to me and said, “Howard, in five minutes that guitar player is gonna come in, stand next to me and play Yesterday. And sure enough, it wasn’t even three minutes. We had hardly settled down, and the guy came in and played Yesterday, a ridiculous over-the-top version. And I said, ‘John, that really does happen to you everywhere…’ And he said: ‘Everywhere.’ It drove him nuts.”

2013 Mojo article

Well, it’s difficult to choose the favourite. It’s one of my favourites. You look at your songs and kinda look to see which of the ones you think are maybe the best constructed and stuff… I think ‘Yesterday’, if it wasn’t so successful, might be my favourite. But, you know, you get that thing when something is just so successful… people often don’t want to do ‘the big one’ that everyone wants them to do. They kind of shy away from it. So… ‘Here, There and Everywhere’ with ‘Yesterday’ as a close second.

Paul McCartney, interviewed by Scott Muni (16 October 1984).

Here are Paul and John sparring in the dressing room following the remark that John made while they were rehearsing for their Blackpool Night Out TV show in August '65. The sparring between John and Paul continued while they were getting ready for the final recording. John and Paul continue their heated discussion with George as piggy-in-the-middle. The two-handed gesture clearly reveals the mood John was in, but Ringo and Brian still refused to join in the argument. Ringo poured himself a fizzy drink before the final show but John clearly decided he needed something a bit stronger before they went into the television studio.

228 of The Beatles Book Monthly Magazine - John and Paul’s argument after the Blackpool Night Out rehearsal

We never released Yesterday' as a single because we didn't think it fitted our image. In fact it was one of our most successful songs. "Michelle' we didn't want to release as a single. They might have been perceived as Paul McCartney singles and maybe John wasn't too keen on that.

The Beatles Recording Sessions The Official Abbey Road Studio Session Notes, 1962–1970

Productivity

But I was still under the false impression that – still felt, every now and then – Brian would come up and say, “It’s time to record,” or, “It’s time to do this.” And Paul started doing that. “Now we’re gonna make a movie. Now we’re gonna make a record.” And, uh, he assumed that if he didn’t call us, nobody would ever make a record. But it’s since shown that we’ve managed quite well to make records on time. [Now] I don’t have any schedule – I just think, “Now, I’ll make it,” you know. But those days, Paul would say, well, now he felt like it, and suddenly I’d have to whip out twenty songs. He would come in with about twenty good songs and say, “We’ll record next Friday.” And I suddenly had to write a stack of songs, like – [Sgt] Pepper was like that. And Magical Mystery Tour was another one of them.

September 5th, 1971 (St Regis Hotel, New York)

SHEFF: You say you haven’t really listened to Paul’s work and haven’t really talked to him since that night in your apartment— JOHN: Really talked to him, no, that’s the operative word. I haven’t really talked to him in ten years. Because I haven’t spent time with him. I’ve been doing other things and so has he. You know, he’s got twenty-five kids and about twenty million records out—how can he spend time talking? He’s always working.

John Lennon, interview w/ David Sheff for Playboy. (September, 1980)

You’d already have 5 or 6 songs so I’d think fuck it, I cant keep up with that. So I didn’t bother, you know, and I thought I don’t really care whether I was on it or not, I convinced myself it didn’t matter. And so for a period if you didn’t invite me to be on an album personally, if you three didn’t say ‘write some more songs because we like your work’, I wasn’t going to fight. There was no point in turning em out, I didn’t have the energy to turn them out and get them on an album as well.

John Lennon, MMT sessions

“John did not let Yoko’s foot-dragging slow him down. He kept working on the album, refining songs and coming up with new ones. He joked that he was becoming more and more like Paul McCartney, whose prodigious musical output had sometimes been a source of friction in their relationship. John wondered if Yoko might be feeling intimidated by his current period of fertility, just as he had once been intimidated by Paul’s greater musical productivity. Still, John kept up the pressure on Yoko over the phone, playing her his songs and encouraging her to play hers for him.”

The Last Days of John Lennon by Frederic Seaman (1991)

“He next expressed concern that Yoko was not giving the album her undivided attention because of the many ‘distractions’ she faced in New York, and even made a snide reference to her being surrounded by ‘useless sycophants.’ He again likened their situation to his old songwriting partnership with Paul McCartney, who had always been the more prolific writer and had frequently prodded John to come up with new material. ‘Paul never stopped working,’ John said with grudging admiration. ‘We’d finish one album and I’d go off and get stoned and forget about writing new stuff, but he’d start working on new material right away, and as soon as he had enough songs he’d want to begin recording again. I would have to scramble to come up with songs of my own. I wrote some of my best songs under that kind of pressure.’”

The Last Days of John Lennon by Frederic Seaman (1991)

We only spoke briefly about Paul and his comments at the time were, 'Yeah, well, you know, that's just Paul.' I think John was deeply hurt by their differences and the fact that their partnership wasn't a partnership. He felt the competition with Paul who would come in with 15 songs and want to record them all. John told me, 'I don't want to be in, you know, "Paul & the Beatles". I don't want to be a sideman for Paul. It's not what I want to do anymore.'

David Cassidy on John from Could it be forever? -My Story

Fear of abandonment

I was sort of answering him here, asking, ‘Does it need to be this hurtful?’ I think this is a good line: ‘Are you afraid, or is it true?’ – meaning, ‘Why is this argument going on? Is it because you’re afraid of something? Are you afraid of the split-up? Are you afraid of my doing something without you? Are you afraid of the consequences of your actions?’ And the little rhyme, ‘Or is it true?’ Are all these hurtful allegations true? This song came out in that kind of mood. It could have been called ‘What the Fuck, Man?’ but I’m not sure we could have gotten away with that then.

Paul McCartney, on “Dear Friend”. In The Lyrics (2021).

JOHN: [Paul] even recorded that all by himself in the other room, that’s how it was getting in those days. We came in and he’d – he’d made the whole record. Him drumming, him playing the piano, him singing. Just because – it was getting to be where he wanted to do it like that, but he couldn’t – couldn’t – maybe he couldn’t make the break from The Beatles, I don’t know what it was. But you know, I enjoyed the track. But we’re all, I’m sure – I can’t speak for George, but I was always hurt when he’d knock something off without… involving us, you know? But that’s just the way it was then.

August, 1980: interview with Playboy writer David Sheff

He is the least independent Beatle, leaning upon the group’s strength as a source for his own fundamental security.

Profile of John written by Tony Barrow (Beatles Press Officer) and published in March of 1968.

During the spring of 1968, John was as confused, lonely, and unhappy as I'd seen him in years. Though his relationship with the other Beatles was still free of serious strain, he was seeing increasingly less of Paul and George, both of whom were now pursuing independent lives and interests of their own.

In My Life, Pete Shotton

Insecurities

If you notice, in the early days the majority of singles—in the movies and everything—were mine. And then only when I became self-conscious and inhibited, and maybe the astrology wasn’t right, did Paul start dominating the group a little too much for my liking. But in the early period, obviously, I’m dominating the group. I did practically every single with my voice except for “Love Me Do.” Either my song, or my voice, or both.

David Sheff - All We Are Saying, The Last Major Interview with John Lennon and Yoko Ono

Do I want him back, Paul? … [D]o I want it back, whatever it is, enough? Then if it is, you know, I’ve had to smother my ego for you, and I’ve had to smother me jealousy for you to carry on, for whatever reasons there is.

Jan. 13: The Lunchroom Tape

I’ll tell you a story about John. He often used to wake up in the middle of the night and ask me, ‘Why do people cover Paul’s songs so much, but never mine?’ I used to tell him, ‘It’s because you are a talented songwriter. You don’t just rhyme June with spoon. And you are a very good singer – lots of people would be too afraid to cover one of your songs.’ Then I would make him a cup of tea, and he would be okay. I just miss that sort of moment that we had.

Yoko Ono, Q Magazine Awards. (October 10th, 2005)

“[John] was much misunderstood but mostly through his own fault. He put up his brick wall of sheer bravado to screen off a chronic fear of inadequacy.”

Beatles publicist Tony Barrow

“Most people in Britain think I’m somebody who won the pools, you know,” he says drily, drawing on a Gauloise. “Won the pools and married a Hawaiian dancer or actress somewhere. Whereas in the States, we’re treated like artists. Which we are! Or anywhere else for that matter,” he added. “But here, it’s like, the lad who knew Paul, got a lucky break, won the pools and married the actress.”

John Lennon, Melody Maker’s Oct 2nd 1971 issue. (no wonder he was so upset by Too Many People if he internalized the concept of 'a lucky break' this much...)

It was Paul who showed John how to play chords properly, instead of banjo chords, which were all John knew. I think John was quite defensive when he realised that through much of his "career" with the Quarrymen, he had been playing two-fingered banjo chords on a guitar. The thought was tempered by the fact that nobody had noticed. John once told me, "Only that fookin' McCartney sussed me out. I love him, but he's such a good musician I could kill him."

Tony Bramwell, Magical Mystery Tours: My Life With The Beatles, 2005

INT: In this song, in the “I Found Out”, “I seen through junkies, I been through it all, I seen religion from Jesus to Paul.” Now a lot of people are wondering which Paul you were talking about? JOHN: (Chuckle) Whichever one you want to mention. I think the Beatles were a kind of religion. And that uh, Paul manifest or, sort of, I can’t think of the word you know — epitomized, the Beatles and the kind of things that–the kind of hero image more than the rest of us in a way. Like he was more popular with the kids, girls and things like that. So it’s in that way it’s Paul. But it’s also the other Paul, who screwed up whatever Jesus said, that one… It’s a double entendre you know, for all the fanatics who like to play things backwards and hear words of wisdom which nobody ever thought of…

WABC-FM New York, Howard Smith interviews John and Yoko (December 12, 1970).

JOHN: I expected… just a little more, you know. I mean, because if Paul and I are sort of disagreeing, and I feel weak, I think he must feel strong, you know. That’s in an argument. Uh, not that we’ve had much physical argument, you know – more a mental, like when we’re talking— But you would expect the opposition. So called. So I was just surprised, you know. And, uh, I was glad too. [laughs; hesitating] I thought, yeah, I – you know. I suddenly re– got it all in perspective, you know.

Rolling Stone December 8th, 1970

SCHOENBERGER: How is it for an 11-year-old boy to have John Lennon as a father? JOHN: It must be hell. SCHOENBERGER: Does he talk about that to you? JOHN: No, because he is a Beatle fan. I mean, what do you expect? I think he likes Paul better than me… I have the funny feeling he wishes Paul was his Dad. But unfortunately he got me…

John Lennon, interview w/ Francis Schoenberger. (Spring, 1975)

SHERIDAN: I guess he realised somewhere along the way, “Well, I’ve got to do something other than just be a rock ‘n’ roll musician if I want to impress the whole world.” He never saw himself as a very good singer, for instance. INTERVIEWER: Really? SHERIDAN: No. He never saw himself as comparable to Paul McCartney, even. Which, you know, he was playing with a guy, writing songs with a guy whom he thought was better than he was in many ways. So he had this immense ego and this immense sort of – it was like a motor in him that had to go to new lengths and reach new heights in order to impress someody or the whole world or whatever. I think the peace movement – maybe he invented it, I don’t know.

2003: Tony Sheridan

We all went through a depression after Maharishi and Brian died; it wasn’t really to do with Maharishi, it was just that period. I was really going through the “What’s it all about?” type thing – this songwriting is nothing, it’s pointless, and I’m no good, I’m not talented, and I’m shitty, and I couldn’t do anything but be a Beatle. What am I going to do about it? It lasted nearly two years and I was still in it during Pepper. I know Paul wasn’t at the time; he was feeling full of confidence, and I was going through murder during those periods. I was just about coming out of it around Maharishi, even though Brian had died – that knocked us back again. Well, it knocked me back.

John Lennon, interview w/ Barry Miles, (partially) unpublished. (September 23rd, 1969)

We’d be cutting a record and he’d say, “Yeah, I remember trying to do this part in ‘Penny Lane’. I couldn’t play it and I got so pissed because Paul could always learn things so fast.”

Andy Newmark (drummer), interview w/ Rick Mattingly for Modern Drummer. (February, 1984)

When John’s first solo album Plastic Ono Band was released I went down to Tittenhurst Park several times. Sometimes, in reaction to the general dismay over the Beatles’ break up, he would ask rhetorical, and I thought slightly absurd, questions such as “Why should I work with Paul McCartney when I can work with Yoko or Frank Zappa?”, or became irritated when I happened to say “Paul has a good voice”. “He has a high voice,” John snapped back. At others, however, he would admit to an admiration for some of Paul’s songs.

Ray Connolly (journalist), Evening Standard: John... ‘performing flea’ or ‘crutch for the world’s social lepers’. (December 10th, 1970) c/o Ray Connolly, The Beatles Archive. (2011)

“His [John] moods were particularly vacillating when he talked about Paul McCartney. While he might be scornful of Paul’s romantic musical streak on one day, on another he would be insisting, ‘Paul and me were the Beatles. We wrote the songs’ – putting down, by inference, the contributions of Ringo and George. He knew how good Paul was, but he couldn’t hide a rivalry and jealous streak that nibbled away at him. ‘Paul has a good voice,’ I once commented as we were discussing singers. ‘He has a high voice,’ came his instant correction.

Ray Connolly, The Sunday Times Magazine: John Lennon, Yoko and Me. (December 9, 2018)

I was wondering whether the relationship had kind of snapped. I believe it was always there. He was very jealous and so was I and it was all stupidity on the surface.”

Paul (Record Mirror, April 1982).

Paul was the one Beatle who posed any challenge to John’s authority and preeminence within the group. Much as John might have found it easier to handle those who—like George and Ringo—seemed to take it for granted that he was the king of the castle, Paul was the only one he considered more or less his equal. John particularly admired and respected—yet at the same time slightly resented—Paul’s independence, his self-discipline, and his all-round musical facility: all qualities in which John felt relatively lacking.

Pete Shotton, John Lennon: In My Life. (1983)

He grew even more paranoid as the acid took effect, and Derek Taylor ended up sitting by him till well after daybreak. In an attempt to rebuild John's shattered ego, he persuaded him to recount his entire life story, from early childhood onwards. Derek even went through every Lennon-McCartney song, line by line, to demonstrate to John the extraordinary scope of his contribution to the Beatles* music. By the time John and I finally left, John's spirits had been lifted considerably.

In My Life, Pete Shotton

“Bit by bit over a two-year period, I had destroyed me ego. I didn’t believe I could do anything. I just was nothing. I was shit… and she (Yoko) made me realize that I was me and that it’s all right. That was it; I started fighting again, being a loudmouth again and saying, “I can do this. Fuck it. This is what I want,” you know. “I want it, and don’t put me down.”

Rolling Stone

"John's complaint to Paul was actually an attempt to get his songs on to albums without the usual democratic vetting by the others, as the conversation between John and Paul recorded by Anthony Fawcett in September 1969 reveals. John tells Paul: If you look back on the Beatles' albums, good or bad or whatever you think of "em, you'll find that most times if anybody has got extra time it's you! For no other reason than you worked it like that. Now when we get into a studio I don't want to go through games with you to get space on the album, you know. I don't want to go through a little manoeuvering or whatever level it's on. I gave up fighting for an Aside or fighting for time. I just thought, well, I'm content to put 'Walrus" on the "B" side when I think it's much better ... I didn't have the energy or the nervous type of thing to push it, you know. So I relaxed a bit nobody else relaxed, you didn't relax in that way. So gradually I was submerging. Paul protested that he had tried to allow space on albums for John's songs, only to find that John hadn't written any. John explained, "There was no point in turning 'em out. I couldn't, didn't have the energy to turn 'em out and get 'em on as well." He then told Paul how he wanted it to be in the future: "When we get in the studio I don't care how we do it but I don't want to think about equal time. I just want it known I'm allowed to put four songs on the album, whatever happens."

Many Years from Now

Everyone settled down in their seats. Paul McCartney tried to make peace with Chris. Chris said, “Paul sat by me and said, ‘Come on, Chris, let’s be friends….’ “I said, ‘Paul, just get away from me, I don’t want nothing to do with you guys. You know, you pissed me off!” As for Lennon, Chris recalled, “John? I guess he was a wise guy. But I got the sense that, I shouldn’t say this, that he was jealous of who I was or what I did. I don’t know what his problem was, but I didn’t like it too much.”

THE TRUTH BEHIND THE BRAWL BETWEEN JOHN LENNON AND CHRIS MONTEZ IN 1963! EXCLUSIVE!

Lifestyle

I introduced Yoko to John through my own interest in the avant-garde. John wasn’t avant-garde till later. Then John became wildly avant-garde because he was so fucking constricted living out in Weybridge. He’d come into London and say, ‘What’ve you been doing, man, what have you been doing?’ and I’d say, ‘What’ve you been doing?’ ‘Well, watching telly, smoking pot.’ ‘I went out last night and saw Luciano Berio at the Italian Embassy, that was quite cool. I’ve got this new Stockhausen record, check this out. We went down Robert [Fraser]’s, got this sculpture, it was great, dig this. Wow, Paolozzi, great …’ I think John actually said, ‘I’m fucking jealous of you, man’ – he just needed to get out of Weybridge. It wasn’t his wife’s fault, she just didn’t understand how free he needed to be.

Paul McCartney, c/o Jonathon Green, Days in the Life. (1988)

Living in the Asher house gave me the base and the freedom and the independence. That, alongside all the other things, because I wasn’t married to Jane. I was pretty free. I remember John very much envying me. He said, ‘Well, if you go out with another girl, what does Jane think?’ and I said, 'Well, I don’t care what she thinks, we’re not married. We’ve got a perfectly sensible relationship.’ He was well jealous of that, because at this time he couldn’t do that, he was married with Cynthia and with a lot of energy bursting to get out. He’d tried to give Cynthia the traditional thing, but you kind of knew he couldn’t. There were cracks appearing but he could only paste them over by staying at home and getting very wrecked.

Paul McCartney, Many Years from Now

In the beginning, art was what we talked about. [John] told me he thought he was like [surrealist painter René] Magritte. Why? Because, you know, you have the image of Magritte with the bowler hat and the suit, looking very square, but really his work was very surreal and far out. John was living in suburbia, and he was very embarrassed about that, because he felt as if he was not very hip. When he invited me to his house the first time, the first thing he said when I got there was, “I think of myself as Magritte.”

Yoko Ono, New York Times: An exhibition of drawings celebrates Lennon at 64. (October 7th, 2004)

“I was never in the London scene in the 60’s whereas George and Paul be going around to everybody’s sessions, playing with everybody. I never played anywhere without the Beatles. I never jammed around with people at all. Q: Loyalty, or just didn’t interest you? A: No, just shyness, insecurity, and ah, I couldn’t go in a session and play like George plays; you know I have limited vocabulary on the guitar and piano, so what could I do going in with Cream, or whatever they were doing in those days.”

John Lennon interview

The musician countered the perception of Lennon as the only artistic Beatle, asserting his own powerful avant-garde influence on Sgt. Pepper. “I’m not trying to say it was all me, but I do think John’s avant-garde period later was really to give himself a go at what he’d seen me having a go at.”

Paul Du Noyer, The Paul McCartney World Tour Booklet: 1989–1990 (New York: EMAP Metro, 1989)

Women

“Have you noticed that it’s always men with moustaches and beards who ask me for my autograph?” I said I hadn’t but that I’d watch out in future and, sure enough, it seemed he was right. Only men with moustaches and beards asked John for his autograph. “It was always the same,” he said. “Me and George got the guys with beards wanting to know the meaning of life, while Paul and Ringo got the women!” Inevitably, perhaps, a short while later a girl came to ask John for his autograph. Much to our amusement, though doubtless to her amazement, John grabbed her around the waist and sat her down on his knee. “Where are you now McCartney?” he shouted. “I’ve got a girl at last.””

Chris Charlesworth (journalist), Rock’s Backpages: Memories of John Lennon. (2001)

“I idolized John. He was the big guy in the chip shop. I was the little guy. As I matured and grew up, I started sharing in things with him. I got up to his level. I wrote songs as he did and sometimes they were as good as his. We grew to be equals. It made him insecure. He always was, really. He was insecure with women. You know, he told me when he first met Yoko not to make a play for her.

Paul and Hunter Davies, 1981

In the mirror I looked dreadfully pale and drawn. I still couldn’t believe it. John would never be there again. I kept getting flashbacks to when he was young and awkward. He liked women, but was always a bit uncomfortable, a bit nervous in their company – always a man’s man. Paul was beautiful – still is – and I know John thought, ‘God, with him around, I don’t stand a chance.’ It’s one of those things young lads have to put up with. They’re all dead worried about whether or not they’re going to get the girls, and John, as a teenager, saw Paul as his rival. That made him moody, but it was his moodiness that gave the songs they wrote together an edge. When he was four, John had been abandoned by his dad, deserted by his mum and brought up by his Auntie Mimi. He’d always felt rejected, but that gave his writing depth, a darkness. Paul was the counterbalance, the light. You could see this in Paul’s eyes and the girls just tumbled in and were washed away. What John never really appreciated was that he, too, had charisma, and that women did think he was sexy.

Cilla Black, What’s It All About. (2003)

SALEWICZ: Oh, he was presumably very paranoid. PAUL: I think so. I mean, he warned me off Yoko once. You know, “Look, this is my chick!” ’Cause he knew my reputation. I mean, we knew each other rather well. And um, I felt… I just said, “Yeah, no problem.” But I did sort of feel he ought to have known I wouldn’t, but. You know, he was going through “I’m just a jealous guy”. He was a paranoid guy. And he was into drugs. Heavy.

Paul, September, 1986 (MPL Communications, London)

That’s typical Paul [wanting me to stay inside the George V Hotel with the band instead of going out by myself to see Paris]. It’s just so silly of me to stay at the hotel. It’s just that he’s so insecure. For instance, he keeps saying he’s not interested in the future, but he must be because he says it so often. The trouble is, he wants the fans’ adulation and mine too. He’s so selfish, it’s his biggest fault. He can’t see that my feelings for him are real and that the fans’ are fantasy. Of course, it’s the trouble with all boys. When I first met [the Beatles], I liked them all. Then, when I found out that I liked Paul more, the others became angry with me.

Jane Asher, c/o Michael Braun, Love Me Do!: The Beatles’ Progress. (1964)

"Q: "Now that Paul is the only bachelor Beatle, do you find that the girls gravitate more to him than they do to the rest of you fellas? How do you feel about that?" JOHN: "They always did!" RINGO: "Yeah." PAUL: "Well, the thing that we found... We found after all this business, of all the buttons that say 'I love Ringo,' "I love John,' John's were outselling everyone's." JOHN: "A rather distinctive Beatle." PAUL: "A distinctive Beatle.""

Press conference, New York, August 22, 1966

JOHN: Well, uh… [distracted] There was a lot of – [inaudible] I suppose, but I was so full of myself then, I didn’t give a shit what he did. HILBURN: Full of what? JOHN: Full of meself. Centered, in other words. So I just— HILBURN: So in a sense, you weren’t comparing as much as you might have— JOHN: [matter-of-fact] There’s no comparison for me. ‘Cause we’re— HILBURN: You mean comparing artistically, or you mean comparing sales-wise and stuff? JOHN: Oh, sales-wise, forget it. He always had more fans than me, in the Cavern… So there’s no comparison on that level. And on the other level, I don’t think it counts. I think it’s like comparing… I don’t know, Magritte and, er – Picasso, if you want to put it on that level. Or whatever. How can you compare it?

October 10th, 1980 (Hit Factory, New York)

The same popularity, meaning Paul was always more popular than the rest of us, was going down in the dance halls in Liverpool so it didn’t cause any big surprise. I mean the kids saw him, the girls would go ooh, you know, right away.

John Lennon on The Tomorrow Show – 04/08/1975

Breakup/post breakup

"There was amazing competition between us and we both thrived on it. In terms of music, you cannot beat a bit of competition. Of course, there's times when it hurts, and it's inevitably going to reach a stage where it's hard to live with. Sooner or later, it's going to burn itself out. I think that's what happened at the end of The Beatles.

Paul - Uncut, July 2004

I felt sad, you know. I also felt that film was set up by Paul, for Paul. That’s one of the main reasons the Beatles ended, you know, cause... I can’t speak for George but I pretty damn well know. We got fed up with being sidemen for Paul, after Brian died that’s what began to happen and the camera work was set up to show Paul and not to show anybody else and that’s how I felt about it. And on top of that, the people who cut it, cut it as Paul is god and we’re just lying around.

John Lennon: The Rolling Stone Interview, Part One

Though thinking of Paul caused John pain, he could never get McCartney out of his head; Paul’s music was everywhere, and it always made him jealous, even the songs he enjoyed. In Bermuda, John was listening to all kinds of things on the radio, not just the Muzak and classical he listened to in New York. Coming Up, Paul’s hit single from McCartney II, was unavoidable. Every time he tuned in the BBC or one of the local stations, there it was. It began to drive John crackers; every word of the song was addressed directly to him. Ultimately, he came to admire it and draw inspiration from it.”

Robert Rosen, Nowhere Man: The Final Days of John Lennon, (2000)

At that moment, John was at his most unpredictable. Suddenly his fears that his money was going to be taken away from him, that he was going to be cheated, that he had to have as much money as possible, had all come into play. This was also John’s way of resisting the reality that the Beatles were officially about to come to end, and that Paul was about to prevail.

Loving John, MAY PANG (1983)

“The funny part is that I let him get away with it for so long. You know, I used to dread it when he was in town, but I never had the sense to go out to the island or just not answer the door. He’d come striding in with a guitar under one arm and Linda under the other, asking me what was new, knowing nothing was new. Then he’d always ask if I’d heard his latest, which I usually hadn’t. The guitar was so we could sing together, but that was never going to happen. I’d just tell him that I was really busy being a father. He must have seen through that because he’s a father many times over and that certainly doesn’t tie him down. It wasn’t till I told him that I was real busy that if he wanted to see me he’d have to call first that he got the message to leave off. I have your tarot advice to thank for that.”

John Green, Dakota Days. (1983)

COSTAS: if somebody didn’t, mixed in with it all, genuinely love somebody, genuinely care about their feelings about them, they wouldn’t go to the lengths, in whatever strange way, that John did to lash back at you! They wouldn’t hold a pig on the cover to parody you holding a sheep in ‘RAM’! They wouldn’t, you know, call your stuff rubbish and write ‘How Do You Sleep’. They wouldn’t do it! PAUL: Oh, I think that’s right. I think that’s right. He was- he was very hurt, there were people turning him against me. It was his way of defending himself. He was- he was quite pissed off about the ‘McCartney bandwagon’ as he once called it, you know? [mimicking John] ‘Oh, bloody- he’s gettin’ on all the telly, he’s sellin’ records!’ Yeah, he was- he was a jealous guy! But I understood that! That was John! You love it or you leave it! And I stuck with it for many, many years!

Paul McCartney, Interviewed by Bob Costa, 1991.

It was a weird time. The people who were managing us were whispering in our ears and trying to turn us against each other and it became like a feuding family. In the end, I think John had some tough breaks. He used to say, ‘Everyone is on the McCartney bandwagon.’ He wrote ‘I’m Just A Jealous Guy’ and he said that the song was about me. So I think it was just some kind of jealousy. I had to try and forgive John because I sort of knew where he was coming from. I knew that he was trying to get rid of the Beatles in order to say to Yoko, ‘Look, I’ve even given that up for you. I’m ready to devote myself to you and to the avant-garde.’ I don’t know if it’s true. One thing I’m really glad about is that I didn’t answer him back. It’s very difficult to do that when someone is attacking you. But I would have felt sick as a dog now if I had.

Paul McCartney, interview w/ Diane de Dubovay for Playgirl. (February, 1985)

PAUL: He was into heroin, and – see, which I hadn’t realised [the extent of] till just now. It’s all [starting to click a bit] in my brain. I was just figuring, oh, there’s John, my buddy, and he’s turning on me, ’cause he perceives that I’m... “McCartney bandwagon,” he once said to me. “Oh, they’re all on the McCartney bandwagon.” And to me, I was just releasing a record, okay. So you can call it the McCartney bandwagon, but it’s no harm. It’s no more than anyone else does when they put out a record. And yet things like that were hurting him, and looking back on it now I just think that it’s a bit sad really.

September, 1986 (MPL Communications, London)

Lennon’s jealousy of McCartney continued throughout the rest of his life. Lennon’s staff at the Dakota, where he spent his final years, attest to frequent tirades about his former partner. In his personal journals, Lennon wrote about Paul “almost every day” according to author Robert Rosen, who read the diaries in 1981 after they were stolen by Dakota employee Fred Seaman. When asked, in 2010, about the most disturbing takeaway of the diaries, Rosen replied “That’s easy. His jealousy of Paul, his love of money and his obsession with the occult.”

Robert Rosen

RR: Obviously I knew about the rivalry with McCartney, and the jealousy, but I think the extent of it...how often he thought about McCartney, and how jealous he was...I found that pretty shocking. I found it shocking that he was so into money. And the emphasis that was put on the occult was pretty shocking. The extent that they got into it.

An Interview with Robert Rosen

On one McCartney photo, Lennon scribbled the words, “I’m always perfect” as coming from McCartney’s mouth. He drew a Hitler-style moustache on another photo of McCartney. In an entry noting McCartney’s marriage to Linda Eastman, Lennon crossed out “wedding” and wrote “funeral”, the Observer said. But in a final tender moment, the Observer said, Lennon wrote under a photo of himself with McCartney: “The minutes are crumbling away.”

Associated Press: Lennon’s resentment of McCartney reflected in book notes. (July 20th, 1986)

So we went through a lot of those problems. But the nice thing was afterwards each one of them in turn very, very quietly and very briefly said, ‘Oh, thanks for that.’ That was about all I ever heard about it. But again, John turned it round. He said, ‘But you’re always right, aren’t you?’ See, there was always this thing. I mean, it seemed crazy for me because I thought the idea was to try and get it right, you know. It was quite surprising to find that if you did get it right, people could then turn that one around and say: ‘But you’re always right aren’t you?’ It’s like moving the goal posts.

Paul McCartney: An Innocent Man? (October, 1986)

So, here we sit, watching the mighty Dylan and the mighty McCartney and the mighty Jagger slide down the mountain, blood and mud in their nails. Well, that’s the way the world is, ha ha ha, that’s the way the world is, oh yes. The difference between now and a couple of years back is that whenever there was a new thing out by any of the aforesaid, I used to feel a sense of panic and competition. And now, I just feel like even the last few months it’s changed. I would send out for their albums or something just to hear it. There doesn’t seem any point now. Let’s take a break. How do we break? Just put it off. Still, even now, talking about them or thinking about them is still really being involved in it, because the ultimate dissociation would be not even to know they had an album out! [laughs] But now at least I get pleasure in it instead of panic. The main pleasure being of course that it’s all a load of shit. So I suppose I’ll always feel competitive with them, because they were from that same generation, but when I hear something like “Pop Muzik” by Robin Scott or the Blondie single, I really enjoy it, you know. I don’t feel competitive about it.

Lennon audio diaries

“They [Lennon & McCartney] saw each other again in 1977. The Lennons and McCartneys ate dinner together at Le Cirque, Paul’s favourite French restaurant in New York. John regretted going; it was a loathsome night. Paul and Linda blathered on and on about how perfect their lives were, how they had everything they’d ever wanted, and how they were as happy as they’d ever been. Something very paranoid suddenly occurred to John. Maybe Lorraine Boyle was spying on him for the McCartneys! He woke up the next morning still feeling disturbed; he consulted the Oracle. Swan assured him that Paul and Linda were frustrated and unsatisfied. Their marriage was in trouble, he said, predicting it would break up within the year. Lately Swan’s visions had been astonishingly accurate. Relieved, John began composing a song—a little ditty, really, that would never be released—in praise of the Oracle’s powers. But he still couldn’t understand why Paul and Linda had been together for as long as they had. There appeared to be a psychic connection between John and Paul. Every time McCartney was in town, John would hear Paul’s music in his head.”

Robert Rosen, Nowhere Man: The Final Days of John Lennon, (2000)

We agreed that if the press got hold of this record we’d pull the plug on it. I’d tell the musicians that John wasn’t sure if he could do it. He was very, very insecure. He didn’t think he had it anymore, you know. He thought he was too old, he just couldn’t write, he couldn’t sing, he couldn’t play, nothing. It took a while.

Jack Douglas on working with John Lennon on Double Fantasy.

“Yoko was an extremist and was even more intense than John taking any idea or comment of his to the limit. If, for example, he complained about any of his fellow Beatles she would hint that that Beatle had always been an enemy implying that John should never deal with that person again. Her extreme positions fascinated John and help him take his mind off himself but when she became self-involved and paranoid herself -her paranoia usually dealt with her career, her fame and the fact that even though she had always been famous everyone conspired to keep her from getting even more famous- he had no place to turn. His insecurity about his solo career, his childhood, his relationships with the other Beatles, the way the public perceived Yoko overwhelmed him and he became more and more involved with drugs.”

May Pang, Loving John (1984)

Klein, on his first meeting with John: “I thought John was losing confidence in himself, and I really didn’t know who had written exactly what, so I couldn’t give John the encouragement he needed. If Paul was really the main factor in the making of records — I mean, if things were really going to fall apart without him — I needed to know that and be able to deal with it. It turned out, of course, that John had written most of the stuff. He’d forgotten a lot of what he’d contributed … John wrote … 60 or 70 percent of Eleanor Rigby. He just didn’t remember till I sat down and had him sort through it all … Everybody thought McCartney was the genius songwriter who did it all by himself and it wasn’t true.”

Allen Klein, Playboy: A candid conversation with the embattled manager of the Beatles. (November, 1971)

Few people disagreed, however, that McCartney always cared deeply about Lennon’s opinion of him. He was still insecure enough on this point to invite Andy Peebles, the Radio 1 DJ who interviewed John the weekend before his death, to join him early on the morning of 10 December. Peebles went to AIR, where he found Paul both ‘deeply shocked [and] obsessed about what John and Yoko had said about him.’ An irony not lost on Peebles, among others, was that Lennon himself had repeatedly tried to find out what Paul had thought of Double Fantasy. “For public consumption,” says another of his final interviewers, “John seemed not to care. The fact that he mentioned McCartney’s name on average ten times an hour suggests otherwise … The strong feeling was that Paul and Yoko were the only two people in the world whose approval he gave a toss for.” Time passed. Paul locked the door of his home studio and played (Just Like) Starting Over, the first single from Double Fantasy. Top volume. For days.

Christopher Sandford, McCartney. (2005)

He became so jealous in the end. You know he wouldn’t let me even touch his baby. He got really crazy with jealousy at times.

Paul McCartney, “off the record” conversation with Hunter Davies. (May 3rd, 1981)

“If you do two LPs there might be a little change!” John laughs. “But until then I don’t mind. When she wants the A side, that’s when we start fighting.

John Lennon, interview w/ Jonathan Cott for Rolling Stone: Yoko Ono and her sixteen-track voice. (March 18th, 1971)

John as a solo artist didn’t sell a lot of albums compared to Paul McCartney. That bothered him. So did the adulation that Paul received when he’d go out on the road, which was all rightfully deserved, in my opinion. 

Friends, Forever: Elliot Mintz On His Decade With John And Yoko

Paul's competitiveness

“My role in [Tug of War] was to goad Paul a bit. I think when he and John Lennon split up, he missed John’s goading enormously. It’s almost like they collaborated by means of competition. John would often say cruel things to Paul and Paul would come back and say, ‘I’ll show him what I can do,’ and Paul could be equally cruel to John and then John would come up with something. Despite the love they had for each other, they would still egg each other on in a funny kind of way. I think Paul missed that spur.”

George Martin, interview w/ Paul Grein for Billboard: Martin/McCartney ‘Tug’ team scores. (February 2nd, 1983)

SMITH: Were you closer to any one of them than the others? GEORGE M.: Not really – certainly not in those days, no. Gradually, as things changed, then they went into their little spheres and they became much more – the rivalry between John and Paul became much more marked. So they were never great cooperators. They were never great – they were never Rodgers and Hart. They never collaborated in the sense of sitting down to write a song together. One would have the idea for a song, and take the other guy and say, “Look, I need your help here on this line, can you give it to me?” And that was the way they collaborated. And generally speaking their songs were pitched against each other, [in the sense of] “Well, you’ve written that, hey, listen to mine,” so it was a competitive collaboration. And it was valuable nonetheless, because – in fact Paul misses it terribly now. He misses that spark of John being rude to him and saying, “You can’t write that, Paul, that’s awful,” you know. He needs that. And only John could say that most effectively.

October 22nd, 1986: George Martin

"Paul McCartney was the most competitive person I've ever met. John [Lennon] wasn't competitive. He just thought everyone else was s-h-*-t."

Ray Davies

TV GUIDE: At the time of Wings, how competitive were you with your former Beatles band mates? PAUL: Really competitive. I don’t think any of us would have ever admitted it. I know we would listen to what each other was doing and [think], “Oh, my God, that’s good.” I know for a fact John did once with [my] song ‘Coming Up’. It was on a documentary, I think, about John, where his recording manager at the time said John listened to it and went, “Oh, I’ll have to go back to work.” I found that a very nice fact that I egged John into doing something.

Paul McCartney, interview w/ Lisa Bernhard and Steven Reddicliffe for TV Guide: Listen to what the man says. (May 1st, 2001)

[d-criss-news]

From Hedwig to Helperbot: Darren Criss Looks Back on His Stage Journey

It’s nap time for Darren Criss’s newborn son, Brother, when the Glee star hops on our video chat. The camera’s off, but he quickly turns it on to say hello face-to-face dressed in workout clothes — a green sleeveless top and a ball cap — as he tries to do some chores at the same time.

Criss has a limited window at home as he prepares to star in the new musical Maybe Happy Ending, now playing at Broadway’s Belasco Theatre. The story, with book, music, and lyrics by Will Aronson and Hue Park, takes place 100 years in the future in Seoul, South Korea. Criss plays Oliver, an obsolete Belperbot along the lines of Siri or Google, “except more human-like, who is definitely past his prime and has been just waiting [in a Helperbot retirement facility] for his owner to pick him up,” Criss describes to Broadway Direct of the role. He stars opposite rising star Helen J Shen, who plays Oliver’s retired Helperbot neighbor. “It almost feels like two people in an old-folks’ home trying to connect with a family member.”

The plot sounds dramatic, but “make no mistake: This is a musical. It’s a musical comedy,” says Criss. “It has a lot of heart and a lot of joy and a lot of humor and amazing music, and it’s a hell of a spectacle.”

His friend Michael Arden, who won a Tony Award for his direction of Parade, was a big reason for Criss to sign on to the project — and serve as an executive producer as well. Arden brought the show to Criss’s attention many years ago, and again recently when Criss was starring in Little Shop of Horrors Off-Broadway.

“This had been kind of percolating for a while, and between the pandemic and strikes and just a lot of other things, that really comes down to timing. So the stars just kind of aligned,” Criss says.

Criss, a figure on Broadway for well over a decade, started to gather a following while at University of Michigan as a founding member of Team StarKid, the student-run theater company behind the viral Harry Potter musical parody A Very Potter Musical. His big break came on the hit Fox TV show Glee back in 2010. The show had already aired for a full season before he was cast as Warbler Blaine Anderson and future love interest to Chris Colfer’s Kurt Hummel. If not for Glee, he believes his career would not have had the same trajectory.

“I felt like this was my master’s in performance of music on camera,” Criss says, admitting that, until Glee, he didn’t consider himself a singer — rather, a musician who acted. “I have that show to thank for giving me any headway in the musical-theater space.”

In the middle of filming Glee in 2012, his Broadway debut called. Criss was asked to succeed Daniel Radcliffe in How to Succeed in Business Without Really Trying for three weeks during a winter break from filming Glee. “I left on, like, a Friday night from my last day of shooting. I started rehearsal on a Saturday. Within 10 days, I was on a Broadway stage. I left my Sunday matinee, got on the plane, and went to work [at Glee] Monday morning as if nothing had happened. So it was a bit of a fever dream. It goes by as quickly as it came, like all other moments in life.”

Three years later, Criss stepped into his next Broadway role. This time, he played Hedwig in Hedwig and the Angry Inch for about two and half months, succeeding John Cameron Mitchell. “People always ask me, ‘What’s your dream role?’ I’m like, ‘I kind of did it,’” he says of the opportunity. “Hedwig was a role I always loved so much when I was a teenager, and getting to jump into it was so special to me and my wife. We both love Hedwig so much. It’s a big part of our relationship.”

More recently on Broadway, Criss starred in the play American Buffalo with Laurence Fishburne and Sam Rockwell in 2022 for a three-month limited run. “I completely idolized them,” he says of his scene partners. “I mean, if you see a pattern here, I recommend this to everybody, to just chase their heroes. I’ve just been chasing my heroes my whole life, and I’m not being bashful about it at all.”

Getting Rachel Evan Wood to play Audrey opposite Criss’s Seymour in Little Shop of Horrors at the Westside Theatre earlier this year was something that he says was his idea.

“I pitched her pretty hard,” he said of getting casting directors to choose the Westworld actress as his costar. “When they heard her sing, I think it was very clear that this wasn’t like a favor to anybody. She was doing us a favor. The fact that she said yes just blew my mind.” The role of the nerdy floral shop worker wasn’t something Criss thought he’d get the opportunity to add to his résumé “because it just was never something that I thought anybody would let me do. … I wasn’t sprinting to that in the way that I was the other things in my life.”

Criss welcomed Brother, his second baby, this past June with his wife Mia. The timing couldn’t be more coincidental, since their first, Bluesy, was born during his run of American Buffalo.

As our conversation comes to a close, Criss says he kind of got all of his chores done and haphazardly put things away and folded laundry. The next project he wants to pursue is his writing, something he hasn’t tackled much in five years. Until then, he’s reveling in Maybe Happy Ending.

“I do find myself at a loss for words, trying to truly put into words how special this experience has been,” he adds. “I think it really is a thing of beauty that can really add quite a bit of ornamentation in perhaps a grim world.”

[jgroffdaily]

@mendezzzz Tony Awards dress rehearsal!!!!

Post by Lindsay's brother, Michael Mendez, who is also performing at the Tonys as part of the cast of Water For Elephants.

[invisibleicewands]

Michael Sheen: Prince Andrew, Port Talbot and why I quit Hollywood

When Michael Sheen had an idea for a dystopian TV series based in his home town of Port Talbot, in which riots erupt when the steel works close, he had no idea said works would actually close — a month before the show came to air. “Devastating,” he says, simply, of last month’s decision by Tata Steel to shut the plant’s two blast furnaces and put 2,800 jobs at risk.

“Those furnaces are part of our psyche,” he says. “When the Queen died we talked about how psychologically massive it was for the country because people couldn’t imagine life without her. The steel works are like that for Port Talbot.”

Sheen’s show — The Way — was never meant to be this serious. The BBC1 three-parter is directed by Sheen, was written by James Graham and has the montage king Adam Curtis on board as an executive producer. The plot revolves around a family who, when the steel works are closed by foreign investors, galvanise the town into a revolt that leads to the Welsh border being shut. Polemical, yes, but it has a lightness of touch. “A mix of sitcom and war film,” Sheen says, beaming.

But that was then. Now it has become the most febrile TV show since, well, Mr Bates vs the Post Office. “We wanted to get this out quickly,” Sheen says. With heavy surveillance, police clamping down on protesters and nods to Westminster abandoning parts of the country, the series could be thought of as a tad political. “The concern was if it was too close to an election the BBC would get nervous.”

I meet Sheen in London, where he is ensconced in the National Theatre rehearsing for his forthcoming starring role in Nye, a “fantasia” play based on the life of the NHS founder, Labour’s Aneurin “Nye” Bevan. He is dressed down, with stubble and messy hair, and is a terrific raconteur, with a lot to discuss. As well as The Way and Nye, this year the actor will also transform himself into Prince Andrew for a BBC adaptation of the Emily Maitlis Newsnight interview.

Sheen has played a rum bunch, from David Frost to Tony Blair and Chris Tarrant. And we will get to Bevan and Andrew, but first Wales, where Sheen, 55, was born in 1969 and, after a stint in Los Angeles, returned to a few years ago. He has settled outside Port Talbot with his partner, Anna Lundberg, a 30-year-old actress, and their two children. Sheen’s parents still live in the area, so the move was partly for family, but mostly to be a figurehead. The actor has been investing in local arts, charities and more, putting his money where his mouth is to such an extent that there is a mural of his face up on Forge Road.

“It’s home,” Sheen says, shrugging, when I ask why he abandoned his A-list life for southwest Wales. “I feel a deep connection to it.” The seed was sown in 2011 when he played Jesus in Port Talbot in an epic three-day staging of the Passion, starring many locals who were struggling with job cuts and the rising cost of living in their town. “Once you become aware of difficulties in the area you come from you don’t have to do anything,” he says, with a wry smile. “You can live somewhere else, visit family at Christmas and turn a blind eye to injustice. It doesn’t make you a bad person, but I’d seen something I couldn’t unsee. I had to apply myself, and I might not have the impact I’d like, but the one thing that I can say is that I’m doing stuff. I know I am — I’m paying for it!”

The Way is his latest idea to boost the area. The show, which was shot in Port Talbot last year, employed residents in front of and behind the camera. The extras in a scene in which fictional steel workers discuss possible strike action came from the works themselves. How strange they will feel watching it now. The director shakes his head. “It felt very present and crackling.”

One line in the show feels especially crucial: “The British don’t revolt, they grumble.” How revolutionary does Sheen think Britain is? “It happens in flare-ups,” he reasons. “You could say Brexit was a form of it and there is something in us that is frustrated and wants to vent. But these flare-ups get cracked down, so the idea of properly organised revolution is hard to imagine. Yet the more anger there is, the more fear about the cost of living crisis. Well, something’s got to give.”

I mention the Brecon Beacons. “Ah, yes, Bannau Brycheiniog,” Sheen says with a flourish. Last year he spearheaded the celebration of the renaming of the national park to Welsh, which led some to ponder whether Sheen might go further in the name of Welsh nationalism. Owen Williams, a member of the independence campaigners YesCymru, described him to me as “Nye Bevan via Che Guevara” and added that the actor might one day be head of state in an independent Wales.

Sheen bursts out laughing. “Right!” he booms. “Well, for a long time [the head of state] was either me or Huw Edwards, so I suppose that’s changed.” He laughs again. “Gosh. I don’t know what to say.” Has he, though, become a sort of icon for an independent Wales? “I’ve never actually spoken about independence,” he says. “The only thing I’ve said is that it’s worth a conversation. Talking about independence is a catalyst for other issues that need to be talked about. Shutting that conversation down is of no value at all. People say Wales couldn’t survive economically. Well, why not? And is that good? Is that a good reason to stay in the union?”

On a roll, he talks about how you can’t travel from north to south Wales by train without going into England because the rail network was set up to move stuff out of Wales, not round it. He mentions the collapse of local journalism and funding cuts to National Theatre Wales, and says these are the conversations he wants to have — but where in Wales are they taking place?

So, for Sheen, the discussion is about thinking of Wales as independent in identity, not necessarily as an independent state? “As a living entity,” he says, is how he wants people to think about his country. “It’s much more, for me, about exploring what that cultural identity of now is, rather than it being all about the past,” he says. “We had a great rugby team in the 1970s, but it’s not the 1970s anymore and, yes, male-voice choirs make us cry, but there are few left. Mines aren’t there either. All the things that are part of the cultural identity of Wales are to do with the past and, for me, it’s much more about exploring what is alive about Welsh identity now.”

You could easily forget that Sheen is an actor. He calls himself a “not for profit” thesp, meaning he funds social projects, from addiction to disability sports. “I juggle things more,” he says. “Also I have young kids again and I don’t want to be away much.”

Sheen has an empathetic face, a knack of making the difficult feel personable. And there are two big roles incoming — a relief to fans.

Which leads us to Prince Andrew. “Of course it does.” This year he plays the troubled duke in A Very Royal Scandal — a retelling of the Emily Maitlis fiasco with Ruth Wilson as the interviewer. Does the show go to Pizza Express in Woking? “No,” Sheen says, grinning. Why play the prince? He thinks about this a lot. “Inevitably you bring humanity to a character — that’s certainly what I try to do.” He pauses. “I don’t want people to say, ‘It was Sheen who got everybody behind Andrew again.’ But I also don’t want to do a hatchet job.”

So what is he trying to do? “Well, it is a story about privilege really,” he says. “And how easy it is for privilege to exploit. We’ve found a way of keeping the ambiguity, because, legally, you can’t show stuff that you cannot prove, but whether guilty or not, his privilege is a major factor in whatever exploitation was going on. Beyond the specifics of Andrew and Epstein, no matter who you are, privilege has the potential to exploit someone. For Andrew, it’s: ‘This girl is being brought to me and I don’t really care where she comes from, or how old she is, this is just what happens for people like me.’”

It must have been odd having the prince and Bevan — the worst and best of our ruling classes — in his head at the same time. What, if anything, links the men? “What is power and what can you do with it?” Sheen muses, which seems to speak to his position in Port Talbot too. Nye at the National portrays the Welsh politician on his deathbed, in an NHS hospital, moving through his memories while doped up on meds. Sheen wants the audience to think: “Is there a Bevan in politics now and, if not, why not?”

Which takes us back to The Way. At the start one rioter yells about wanting to “change everything” — he means politically, sociologically. However, assuming that changing everything is not possible, what is the one thing Sheen would change? “Something practical? Not ‘I want world peace’. I would create a people’s chamber as another branch of government — like the Lords, there’d be a House of People, representing their community. Our political system has become restrictive and nonrepresentational, so something to open that up would be good.”

The actor is a thousand miles from his old Hollywood life. “It’d take a lot for me to work in America again — my life is elsewhere.” It is in Port Talbot instead. “The last man on the battlefield” is how one MP describes the steel works in The Way, and Sheen is unsure what happens when that last man goes. “Some people say it’s to do with net zero aims,” he says about the closure. “Others blame Brexit. But, ultimately, the people of Port Talbot have been let down — and there is no easy answer about what comes next.”

[anonymityisfunwriter]

Afterglow

"Just wanna lift you up and not let you go, this ultraviolet morning light below tells me this love is worth the fight..."

Part of Inspired by Taylor Swift Series 'You're Losing Me' Chapter List

"I just can't believe they're going to be married in two days," you wistfully sigh, tossing your jacket onto the couch.

There was nothing quite like a wedding rehearsal dinner to put you in a particularly wistful, romantic mood. It also didn’t hurt that you and Bucky had fallen back together so perfectly over the last few months. It all seemed to fall into place. "They're perfect for each other."

"They seem really happy," Bucky agrees, smiling at the lightness in your face. 

You warmly smile back at him, "Yeah, they do."

"It was a beautiful night," Bucky continues. He ambles into the living room, following in your footsteps. “Makes you wonder, you know?”

Bucky’s not quite sure that you heard him. You’re sort of lost in your own bubble of romanticism. He hasn’t seen this side of you in quite some time, so he’s content to just watch you twirl around the room. He smiles at the way your dress swishes around you. He’s not quite sure if the flush on your cheeks is the alcohol in your system or just the thrill of the night. 

There's something about this night. Something that he can't quite put his finger on. He just doesn't want to end. It's like he wants to stay in these twenty seconds or live out the next twenty years with you in this very moment. He'll take either. Twenty seconds or twenty years. He doesn't just want this night, he wants them all.

His heart flutters, he can't remember the last time that happened. He walks over to his bookshelf, the that you almost burned down on one of your first dates together. He drops the needle and plays one of his records. 

Your eyes flutter shut at the sound of music suddenly filling the room, gasping when Bucky’s arms suddenly wraps around your waist, "What are you doing?"

"I just wanted to dance with you. Is that okay?"

You chortle at him, looking up at him. It's in that moment that Bucky sees it. It's back, that glimmer of hope, of love. It's back. You nod, resting your head on his chest, "I always want to dance with you."

His heart flutters again. He keens at the feeling of you back in his arms. It’s been six months of you back in his arms, but he never lets himself forget how lucky he is. In that moment, he knows he'll truly never get enough of you. "I really liked what Vision said, you know? About letting life surprise you with what it gives you."

"He is oddly poignant," you agree.

"Made me think of us."

You lift your head off his chest, looking up at him with a quirked eyebrow, "Really?"

"He said something like that when we were..." he trails off. It wasn't one of his finest moments in life, and he tried not to relive it as much as possible. To this day, he couldn't believe he almost burned down everything you had out of his own fear. It almost makes him feel sick thinking about the night he asked you to stay, to give him one more chance. He very well knows that it could’ve gone either way. "Well, you know."

Your head tilts to the side with an amused smirk, "You talked to Vision about us?"

"Yeah," Bucky anxiously chuckles. "I didn’t really have a choice, everyone just about slapped me upside my head. Well, Steve actually did. But anyway, he told me, in no uncertain terms, that I was being an idiot, which wasn't that uncommon of a sentiment."

A laugh bubbles out of your mouth, "Vision called you an idiot?" 

"Vision, Steve, Sam, Natasha, Wanda, Tony, Clint, even Peter. And honestly, I don't disagree."

Almost six months had passed since your brief separation. Six months had passed since he asked you to stay.

And stay, you did.

You talked that entire night, talked about how you could fix what was clearly broken.

You talked about everything, the future you wanted, the future he wanted. You agreed that Bucky would go back to therapy. You talked about the team and Bucky’s work. There was so much left uncertain at the end of the night, but you had one very solid conclusion: that you would both try. And in the months since then, things were settling fairly well. Bucky didn’t wake up screaming in the middle of the night. He could envision a future that was brighter than the past. Your house felt like a home again. Light poured in once more. The silence was replaced with music. You finally danced with Bucky again. 

Things were looking up. It all seemed brighter now. 

Bucky finally stepped into the daylight. 

"You don't?" you question.

"Well, I was being an idiot, and it almost cost me the best thing that has ever happened to me." You remain silent, a blush creeping up your face as Bucky continues talking, "You know that, right? You're the best thing that has ever happened to me, I love you, more than I ever thought possible."

"I love you too." You rest your head back against his chest, listening to the steady beating of his heart. It adds something to the moment. In this moment, it is you and him. He is all you see, all you care to hear. He is the only touch that has ever ignited hope within you. In this moment, everything is right. Everything is perfect. "And I'm glad we found our way back to each other."

"Me too." Just over your head, he looks at that bookcase. The one from your second date. What you didn't know was on a shelf just out of your reach, tucked in the corner, sat his mother's ring. He smiles to himself. He's sure in that moment that his heart will never be as full as it is in this moment. "I'm happy here. I want to be happy, to make you happy. I want us to be happy together."

What he didn't tell you was the he could see it all in his head. He could envision it like he'd live through it time and time again. He could see the home you'd build together. He could see the family you'd one day have. He could see you walking down the aisle to him.

He'd have the next twenty years, but until then, he'd have these twenty seconds to tide him over. 

--

Author's note: So... um... I've got a surprise for you guys. I couldn't actually decide what ending to go with. Sad? How unpredictable for me (That was sarcasm.) Happy? (I've always loved a happy ending, but I can acknowledge that they are not always the most realistic. So why not write both?

So here we are, dear readers, if you want to keep this image of a perfect, fluffy, happy ending, stop here. If not, I hope you enjoy! Let me know what you think!

Alternate Ending! AnonymityIsFun Masterlist Inspired By Taylor Swift

Reblogs and comments are always appreciated 💛

Taglist: @marianita195 @meli18gonzalez@ludicbouquetfromearth@matchat3a@famousbreadcherryblossomsstuff@valoraxx@blue786sworld@buckyandgeraltsupremacy@geminigengar@ansaturn@ecolle@lexhalstead3@ybflkmj@mediocre-daydreams@shanye1112@thegirlnextdoorssister@toomanyfanficsbruh@moonlightreader649@breathtaking-cynthia@mirikusashes@beans-and-toast@niyahcoca@katiechikin@elxvrr@antiheroxsblog@infamouslyclumsy@krissydclayton93@buckysbarne@deadheadwbedhead @qualitygiantshoepsychic@whitexwolfxx310

[klaineccfanficlibrary]

Hello To All!

Hope you all are enjoying your weekend! I read on my phone and I’m not able to find stories. If there’s a way, please tell me how.

Please suggest adult stories for me with a great/happy ending. I prefer chapter stories of adult Klaine. Any suggestions are welcome. Need something to read tonight. Thank you for all you do!

Hello, when I search from my phone, I go onto our libary blog and into the "magnifying glass/search" at the top. I type in a particular word like "adult" or "enemies to lovers" and then a whole lot of previously recommended fics appear. Alternatively download A03 app, and you can search and filter on it.

Also on AO3 check out our 2023 Klainebingo which has 191 tagged stories written 2016-23 that fandom have recommended - not all adult klaine, but definitely worth looking at.

What I've done is made a list of recommendations here of some of Klaine fics I've enjoyed, where they are adults, or mostly post college age. Some newer, some older. ~ Jen

Seven by @scatterthestars

How far would you go for someone you love? For Kurt, that means doing the unimaginable. But if it means saving his dad, he's willing to take that risk. A risk that has him leaving his home to go states away to spend a week with the last person he ever expected to meet. Over the course of the next seven days, things don't go as planned, or thought.

Can seven days change everything?

~~~~~

Feel my heart's intention by @kurtsascot

Blaine started to hate Kurt on his first day. And it was a shame, really, because they could have been cute together. 

~~~~~

Falling for You By @caramelcoffeeaddict Coffeeaddict80

A fic written based off a mash-up of these two prompts from the @gleepotluckbigbang prompt page -- Prompt1: During rehearsal I tripped and fell into the orchestra pit and landed on you Prompt2: I have to share a dressing room with the most obnoxious, self-centered jerk; and when you sent flowers to our dressing room, they took them assuming they were for them but they were really for me Featuring: Broadway!Kurt, PianoPlayer!Blaine, Obnoxious!Broadway!Sebastian

~~~~~

Rock, paper, scissors by @gleefulpoppet

Kurt and his seven-year-old daughter are moving from the hustle and bustle of New York to the Rocky Mountains for a fresh start. On a connecting flight from Atlanta, they meet a warmhearted man who captures their attention with his enthusiasm. Will they ever see him again? And even if they do, how will he fit into their new life?

~~~~~

Nashville! by @hkvoyage

Kurt lands the lead role in a new musical, but it flops during the previews. However, his performance captivates Nashville’s newest country music sensation. They share an instant connection and it grows deeper as they get to know each other. Will Kurt be able to save the musical and keep the man of his dreams? An AU meeting featuring country singer!Blaine and Broadway!Kurt.

~~~~~

Made to keep your body warm by @quizasvivamos

Blaine is a meteorologist who works as a weatherman for a local New York news station where he's especially well-known for predicting storms. But, when a huge nor'easter blows in and the news crew is trapped at the station for three days by snow, can he predict what happens when he meets a young new intern?

~~~~~

If music be by @blurglesmurfklaine

Kurt’s just trying to survive his last semester of college, which means making it through student teaching in one piece.

~~~~~

In my place by @heartsmadeofbooks

Blaine has always been shy and introverted, so after his father dies, he looks for comfort into his childhood dream - owning a bookstore. But then Kurt Hummel walks into his life, turning his dream into a complicated affair.

~~~~~

These inconvenient fireworks by @redheadgleek

After an unexpected Tony award, Kurt Hummel is Broadway's hottest up and coming star, which comes with expectations and some admirers that won't take a hint. When his best friend Elliott Gilbert suggests that they pretend to date to get the leeches to back off, Kurt takes him up on the idea. It's all working out great - until Kurt starts to fall hard for the dark-haired music director of his latest musical.

~~~~~

Scenes from December by @spaceorphan18

An exploration of Kurt's life throughout various Decembers. The story of family and how the definition of family changes over time.

~~~~~

Home away from home by @lilyvandersteen

Cooper buys a hotel sight unseen and asks Blaine to run it for him over the summer. Only, the hotel is a health and safety hazard and Inspectors Hummel and Abrams are hell-bent on closing it down. Can Blaine spruce the hotel up in time and save Cooper's investment?

~~~~~

Living Haphazard by anna_timberlake @shame-is-a-wasted-emotion

Have you ever thought of getting cheated by a house broker and getting to know that you had to stay with another stranger who was also cheated? What if you are getting stuck up with the stranger in the apartment due to unavoidable circumstances? What if you hate him as well as have a crush on him? What if you had to fight your inner self and the stranger? What if he agreed on helping you which can only happen in dreams? This is a real living haphazard, isn't it?

~~~~ Someone like you by @iconicklaine

Kurt and Blaine keep up their very own version of "When Harry Met Sally" for years, a friendship fraught with sexual tension and longing, until the agendas of Adele (yes, THE Adele), a bored NY socialite and a super-sweet hetero couple bring our boys together. The only problem is... they're both in committed relationships.

Note: This story is AU after "Sexy" and assumes Kurt and Blaine graduate from Dalton in the same year. In this future fic, set in 2025, Blaine is based off of Season 2 Blaine. Originally posted on LJ and S&C.

~~~~~

The Journeying By @flowerfan2

Freshly graduated from music school, Blaine is thrilled when he is chosen to stay in the cast when the production of Into the Woods he was lucky enough to be part of in Boston moves to Broadway. He knows it’s going to be hard returning to New York City – the scene of his epic breakup with his fiancé and the emotional meltdown which cost him his place at NYADA. But he’s determined that this time, everything will be different. Little does Blaine know that out of thousands of potential castmates, his director has chosen none other than Kurt Hummel to play the part of Jack. Blaine has worked hard to recover from their breakup three years ago, and struggles to find a new way to relate to Kurt and simultaneously protect himself, especially when tragedy strikes.

This story looks at what would have happened if Kurt and Blaine had reacted differently to the break up in 6x01 than they did in canon; if events hadn’t brought them back together as soon, and if forgiveness hadn’t come so easily.

[differenteagletragedy]

oh. my. god. hear me out, bc ur baxter-phantom-fan got me thinking. MC who is musical theatre actor/actress. baxter is their partner and comes to EVERY show MC is in. please hear me out.

Haha, that's so weird, I've never thought about this before! I suddenly just know a lot of things about how this would go even though I've never imagined this scenario at all, isn't that crazy?

-- He would catch a show whenever he could, and he would enjoy it so so much every single time. Just seeing you up there, being so amazing, it makes his heart swell with pride.

-- Would not miss opening night for the world. Has a dozen red roses, very classic.

-- He's come to pick you up from rehearsals, that sort of thing, so he's familiar with the cast and crew. They'll let him backstage if he pops in before or after a performance, and I just think that's cute.

-- Him in his little suit sitting in your dressing room while you change out of your costume, take your makeup off, etc.

-- If you're like bigtime Broadway star, he'd like to walk you out the stage door whenever possible. He is protective!

-- Will help you with your lines, of course. If you go through your songs at home, he is in heaven, just watching and listening so intently and so lovingly. He'll never ever get tired of it. And if you have choreography you're learning? He can't help but want to run it with you. If it's a dance with a partner he can easily learn your partner's part, you know, just to help out (it's because he loves it).

-- No but if you are on Broadway and you/your show gets nominated for a Tony, he's going to be THRILLED to go. He gets to wear a tux AND he gets to see you in formalwear too. If you need help styling yourself, he's totally down for that. He is going to be absolutely preening the entire night.

-- If he's seen the show a number of times, he also likes to watch the audience watch you. Subtly, he's not going to gawk obviously, but he likes seeing other people appreciate your talent and knowing that you are his and he is yours.

[eddie-redmayne-italian-blog]

The Untold History of Cabaret: Revived and Kicking

As Broadway welcomes the ever-evolving musical, its star, Eddie Redmayne—along with Liza Minnelli, Joel Grey, and Sam Mendes—assess its enduring power.

As director Rebecca Frecknall was rehearsing a new cast for her hit London revival of Cabaret, the actor playing Clifford Bradshaw, an American writer living in Berlin during the final days of the Weimar Republic, came onstage carrying that day’s newspaper as a prop. It happened to be Metro, the free London tabloid commuters read on their way to work. The date was February 25, 2022. When the actor said his line—“We’ve got to leave Berlin—as soon as possible. Tomorrow!”—Frecknall was caught short. She noticed the paper’s headline: “Russia Invades Ukraine.”

Cabaret, the groundbreaking 1966 Broadway musical that tackles fascism, antisemitism, abortion, World War II, and the events leading up to the Holocaust, had certainly captured the times once again.

Back in rehearsals four months later, Frecknall and the cast got word that the Supreme Court had overturned Roe v. Wade. Every time she checks up on Cabaret, “it feels like something else has happened in the world,” she told me over coffee in London in September.

A month later, as Frecknall was preparing her production of Cabaret for its Broadway premiere, something else did happen: On October 7, Hamas terrorists infiltrated Israel, killing at least 1,200 people and taking more than 240 hostages.

The revival of Cabaret—starring Eddie Redmayne as the creepy yet seductive Emcee; Gayle Rankin as the gin-swilling nightclub singer Sally Bowles; and Bebe Neuwirth as Fraulein Schneider, a landlady struggling to scrape by—opens April 21 at Manhattan’s August Wilson Theatre. It will do so in the shadow of a pogrom not seen since the Einsatzgruppen slaughtered thousands of Jews in Eastern Europe and in the shadow of a war between Israel and Hamas that continues into its fifth month, with the killing of thousands of civilians in Gaza.

Nearly 60 years after its debut, Cabaret still stings. That is its brilliance. And its tragedy.

Redmayne has been haunted by Cabaret ever since he played the Emcee in prep school. “I was staggered by the character,” he says. “The lack of definition of it, the enigma of it.” He played the part again during his first year at Cambridge at the Edinburgh Fringe Festival, where nearly 3,500 shoestring productions jostle for attention each summer. Cabaret, performed in a tiny venue that “stank,” Redmayne recalls, did well enough that the producers added an extra show. He was leering at the Kit Kat Club girls from 8 p.m. till 10 p.m. and then from 11 p.m. till two in the morning. “You’d wake up at midday. You barely see sunshine. I just became this gaunt, skeletal figure.” His parents came to see him and said, “You need vitamin D!”

In 2021, Redmayne, by then an Oscar winner for The Theory of Everything and a Tony winner for Red, was playing the Emcee again, this time in Frecknall’s West End production. His dressing room on opening night was full of flowers. There was one bouquet with a card he did not have a chance to open until intermission. It was from Joel Grey, who originated the role on Broadway and won an Oscar for his performance alongside Liza Minnelli in the 1972 movie. He welcomed the young actor “to the family,” Redmayne says. “It was an extraordinary moment for me.”

Cabaret is based on Goodbye to Berlin, the British writer Christopher Isherwood’s collection of stories and character studies set in Weimar Germany as the Nazis are clawing their way to power. Isherwood, who went to Berlin for one reason—“boys,” he wrote in his memoir Christopher and His Kind—lived in a dingy boarding house amid an array of sleazy lodgers who inspired his characters. But aside from a fleeting mention of a host at a seedy nightclub, there is no emcee in his vignettes. Nor is there an emcee in I Am a Camera, John Van Druten’s hit 1951 Broadway play adapted from Isherwood’s story “Sally Bowles” from Goodbye to Berlin.

The character, one of the most famous in Broadway history, was created by Harold Prince​​, who produced and directed the original Cabaret. “People write about Cabaret all the time,” says John Kander, who composed the show’s music and is, at 96, the last living member of that creative team. “They write about Liza. They write about Joel, and sometimes about us [Kander and lyricist Fred Ebb]. None of that really matters. It’s all Hal. Everything about this piece, even the variations that happen in different versions of it, is all because of Hal.”

In 1964, Prince produced his biggest hit: Fiddler on the Roof. In the final scene, Tevye and his family, having survived a pogrom, leave for America. There is sadness but also hope. And what of the Jews who did not leave? Cabaret would provide the tragic answer.

But Prince was after something else. Without hitting the audience over the head, he wanted to create a musical that echoed what was happening in America: young men being sent to their deaths in Vietnam; racists such as Alabama politician “Bull” Connor siccing attack dogs on civil rights marchers. In rehearsals, Prince put up Will Counts’s iconic photograph of a white student screaming at a Black student during the Little Rock crisis of 1957. “That’s our show,” he told the cast.

A bold idea he had early on was to juxtapose the lives of Isherwood’s lodgers with one of the tawdry nightclubs Isherwood had frequented. In 1951, while stationed as a soldier in Stuttgart, Germany, Prince himself had hung around such a place. Presiding over the third-rate acts was a master of ceremonies in white makeup and of indeterminate sexuality. He “unnerved me,” Prince once told me. “But I never forgot him.”

Kander had seen the same kind of character at the opening of a Marlene Dietrich concert in Europe. “An overpainted little man waddled out and said, ‘Willkommen, bienvenue, welcome,’ ” Kander recalls.

The first song Kander and Ebb wrote for the show was called “Willkommen.” They wrote 60 more songs. “Some of them were outrageous,” Kander says. “We wrote some antisemitic songs”—of which there were many in Weimar cabarets—“ ‘Good neighbor Cohen, loaned you a loan.’ We didn’t get very far with that one.”

They did write one song about antisemitism: “If You Could See Her (The Gorilla Song),” in which the Emcee dances with his lover, a gorilla in a pink tutu. At the end of the number, he turns to the audience and whispers: “If you could see her through my eyes, she wouldn’t look Jewishhh at all.” It was, they thought, the most powerful song in the score.

The working title of their musical was Welcome to Berlin. But then a woman who sold blocks of tickets to theater parties told Prince that her Jewish clients would not buy a show with “Berlin” in the title. Strolling along the beach one day, Joe Masteroff, who was writing the musical’s book, thought of two recent hits, Carnival and Camelot. Both started with a C and had three syllables. Why not call the show Cabaret?

To play the Emcee, Prince tapped his friend Joel Grey. A nightclub headliner, Grey could not break into Broadway. “The theater was very high-minded,” he once said. When Prince called him, he was playing a pirate in a third-rate musical in New York’s Jones Beach. “Hal knew I was dying,” Grey recounts over lunch in the West Village, where he lives. “I wanted to quit the business.”

At first, he struggled to create the Emcee, who did not interact with the other characters. He had numbers but “no words, no lines, no role,” Grey wrote in his memoir, Master of Ceremonies. A polished performer, he had no trouble with the songs, the dances, the antics. “But something was missing,” he says. Then he remembered a cheap comedian he’d once seen in St. Louis. The comic had told lecherous jokes, gay jokes, sexist jokes—anything to get a laugh. One day in rehearsal, Grey did everything the comedian had done “to get the audience crazy. I was all over the girls, squeezing their breasts, touching their bottoms. They were furious. I was horrible. When it was over I thought, This is the end of my career.” He disappeared backstage and cried. “And then from out of the darkness came Mr. Prince,” Grey says. “He put his hand on my shoulder and said, ‘Joely, that’s it.’ ”

Cabaret played its first performance at the Shubert Theatre in Boston in the fall of 1966. Grey stopped the show with the opening number, “Willkommen.” “The audience wouldn’t stop applauding,” Grey recalls. “I turned to the stage manager and said, ‘Should I get changed for the next scene?’ ”

The musical ran long—it was in three acts—but it got a prolonged standing ovation. As the curtain came down, Richard Seff, an agent who represented Kander and Ebb, ran into Ebb in the aisle. “It’s wonderful,” Seff said. “You’ll fix the obvious flaws.” In the middle of the night, Seff’s phone rang. It was Ebb. “You hated it!” the songwriter screamed. “You are of no help at all!”

Ebb was reeling because he’d learned Prince was going to cut the show down to two acts. Ebb collapsed in his hotel bed, Kander holding one hand, Grey the other. “You’re not dying, Fred,” Kander told him. “Hal has not wrecked our show.”

Cabaret came roaring into New York, fueled by tremendous word of mouth. But there was a problem. Some Jewish groups were furious about “If You Could See Her.” How could you equate a gorilla with a Jew? they wanted to know, missing the point entirely. They threatened to boycott the show. Prince, his eye on ticket sales, told Ebb to change the line “She wouldn’t look Jewish at all” to something less offensive: “She isn’t a meeskite at all,” using the Yiddish word for a homely person.

It is difficult to imagine the impact Cabaret had on audiences in 1966. World War II had ended only 21 years before. Many New York theatergoers had fled Europe or fought the Nazis. There were Holocaust survivors in the audience; there were people whose relatives had died in the gas chambers. Grey knew the show’s power. Some nights, dancing with the gorilla, he’d whisper “Jewish” instead of “meeskite.” The audience gasped.

Cabaret won eight Tony Awards in 1967, catapulted Grey to Broadway stardom, and ran for three years. Seff sold the movie rights for $1.5 million, a record at the time. Prince, about to begin rehearsals for Stephen Sondheim’s Company, was unavailable to direct the movie, scheduled for a 1972 release. So the producers hired the director and choreographer Bob Fosse, who needed the job because his previous movie, Sweet Charity, had been a bust.

Fosse, who saw Prince as a rival, stamped out much of what Prince had done, including Joel Grey. He wanted Ruth Gordon to play the Emcee. But Grey was a sensation, and the studio wanted him. “It’s either me or Joel,” Fosse said. When the studio opted for Grey, Fosse backed down. But he resented Grey, and relations between them were icy.

A 26-year-old Liza Minnelli, on the way to stardom herself, was cast as Sally Bowles. The handsome Michael York would play the Cliff character, whose name in the movie was changed to Brian Roberts. And supermodel Marisa Berenson (who at the time seemed to be on the cover of Vogue every other month) got the role of a Jewish department store heiress, a character Fosse took from Isherwood’s short story “The Landauers.”

Cabaret was shot on location in Munich and Berlin. “The atmosphere was extremely heavy,” Berenson recalls. “There was the whole Nazi period, and I felt very much the Berlin Wall, that darkness, that fear, all that repression.” She adored Fosse, but he kept her off balance (she was playing a young woman traumatized by what was happening around her) by whispering “obscene things in my ear. He was shaking me up.”

Minnelli, costumed by Halston for the film, found Fosse “brilliant” and “incredibly intense,” she tells Vanity Fair in a rare interview. “He used every part of me, including my scoliosis. One of my great lessons in working with Fosse was never to think that whatever he was asking couldn’t be done. If he said do it, you had to figure out how to do it. You didn’t think about how much it hurt. You just made it happen.”

Back in New York, Fosse arranged a private screening of Cabaret for Kander and Ebb. When it was over, they said nothing. “We really hated it,” Kander admits. Then they went to the opening at the Ziegfeld Theatre in New York. The audience loved it. “We realized it was a masterpiece,” Kander says, laughing. “It just wasn’t our show.”

“PAPA WAS EVEN MORE EXCITED ABOUT THE OSCAR THAN I WAS,” SAYS LIZA MINNELLI. “AND, BABY, I WAS—NO, I AM STILL—EXCITED.”

The success of the movie—with its eight Academy Awards—soon overshadowed the musical. When people thought of Cabaret, they thought of finger snaps and bowler hats. They thought of Fosse and, of course, Minnelli, who would adopt the lyric “Life is a cabaret” as her signature. Her best-actress Oscar became part of a dynasty: Her mother, Judy Garland, and father, director Vincente Minnelli, each had one of their own. “Papa was even more excited about the Oscar than I was,” she says. “And, baby, I was—no, I am still—excited.”

By 1987—in part to burnish Cabaret’s theatrical legacy—Prince decided to recreate his original production on Broadway, with Grey once again serving as the Emcee. But it had the odor of mothballs. The New York Times drama critic Frank Rich wrote that it was not, as Sally Bowles sings, “perfectly marvelous,” but “it does approach the perfectly mediocre.” Much of the show, he added, was “old-fashioned and plodding.”

In the early 1990s, Sam Mendes, then a young director running a pocket-size theater in London called the Donmar Warehouse, heard the novelist Martin Amis give a talk. Amis was writing Time’s Arrow, about a German doctor who works in a concentration camp. “I’ve already written about the Nazis and people say to me, ‘Why are you doing it again?’ ” Amis said. “And I say, what else is there?”

At the end of the day,” Mendes tells me, “the biggest question of the 20th century is, ‘How could this have happened?’ ” Mendes decided to stage Cabaret at the Donmar in 1993. Another horror was unfolding at the time: Serb paramilitaries were slaughtering Bosnian Muslims, “ethnic cleansing” on an unimaginable scale.

Mendes hit on a terrific concept for his production: He transformed his theater into a nightclub. The audience sat at little tables with red lamps. And the performers were truly seedy. He told the actors playing the Kit Kat Club girls not to shave their armpits or their legs. “Unshaved armpits—it sent shock waves around the theater,” he recalls. Since there was no room—or money—for an orchestra, the actors played the instruments. Some of them could hit the right notes.

To play the Emcee, Mendes cast Alan Cumming, a young Scottish actor whose comedy act Mendes had enjoyed. “Can you sing?” Mendes asked him. “Yeah,” Cumming said. Mendes threw ideas at him and “he was open to everything.” Just before the first preview, Mendes suggested he come out during the intermission and chat up the audience, maybe dance with a woman. Mendes, frantic before the preview, never got around to giving Cumming any more direction than that. No matter. Cumming sauntered onstage as people were settling back at their tables, picked a man out of the crowd, and started dancing with him. “Watch your hands,” he said. “I lead.”

Cumming’s Emcee was impish, fun, gleefully licentious. The audience loved him. “I have never had less to do with a great performance in one of my shows than I had to do with Alan,” Mendes says.

When Joe Masteroff came to see the show in London, Mendes was nervous. He’d taken plenty of liberties with the script. Cliff, the narrator, was now openly gay. (One night, when Cliff kissed a male lover, a man in the audience shouted, “Rubbish!”) And he made the Emcee a victim of the Nazis. In the final scene, Cumming, in a concentration camp uniform affixed with a yellow Star of David and a pink triangle, is jolted, as if he’s thrown himself onto the electrified fence at Birkenau.

“I should be really pissed with you,” Masteroff told Mendes after the show. “But it works.” Kander liked it too, though he was not happy that the actors didn’t play his score all that well. Ebb hated it. “He wanted more professionalism,” Mendes says. “And he was not wrong. There was a dangerous edge of amateurishness about it.”

The Roundabout Theatre Company brought Cabaret to New York in 1998. Rob Marshall, who would go on to direct the movie Chicago, helped Mendes give the show some Broadway gloss while retaining its grittiness. The two young directors were “challenging each other, pushing each other,” Marshall remembers, “to create something unique.”

Cumming reprised his role as the Emcee. He was on fire. Natasha Richardson, the daughter of Vanessa Redgrave and director Tony Richardson, played Sally Bowles. She was not on fire. She’d never been in a musical before, and when she sang, “There was absolutely no sound coming out,” Kander says.

“She beat herself up about her singing all the time,” Mendes adds. “There was a deep, self-critical aspect of Tash that was instilled by her dad, a brilliant man but extremely cutting.” He once said to her out of nowhere: “We’re going to have to do something about your chin, dear.” As Mendes saw it, she always felt that she could never measure up to her parents.

Kander went to work with her, and slowly a voice emerged. It was not a “polished sound,” Marshall says, but it was haunting, vulnerable. Still, Cumming was walking away with the show. At the first preview, when he took his bow, the audience roared. When Richardson took hers, they were polite. Mendes remembers going backstage and finding her “in tears.” But she persevered and through sheer force of will created a Sally Bowles that “will break your heart,” Masteroff told me the day before I saw that production in the spring of 1998. She did indeed. (Eleven years later, while learning how to ski on a bunny hill on Mont Tremblant, she fell down. She died of a head injury two days later.)

The revival of Cabaret won four Tony Awards, including one for Richardson as best actress in a musical. It ran nearly 2,400 performances at the Roundabout’s Studio 54 and was revived again in 2014. And the money, money, money, as the song goes, poured in. Once Masteroff, having already filed his taxes at the end of a lucrative Cabaret year, went to the mailbox and opened a royalty check for $60,000. “What the hell am I supposed to do with this?” he snapped.

Rebecca Frecknall grew up on Mendes’s Donmar Warehouse production of Cabaret. The BBC filmed it, and when it aired, her father videotaped it. She watched it “religiously.” But when she came to direct her production, she had to put Mendes’s version out of her mind.

Mendes turned his little theater into a nightclub. Frecknall, working with the brilliant set and costume designer Tom Scutt, has upped the game. They have transformed the entire theater into a Weimar cabaret. You stand in line at the stage door, waiting, you hope, to be let in. Once inside, you’re served drinks while the Kit Kat Club girls dance and flirt with you. The show’s logo is a geometric eye. Scutt sprinkles the motif throughout his sets and costumes. “It’s all part of the voyeurism,” Scutt explains. “The sense of always being watched, always watching—responsibility, culpability, implication, blame.”

REDMAYNE’S EMCEE IS STILL SEXY AND SEDUCTIVE, BUT AS THE SHOW GOES ON HE BECOMES A PUPPET MASTER MANIPULATING THE OTHER CHARACTERS, SOMETIMES TO THEIR DOOM.

Mendes’s Cabaret, like Fosse’s, had a black-and-white aesthetic—black fishnet stockings, black leather coats, a white face for the Emcee. Frecknall and Scutt begin their show with bright colors, which slowly fade to gray as the walls close in on the characters. “Color and individuality—to grayness and homogeneity,” Frecknall says.

As the first woman to direct a major production of Cabaret, Frecknall has focused attention on the Kit Kat Club girls—Rosie, Fritzie, Frenchie, Lulu, and Texas. “Often what I’ve seen in other productions is this homogenized group of pretty, white, skinny girls in their underwear,” she insists. Her Kit Kat Club girls are multiethnic. Some are transgender. Through performances and costumes, they are no longer appendages of the Emcee but vivid characters in their own right.

Her boldest stroke has been to reinvent the Emcee. She and Redmayne have turned him into a force of malevolence. He is still sexy and seductive, but as the show goes on, he becomes a skeletal puppet master manipulating the other characters to, in many cases, their doom. If Cumming’s Emcee was, in the end, a Holocaust victim, Redmayne’s is, in Frecknall’s words, “a perpetrator.”

Unwrapping a grilled cheese sandwich in his enormous Upper West Side townhouse, Kander says that his husband had recently asked him a pointed question: “Did it ever occur to you that all of you guys who created Cabaret were Jewish?”

“Not really,” Kander replied. “We were just trying to put on a show.” Or, as Masteroff once said: “It was a job.”

It’s a “job” that has endured. The producers of the Broadway revival certainly have faith in the show’s staying power. They’ve spent $25 million on the production, a big chunk of it going to reconfigure the August Wilson Theatre into the Kit Kat Club. Audience members will enter through an alleyway, be given a glass of schnapps, and can then enjoy a preshow drink at a variety of lounges designed by Scutt: The Pineapple Room, Red Bar, Green Bar, and Vault Bar. The show will be performed in the round, tables and chairs ringing the stage. And they’ll be able to enjoy a bottle (or two) of top-flight Champagne throughout the performance.

This revival is certainly the most lavish Cabaret in a long time. But there have been hundreds of other, less heralded productions over the years, with more on the way. A few months before Russia invaded Ukraine, Cabaret was running in Moscow. Last December, Concord Theatricals, which licenses the show, authorized a production at the Molodyy Theatre in Kyiv. And a request is in for a production in Israel, the first since the show was produced in Tel Aviv in 2014.

“The interesting thing about the piece is that it seems to change with the times,” Kander says. “Nothing about it seems to be written in stone except its narrative and its implications.”

And whenever someone tells him the show is more relevant than ever, Kander shakes his head and says, “I know. And isn’t that awful?”′

You can also listen the entire article here !!

https://www.vanityfair.com/style/cabaret-revival

I know it's a very long article , but very interesting!!

[jules-has-notes]

collaboration spotlight — Don't Make Me by Malinda

In all of the fluffy animated fairy tale adaptations that have been made over the past century, it's often been glossed over that the original stories were cautionary tales. Girls were warned and prepared for dealing with potentially abusive husbands. The best case scenario would be reaching a respectful understanding, but sometimes more drastic measures might become necessary. When a girl's patience and forbearance hit their limits, she has every right to fight back in any way she can. Even if it makes others judge her for it.

Details:

title: Don't Make Me

performers: Malinda, feat. Thomas Sanders; Anna Ricks & Valerie Torres-Rosario (ladies-in-waiting); Leo Anderson & Adam Paul (guards)

written & arranged by: Malinda Reese, Hannah Tobias, & Johnny Deltoro

video by: PattyCake Productions

release date: 11 October 2019

My favorite bits:

the cheerful, lilting intro narration

Malinda's sultry humming leading into the first verse

all the visual parallels between the happy wedding flashbacks and the dark aftermath — the goblets, the dip, removing her tiara

♫ "Can I offer you a little salt for that wound?" ♫ sung with such condescension

her delicate, plaintive tone on the first instance of ♫ "Don't make me be the bad guy" ♫

the contrast of the sinister tone of the men plotting over a stick figure drawing

♫ "Your offering's empty, godless, and cold" ♫, oof

the ladies' superhero-style costume change sequence

the muffled filter on the start of the third chorus to allow more focus on the fight scene

matching the timing of the sword strikes with the beat 🤺

Malinda's fabulous descending belted run

the ladies facing down the armed guards with their bare fists

the crunchy counterpoint ♫ "Don't make me be the bad guy" ♫ as the guard is flipped onto the bed

Thomas's scream when he's tossed from the parapet

that final mirror shot showing the bride in white with her innocence stripped away opposite the unrepentant widow in black

Trivia:

This video was filmed at The Howey Mansion, a location PattyCake had used several times for their "Unexpected Musicals" series.

It was co-directed by Malinda and Tony, while Layne served as both cinematographer and editor.

The shoot day spanned about 13 hours, all of which had been carefully storyboarded in advance by Tony and Layne to ensure they got everything they needed as efficiently as possible.

Fight choreographer Danny Cackley had provided plenty of rehearsal for the combatants, as well as pre-visualization footage for the production team.

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The video racked up 200,000 views in just a few days, and Malinda posted a fun behind the scenes video on her Instagram to celebrate.

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The white gown was Malinda's mother's wedding dress, and she was a little surprised that her mom actually trusted her to bring it to Florida and run around a mansion in it.

PattyCake fans might recognize the blonde lady-in-waiting as Anna Ricks, who plays Aurora in their "Princess Academy" series.

Malinda, Hannah, and Johnny also released an acoustic version of the song, which gives it a more introspective feel.

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[loki-laufeyson223]

Wedding Bells At Midnight

Warnings: Really not any unless you count tooth rotting fluff as one lol.

Word Count: 3.5k+

Idk how other people are but if I read something, I like to see pictures of descriptive things so if I need to post the links for the wedding look lmk!

It has officially been 3 months since  Loki proposed and we were excitedly awaiting the wedding. The date had been set to be when I finished my college degree so we could have a long honeymoon without any distractions so, the date would be May 24th. I already had my dresses picked out and bought, stored away from my mischievous fiance’s eyes at Natasha’s place. Both me and the groom had been working hard on our vows since we weren’t doing them the traditional way. And since we weren’t doing the traditional vows we also decided that we wouldn’t be spending the night before apart. 

The wedding was 2 days away and it was all either of us could think about. Loki had been nagging me to see the dress since the day I went and bought it, taking quite a chunk out of the bank account. We had agreed to let the Avengers   set everything up at the venue without our supervision, the anxiety levels were high to say the least. True they were our most trusted friends, some more than others, but we still had our worries. Loki was going to be wearing a black suit with a dark green tie and Thor would be his best man with Tony Stark and Vision as groomsmen. All of the groomsmen, including the best man, were going to be wearing black suits.

 My matron of honor is Natasha with Wanda and Pepper Pots as my bridesmaids. Obviously Thor and Natasha would be walking down together with Pepper would be going down with Stark and Wanda would be going down with Vision. All of our bridesmaids and groomsmen were already married with two of the couples walking down together with Thor and Natasha being the only ones not walking down with their partners. The bridesmaids and matron of honor would be wearing dark gray dresses and the groomsmen’s ties would be the same color. 

The night before the wedding we didn’t have a rehearsal dinner and the wedding party had a get together for us all to maybe try to take some of the edge off. We all arrived at Thor and Jane’s house at around 6 pm and left at 9 to try and get some rest before the big day. 

Loki and I were laying in bed cuddling and I was laying on his bare chest listening to his heartbeat while he was tracing soothing patterns on my shoulder. My arms were wrapped around his waist and there was only a single candle illuminating our room with a gentle yellow glow. I looked up at him, propping my chin up on his chest. Loki looked down at me pulling his mind away from the book he was submerged in, quirking up an eyebrow curious of what I’m going to say. “Hey Lokes?”  “Yes darling?”  “What if we got married?”  “We are to be wed tomorrow dearest. Why in the Nine Realms are you asking me this question now?”  “Well I know that but, what if we got married like right now?”  “Now?”  “Yeah, like we could seal the marriage with a kiss at exactly midnight so technically we would be staying true to the date.”, he takes a minute to think about my proposition and looks back at me before saying, “I think that would be a lovely idea, my dove.”  “Really?! Ok then, let me call everyone!”, he laughs and grunts a little when I excitedly push off of his chest and jump off the bed. I call the group chat of everyone who’s supposed to be at the wedding and everyone agrees to meet us at the venue. “You truly are crazy Persephone. You know that right?”  “Yes of course I do. Now get up, we have a venue to get to!”, I say playfully annoyed, pulling him off the bed.

 We get to the venue and get into our separate dressing rooms with our groomsmen and bridesmaids. At 11:50 we all get lined up with Loki already being down the aisle. Heimdall is our officiant so Loki walked down with him. Since I didn’t have a father to hand me off to Loki, one of my closest friends from the military, Shane, would be handing me off. Before the doors open I get behind a second wall and Thor and the rest of the groomsmen turn around and tear up at the sight of me in my dress. 

The dress is a dark green and is long enough to cover my feet. It has flowers adorning the bodice curving around my body, stopping at my waist. It’s an off the shoulder dress with long and flowing pieces coming off the back of my shoulders. It flows out from the bodice in a slightly puffed skirt. My ash blonde hair braided and wrapped around into a bun with delicate and small white flowers intertwined. My eyeshadow a dark and glittery gold color with a smokey eye. The look completed with my lips painted a blush pink. My bouquet is made up of blush pink and dark green roses. My heels are a golden color with pointed tips with white and gold flowers adorning the heels. Frigga had brought my jewelry from the palace vault and said they were mine to keep, as her wedding gift to me. It was also her way of welcoming me into the family. The necklace is a line of diamonds starting from the nape on the left side of my neck and wraps around to the right that comes down to right below the center of my neck where a small emerald lies. Where the few diamonds rest on my nape emeralds pick up on their trail. The emeralds on the left don’t connect to the one in the center. The earrings having a celtic design and are silver with a green stone at the bottom. To top off the entire thing a thin and intricate headpiece made with a similar celtic design with a single green stone that rests in the middle of my forehead.

Thor takes in the sight with a thoughtful look and gives me a smile. “Well what do ya say we get this wedding started.”  “I think that’s a great idea.”, I say with a smile. Thor knocked on the door letting the people outside know we are ready to start. Roslyn by St.Bon Iver begins playing as the wedding party walks down the aisle. When everyone is settled into their places, the door opens once again and I begin my walk down the aisle, my arm linked with Shane’s. Until I Found You by Stephen Sanchez plays as I make my way down the aisle. I look at the man I’m to be wed to and make eye contact, seeing tears falling down his face at a slow pace and I know The God of Mischief is a changed man.

It takes until we get to the end of the aisle for me to finally take in the beautiful white rose arch above us with fairy lights intertwined. Loki takes my hand as Shane hands me off with tears threatening to spill from his eyes at any moment. Loki kisses my hand and whispers in my ear, “You look incredible darling.”  “Not as good as you honey.”, he smiles at that with a small laugh. Heimdal goes through with the Asgardian wedding customs and then hands the situation over to Loki and I, “I believe the bride and groom have prepared their own vows. Is that correct?”, he looks at us both and we nod with a smile. Loki recites his first, “My dearest Persephone, I promise to always make you laugh and we will laugh together. I vow that we will be a family forever and all of eternity. I could never get bored with you and I will most definitely make a point to never let there be a dull moment as long as I’m around. Together we will always have trust because our promises of honesty and love will be our strength. I cannot wait to spend the rest of my life with you.”, we are both crying at this point and my throat is tight with a sob that I let out with a ragged breath right before I begin, “My one and only love, Loki, I vow to love you even when I’m upset or angry with you. There will be no running- ever, even in the toughest of times. I will not walk out on you no matter what happens. I vow to take care of you even if we ever become old, senile, and smelly. I walk down this aisle tonight and recite these vows because, to me, you are worthy and will never become a burden to me- ever. I’m in love with every part of you, including the beautiful cobalt blue and ruby red eyes part. I love you with my entire soul and body, even more than any being can ever begin to comprehend.”, by the time I finish with my vows I can tell Loki is holding back sobs by the way his Adam's apple bobs. Heimdall comes up behind us and asks for the rings and Thor and Natasha hand us the wedding bands we picked out for each other. Loki’s is black with a dark green marble design and mine is of the same style but thinner to go underneath my silver band with an emerald sitting in the middle. We slip them onto each other’s hands and Heimdal comes up behind us to finish off the ceremony. “Loki Laufeyson, do you take Persephone Alexandri to be your lawfully wedded wife?”  “It would be an absolute honor.”  “And you, Persephone Alexandri, do you take Loki Laufeyson to be your lawfully wedded husband?”  “I didn’t spend all of that money for nothin’.”, Laughs were scattered throughout the venue and Heimdall looks between us with a smile. “Then in that case, you may now kiss the bride.”  Loki holds the sides of my face gently and pulls me in to bind our lips together at exactly midnight. He grabbed my leg, smirking into the now deepening kiss. I instinctively snake my arms around his neck. Getting lost in the moment we hear Thor yell laughing, “Save it for the honeymoon lovebirds!”  We pull away and Loki puts his forehead against mine and rubs his nose to mine playfully. Laughing with joy filled eyes and faces, we make our way back up the aisle, arm in arm, with everyone cheering us on as newlyweds. 

Loki pulls me away from all of the festivities and into the bridal dressing room. “You look absolutely stunning tonight darling.”, he whispers against the shell of my ear. I pull away and lock my hazel brown on his shimmering ocean blue and press my lips to his. His soft lips envelope mine in a breathtaking kiss. The physical bond is only the cherry on top to our soul's bond that can never, ever be broken. We become completely lost in each other until we hear three quick wraps on the door. “Come on Beauty and Beast, wrap it up. Y'all got a first dance to attend to.”, we hear Natasha laugh outside of the door. 

Loki and I make our way out to the separate awning for dancing and everyone starts cheering as we walk out. We make it to the middle of the floor and assume our positions with each other. “I can’t help it” by JVKE starts playing and we begin the well rehearsed dance. The song starts off slow with only a piano to start off. Soon after we have close to 10 seconds of a more formal way of dancing the beat drops into a beautiful symphony and when that first strong beat released itself Loki grabbed my hips and lifted me into the air, bringing me back down gently. After we finish our first dance we walk out and everyone comes out onto the dance floor, dancing and laughing the night away.

Half an hour later everyone’s still on the dance floor when the music and lights suddenly cut out. The beginning of “Electric Love” by BØRNS starts playing and Loki and I run our way out to the middle of the dance floor. In the time we were gone I had changed out of my wedding dress and into a short gold halter neck dress and Loki had just taken off his suit jacket and his tie, sleeves rolled up to his elbows. We had rehearsed the other song we had been working on as a funny surprise for our guests and our own fun and pleasure. When I say we danced like no one was watching, we did just that. The music flowing through our bodies like blood. The short and calculated movements were less precise and more emotion filled as the song went on and with each meeting of our eyes.  The song ended and everyone erupted with cheers, leaving Loki and I grinning like two kids on Christmas. 

I was making my rounds talking to everyone who was attending the wedding and all I could think about the entire time was how my somewhat socially awkward husband was having to do the very same thing, or at least I thought he was. That is until I felt his large hands wrap around my waist and lift me up above his shoulders whilst I was talking to Frigga, making me shriek. “Loki honey, what by the roots of Yggdrasil are you doing?!”, he let out a small chuckle and just kept on moving. We rounded a corner and he sat me down in front of the bridal dressing room door and pulled me into a tight hug, leaning down towards my ear, “We have to sign our wedding certificate darling.”  He pulled away and opened the door revealing that Heimdall, Thor, and Natasha were already waiting for us. We had discussed at an earlier date that Natasha would be my choice of witness and Thor would be Loki’s. Heimdall handed us the certificate and Loki looked at it with a face filled with disapproval. With a slight turn of his pointer finger the once plain piece of paper that officiated our marriage now had golden cursive lettering with green, white, and gold flowers adorning the corners and edges. Beside the paper two gold fountain pens appeared beside it on the table in front of us. Loki hummed his approval and picked up one of the pens, handing me one as well. We signed the certificate and handed the pens over to Thor and Natasha. The two witnesses signed the page and handed it over to Heimdall who then placed a magical bond over it, sealing our marriage document.

Later after most of the attendees said their goodbyes, Loki and I grabbed our bags for the honeymoon. Steven Strange was already waiting for us with his sling ring on, ready to transport us to Greece. Tony had offered to pay for everything as his wedding gift to us and we gladly accepted. He set up two new accounts linked to his and gave each of us our own separate cards. He had also gone ahead and paid for our hotel, which was of course the best one there and booked us the honeymoon suite. 

We went through the swirling orange circle and immediately landed in the hotel lobby. I handed our bags over to the hotel service and helped a little while Loki went up to the counter and checked us in. I sat down on a leather chair in a far corner of the lobby and waited for a while. Five minutes later Loki stalked over to me and offered his hand to me, I accepted it and squeaked when he pulled me around to his back and pulled me up towards the mid-section of his strong back. “Please tell me we’re at least taking the elevator.”, he just chuckled mischievously and took off running. Loki stopped at the beginning forked hallway, right side leading to the elevator and the left leading to the stairwell. “Loki babe, please take the elevator.”, I laughed, pleading with my husband. “Darling.”  “What?”  “Where’s the fun in that?”  Next thing I knew he had started running again and took a sharp left. “Are you sure you can even run up these stairs with me on your back?”  “Oh my dear, why must you insult me in such a way?”, and off he went. Don’t get me wrong, I loved the fact that my husband was trying to have some fun before we went to bed, exhausted from the long night since it was 6am and the ceremony was at 12am. To add on to that we had been up from the break of dawn the day before without any sleep. Also, the honeymoon suite was on the 10th floor. We had arrived in our room within 5 minutes because Loki decided he was tired as well and ended up teleporting us to the door on the 6th floor for a shorter arrival time.

Did I forget to mention that we may have a little too much to drink so when we opened the door, we stumbled our way to the bed and fell face first. Laughing until our stomachs cramped, we got out of the sweat soaked clothes and showered. After the very relaxing and hour-long shower, we slipped into some matching Mr. and Mrs. sweatpants both dark green with gold embroidery and I put on a comfy sports bra while Loki decided to go shirtless for tonight. Though he was slightly uncomfortable being in his Jotun form in a place he had never been, I had reassured him it was perfectly fine, I was just happy for the cool radiating off of him. We peeled the covers back and climbed into bed, snuggling into each other’s embrace. Loki grabbed the blanket and pulled it over us. Once settled underneath the blanket, Loki wrapped his arms around my waist but not before grabbing my left hand and kissing my wedding band. “I love you so much my dear wife.”, he said, pressing a kiss to my forehead and looking down at me with a loving and exhaustion laced smile. “I love you too.”  I raise my head and press my lips to his. I pull away and pull his face to mine, closing my eyes. “My love, my Loki.”

[hannibals-favourite-meal]

This just popped in my head but hear out….Chubby!Thor dressed as Santa for Tony’s annual kids Christmas party! With you being mrs. Claus!! 🥹🥹🤭🤭🤭

Santa Claus is Coming to Town

Chubby!Thor x plus size reader

The Avengers have a special guest coming to Christmas this year, Santa Claus! And what’s Santa without his Mrs Claus and maybe a little elf too

Warnings: fluff, pregnant reader

WC: 608

Minors DNI

“Ho! Ho! Ho!” A deep voice came from down the hall, immediately sending the small throng of children into a screaming frenzy, each trying desperately to break from their parent’s arms to run to the source of the jolly laughter.

You smiled brightly as you walked alongside your husband, carefully balancing a tray of cookies you spent hours decorating while with the other, you adjusted the red hat that was slowly slipping off your head. Thor bounced with each step he took, his long beard dyed white for the occasion, as well as his hair, which had been partially tied back in a bun.

The red suit coat tightly wrapped around his large belly and you would be lying if you said that it didn’t turn you on like nothing else. A heavy brown sack was thrown over his broad shoulder, the presents inside rattling with each step.

“It’s Santa!” That was definitely Morgan’s screech, it sounded scarily similar to her father’s. And as you rounded the corner, the screams increased in pitch, getting dangerously close to dog whistle territory. His blue eyes twinkled brightly behind a pair of fake glasses, thoroughly excited to bring Yuletide cheer to the small army of children.

“Where are all the children?”

“Here Santa!” They shouted as you rounded the corner and were immediately swarmed. Pairs of tiny hands reached for Thor’s coat, yanking on the fur trim while others tried to grab some of the cookies in front of you.

The Avengers gathered around in a semicircle around you, the parents of the group keeping a close eye on their kids. Billy and Tommy were attempting to grab the huge bag of presents from your husband as Cassie, AJ and Lila carefully took some baked goods off your tray, Morgan was shouting questions at Thor, not giving him enough time between each one for him to answer. And Cass was slyly examining your costumes as if trying to determine if you were the real thing as Cooper held his baby brother up so his little toddler hands could feel the soft jacket.

But Thor took it all in stride. He answered as many questions as he could while moving his sack just enough that the troublesome twins couldn’t get into it and reassuring the young Wilson that he had come from the North Pole for a very special visit with Mrs Claus. 

“Yes children and we have some gifts for you!” You spoke up this time, saving the god from another round of impossible questions. The tray of cookies was quickly placed to the side (and then promptly stolen by Bruce) so you could usher the children over to the seat beside the huge Christmas tree.

They swarmed him as he sat down, each keen to receive a present from Santa. They neatly sat around his feet as he began to tell the well-rehearsed story you had helped him practice last night. Most of the adults snuck from the room seeing as the kids were entertained. Only Sam remained behind, sneaking closer to you so he could whisper in your ear.

“What did you get Santa for Christmas Mrs Claus?” You rolled your eyes and gave him a subtle shove with your shoulder. He already knew, in fact he knew what your gift was before you did.

“Well it’s more like a gift for next year, a little elf all of our own.” Sam gave you a smile and a pat on the back as your own hands came to rest on your stomach, almost feeling the little flutters of the life growing there. It would be the best Christmas ever.

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[eddieredmayneargentinablog]

Beautiful interview with Cabaret cast member Marcia/Marty Lauter (Victor/The Emcee) for Out Magazine, published on July 31, 2024.

"Drag Race's Marcia talks Cabaret, Eddie Redmayne & viral Tonys performance (exclusive)"

Excerpts:

"In 2024, Lauter is not only playing Victor in the current Broadway revival of Cabaret at the Kit Kat Club, but they're also the understudy for Academy Award-winning actor Eddie Redmayne in his role as the Emcee. This is a big opportunity, as well as a huge responsibility, for an emerging theater performer — and Lauter is very aware of these high stakes. "The show itself has been an incredible gift. It's such a momentous revival, and it's been very talked about". Lauter tells Out in an exclusive interview. "It's been quite divisive among certain people, but it's been so incredible. More than anything, it's taught me how to use any kind of nerves and anxiety, and to channel them into something useful. Never in a million years would I have thought that I'd be doing this with Eddie Redmayne and playing [the Emcee] every once in a while."Victor is still Lauter's primary role in Cabaret at the Kit Kat Club, but the actor was scheduled to play the Emcee on three different dates throughout July and remains understudy for that character in Redmayne's absence. "It's just such a giant, very famous role," they add. "Getting to put my perspective on it and seeing people respond so positively has been very fulfilling and very affirming."

"Exciting as it is to play the Emcee as an understudy, Lauter explains that Redmayne has been very present for this production. "I think because this is the Broadway, New York City premiere of this version of Cabaret, he has so much passion and dedication for this project," Lauter says. "He's truly there all the time and never left the theater for more than a day. It's so impressive, frankly, because this role is very difficult." They continue, "There are so many drastic makeup changes, and the show is three hours long. You're singing a lot, you're yelling a lot, you're talking a lot… it's just a lot of energy. Because of the nature of the show, you're constantly engaging with people. It requires you to be very present and very energetic. I don't think he's actually ever really called out once, which is unbelievable to me, because doing the Emcee is very, very hard". YouTube essayist Kayla Says explains in a video about Cabaret that "as you're following the relationships and the journeys of these characters, you're slowly seeing aspects of the Nazi government creeping into the plot." For a while, the Kit Kat Club's patrons are able to "turn a blind eye" to the evil doings happening outside the venue. But as the show unfolds, the Emcee's outfits and overall disposition lead to a nuanced understanding of how the story progresses".

Lauter was also present at the 77th Tony Awards, which aired live on CBS on June 16. The ceremony featured a special performance of "Willkommen," the opening number of Cabaret at the Kit Kat Club, with Lauter playing Victor in the ensemble. "Luckily, the version of the number that we did at the Tony Awards was very close to what we do on stage every night, so I wasn't super nervous about messing anything up. That was good," Lauter explains. "But the rehearsal process for the Tonys can be quite strenuous. You're still doing all eight shows in the week leading up to the ceremony, and you're also getting to [the David H. Koch Theater] at 8 a.m. for camera-blocking rehearsal. You're also going to a recording studio to record the ensemble vocals, and you go back for another dress rehearsal." "The day of the Tonys is very exhausting," the actor recalls. "Broadway shows usually do a matinee that Sunday, but we didn't, so we were lucky. We just had to get up, do our dress rehearsal, go home, and come back that night. The night of your performance, the way it works, you literally get on a bus, get off the bus, do the number, leave the building immediately, and get back on the bus." Wait, so the ensemble of a Tony-nominated hit musical can't stay for the ceremony?! "We're all in our costumes and wigs and everything, which is all incredibly expensive, and we have to keep in theater," Lauter says. "We have to get dressed and get undressed in the theater. All the nominees get to sit and watch, of course. But yeah, it's kind of an unknown thing about the Tony Awards. Unless you've purchased a ticket or you're nominated, you're not in the building except for your number. But it's also kind of nice, because you get to celebrate right when you're done."

"That number, 'Willkommen,' is supposed to be the show itself," Lauter explains when asked about that performance going viral. "It can be fun at the beginning, but it has this underbelly that you can kind of sense that something isn't quite right. I mean, I think it's unfair to judge anything without seeing it in its entirety, especially in a musical, which has a narrative. You wouldn't watch the first two minutes of a movie and say, 'This is bad' or, 'This is not what it should be.'" Lauter continues, "The point of a revival is to show you something different and highlight different elements of a piece of work so you can view it from a different perspective. I think our production absolutely does that. So yeah, if people have issues with it, come see the show! Don't just watch a three-minute number. You can't really make that call unless you see the whole thing."

"When it comes to working with Redmayne, Lauter confesses to feeling some initial trepidation. "It's a very daunting thing to understudy him. You're kind of like, 'Oh, people wanted to see Eddie Redmayne, and now it's me,'" they explain. "But he's truly so generous and welcoming. After my first show, I knocked on his door because I had left my water bottle in his room. He was like, 'Oh my god, how did it go? How are you feeling? Tell me everything!'" Lauter adds, "He's so invested in all of us. The people that understudy him are myself and another actor, David Merino, who plays Lulu usually in the show. Whenever the three of us are together, he always refers to it as 'our part,' which is very sweet and very selfless of him. He's been unbelievably kind, and he wrote me the sweetest debut letter. He makes these cards and paints them. He's just the best. Eddie is so sweet."

"I'm trying to not give anything away, but our Cabaret is told from the perspective of people who are othered or marginalized. Our cast has a wide range of people with different ages, genders, races, body types, and sexualities. We kind of run the gamut of the human experience," Lauter says. "There's a song at the end of the show that Bebe Neuwirth sings, 'What Would You Do?' that is really the heart of it. When things get really bad and really scary, what are you going to do?"

The actor adds, "Our production hits on a very nuanced topic. Sometimes, even marginalized people will marginalize other people for survival. When I play Victor, for example, I'm white in real life as well. In the show, I'm also very blonde and have a beautiful bowl cut. So, amongst the cast, Victor will probably have the easiest time assimilating into [those circumstances]. The journey of the show is very different for all of us.""This show is so evocative of what's happening in the world right now," Lauter notes. "It's like a reminder to be extra conscious in your life, aware of what the people around you need, and understand that you may not be in the most dangerous position at this particular moment. But you should raise your voice and stand for the people who need help."

[mthguy]

The anthem for every theatre kid (like me.)

Jeremy Jordan performs “Broadway, Here I Come!” on SMASH 

"Broadway, Here I Come!" is an original song introduced in the first episode of the second season of the musical TV series Smash, entitled "On Broadway". It was written by Joe Iconis. Within the show's universe, it was written by the songwriting team Jimmy Collins (Jeremy Jordan) and Kyle Bishop (Andy Mientus) for their Hit List musical.

In the episode, the setting has Karen Cartwright (Katharine McPhee), having previously become acquainted with Jimmy and Kyle in a bar they work in, finds out from Kyle they are a songwriting team working on a musical. Karen overhears Jimmy singing the song on a piano and then moves closer to watch him perform it. During the song, she dials Derek Wills (Jack Davenport) to have him listen and tells him this may be the next thing they are looking for as the Bombshell musical they were working on has temporarily shut down.

Karen reprises the song in the ninth episode of the second season, entitled "The Parents", at a rehearsal for a benefit (though she is interrupted by Derek before finishing) and then at the benefit, where she is heard singing the last few bars. Ana Vargas (Krysta Rodriguez) reprises part of the song in the eleventh episode of Season 2, entitled "The Dress Rehearsal", as part of rehearsing for a new opening for Hit List. The song is reprised twice in the thirteenth episode of Season 2 "The Producers", with Ana singing part of it at the beginning of a performance of Hit List while she fires a gun at an unknown person, while Karen sings it a little later in the show as part of the sequence where the Diva shoots Amanda (Karen). The song is lastly reprised in the seventeenth episode of Season 2 "The Tonys", where the Hit List cast (composed of Karen, Jimmy, Ana, Sam (Leslie Odom, Jr.)) and the Hit List ensemble perform an a cappella version of the song at the Tony Awards.

The song is available as a single with Jeremy Jordan's vocals only and on the digital album Smash: The Complete Season 2 with vocals from McPhee, Jordan, Rodriguez and Odom as seen in the seventeenth episode of Season 2.