#twelfth night musical

[abadarkade]

My sister's the one who knows what to do, what would she do in my united shoes? Play along or try to sus out what went wrong? The lady thinks I'm someone else, but she makes me feel more like myself so... I'm not sure. Who am I besides how I look to her? Ooh-oh Olivia!

[helen-cooper-fan-account]

I played Sebastian in a production of the Twelfth Night musical by Shaina Taub and at the end of the musical there is a reprise of the song called “Is this not love” and in the reprise all of the couples are singing to each other and holding one another.

Obviously Sebastian and Olivia were singing to each other but just to the left of us, Antonio sang to Sebastian every night.

Well, on closing night I sang to Olivia as I always did, however, when it got to the second “is this not love that I feel for you” part of the song I looked over at Antonio. I saw our Antonio’s eyes grow wide when we looked at each other and sang the song before I turned back to Olivia.

I had to make the Sebastian and Antonio fans happy after I was bullied for ending up with Olivia! I’m sorry guys, Sebastian is stupid.

[lavenderapollo]

heyyy do you know the twelfth night musical perchance. the shaina taub one its sosososo good. no thoughts only count malvolio playing on loop

OH MY GOD ITS ONE OF MY FAVORITE THINGS TO EVER EXIST EVER!!!!

i listened to it on repeat when i was in twelfth night (the play lol) a few years ago, it’s so so so good!!!!!!

[withasideofshakespeare]

Do you remember The Great Shakespeare Playlist?

Well, I've finally caught up with submissions, now with a new playlist on a Shakespeare-specific YouTube channel (also withasideofshakespeare) and individual playlists for each play!

Find out more (and listen to the main playlist or the playlists for your favorite plays) here:

[hamletisgone]

I went to see a musical adaptation of a Shakespearean play at my local theatre and while I was sceptical at first, they won me over when the fight scene began with someone playing the darth vader theme on a kazoo.

[secretly-a-catamount]

Kind of like an introduction post, but I’ve actually been here for a while.

Hi, I’m Secretly-A-Catamount!

I have ASD, SPD, ADHD, dyslexia, dysgraphia, and anxiety: so no ableism, or I’ll punch you in to the sun.

I’m aro-ace, but not an arrow-ace, which is upsetting because now I can’t be a Hunter for Artemis.

I live in somewhere in the good ol’ USA (not sure how accurate that is sometimes) with my family and pets.

My Ao3 account

Here’s my fandoms (in no particular order, will be updated as I consume more media):

The Serafina Series

The Willa Series

The Shadowhunter Chronicles

The Chronicles of Narnia

His Dark Materials

The Book of Dust

DC Comics

Marvel Comics

Wings of Fire

Warrior Cats

Phantom of the Opera

Newsies

Wicked: The Broadway Musical

The Wicked Years

Six of Crows

King of Scars

The Magisterium Series

Percy Jackson and the Olympians (plus all of the other Rick Riordan book series in that universe)

The School for Good and Evil

Ever After High

The Villain Series

Doctor Who

Hamlet

Twelfth Night

Anthony and Cleopatra

The Hunger Games

The Inheritance Cycle

The Land of Stories

A Tale of Magic . . .

The Legend of Zelda Series

The Pokémon Series (particularly Pokémon XY)

The Legend of Korra (NOT ATLA)

Merlin

[doyouknowthismusical]

[shakespearenews]

Tom Sturgess and Georgia Frost as Sebastian and Viola. Photograph: Patch Dolan

[king-of-colors]

final bows from when i went on september 13!

[miaowypowy]

coming back to tumblr after years of not even thinking about this app. is there a community for theatre lovers who primarily read weird and/or fucked up plays and want to discuss them. or for dramaturgs. or for anything not musical theatre.

[abadarkade]

There's a bounty on my head in that town

It'll be foolish to follow you their

But I'll gladly risk the danger,

I will seek you anywhere.

Cause you are my beloved,

You are my beloved

[addicted2coke-theothercoke]

Saw a musical today

It had this absolute wild romantic tangle

Like a triangle, but crazier

Pretty sure it was something like this

-Dennis loves Natalie -Natalie loves Chad -Chad loves Sandra -Jim loves Sandra -Dean and Lorraine love each other -Sandra loves Ed(Natalie pretending to be a boy) -Chad loves Ed(Natalie pretending to be a boy) -Sylvia loves Jim -Matilda and Earl love each other -Jim and Sylvia love each other -Dennis and Sandra love each other -Chad and Natalie love each other(but Chad wants Natalie to dress up as Ed now and then)

[goldtouchkins]

𐐪ɞ viola/cesario ﹙ shakespeare’s twelfth night ﹚ stimboard ⁘

╰┈➤ 001 - 002 - 003 ∿ 004 - 005 - 006 ∿ 007 - 008 - 009 ∿ psd, div

꩜ . . . for @twelve-nights ﹐ with music, fishing, & boats

[sparklyshakespeare]

i think shakespeare and musical theatre are a lot more similar than most people think in fact i would argue they have more in common than shakespeare and most modern straight plays!!!

also sondheim and shakespeare are essentially the same thing and need to stylistically be performed…almost the same way in order for the text to come across is my thoughts!!!!! like you have to put an equal emphasis on the words of it all and oh boy are sondheim and shakespeare equally wordy

[creepycrawlycallings]

You want me to go to the theater, the thing that killed President Lincoln!!??

[jazzreloaded]

Play On! By Talawa Theatre @Belgrade Theatre 26 / 09/ 24

Review by Vidal Montgomery

The press night performance of Play On! - A Broadway Blues with a twist on "Twelfth Night" - was not undersold in terms of bums on seats ( because it was a full house, and based on this showing it deserves a full house everywhere it goes!), but in terms of spectacle; because for the near-three hours running time, it was thoroughly engaging, spectacularly entertaining and, despite dealing with some serious subject matters ( such as how a misogynistic Harlem resists change, made all the more relevant with the recent revelations around Music Moghul Sean Comb's recent indictment), it was joyful for the audience from start to end, evidenced by the raucous laughter, gasps and applause throughout.

The title "Play On!" may also refer to the four year development process to get a work of this magnitude and depth and craft and intimacy and nuance in front of a live audience; it is no mean feat that this splendid work of Ellingtonian excellence by Liam Godwin and Benjamin Burell is finally in front of an audience, and with a truly magnificent cast from top to bottom:

Although the dramaturgy obviously has its focal characters, the dancers / understudies / supporting cast acquit themselves equally well, and the audience is gifted with over a dozen amazing voices ( of which Lifford Shillingford was my personal favourite ), who perform comparably, shouldering the responsibility of energetic dance, tense drama and soulful song, and carrying the narrative along. This for me is the most captivating thing about this show. Tanya Edwards as Miss Mary and Llewellyn Jamal as Jester deliver stylish and soulful performances late on into the second act just I thought the show had probably reached its peak - boy was I wrong!

The core story of Play On! revolves around the day Duke Ellington loses his muse, and the lengths- and distance! - one lucky lady will go to to help him get it back; Earl Gregory, Koko Alexandra, Tsemaye Bob Egbe, and Cameron Bernard Jones play the four pillars of the love quadrangle that is "The Duke", his old flame ( lady Liv ) , his new muse ( Viola "Vyman" ) and Rev, the manager of the Cotton Club clutching at straws and clasping his hands in his hopes of keeping the four together as exemplars of Ellingtonian Excellence - and also keeping the show on the road...

Sadly the live band - directed by the unassuming Ashton Moore and delightfully driven by the delicate drumming of Empirical's own Shane Forbes - are not featured as characters in their own right - I am sure that later productions in the three month run will attend to this oversight.

Despite this, the mix of moods and blues and beats and grooves from the bandstand become the main character, and for me ( as a musician! ) this is the star of the show: Ellingtonian Classics like Mood Indigo, I got it Bad, It Don't mean a thing, Black Butterfly Rocks In My Bed and In a Mellow Tone are turned inside out and taken back from the trash heap of Abersold Appropriation,and are played in a way that suits the strengths of individual artists, and balances temperaments of their characters as a whole as they play moves towards reaches its climactic reveal; at this moment the only other disappointment was that the band was not as big as, say, the English Touring Opera's for the recent run of "The Rakes Progress" : With this amount of dramatic tension in the stage, and with the audience in the palm of the band's hands the Ellington Big band, really needs to be a BIG band.

As it was, on the night Kaz Hamilton and Alexander Polack acquited themselves very well, making a myriad of moods that were both historically authentic and stylistically de jour. And the commitment to shared seat of Chris Hyde / Josh Vadivello on Double bass ( NO electric big band era please! ) brings gravitas authenticity and sensuality to the greatest american songbook in a way that only a Double Bass can. This show is all about that bass!

Having recently sat through the often turgid and salacious KAOS, a reworking of the mythology of Orpheus and Euridice, ( which was not a patch on Marcel Camus Seminal 1950's classic ) and also attended the afforementioned reworking of Igor Stravinsky's "Rake's Progress" ( often not my sense of humour, albeit markedly less turgid and salacious than Charlie Covell's Netflix Production ) I was far from convinced that , per se, " A reworking of Twelfth Night " was going to as vivacious, contemporary , and nourishing to the soul as it turned out to be. But on this occasion I was rewarded for my bravery ( And by "bravery" I mean only braving the inclement British weather ) , and I will forever regard Play On! as somewhat of a late birthday present - ( or maybe early Christmas gift? )

Ironically, whilst sipping free Prosecco and listening to a(nother) jazz function band in the reception area after the show , I had the good fortune to speak with one the trustees of the Talawa Theatre and we discussed how important it may be to not label Play On! as ( simply ) a "jazz show", because of how many people may miss out on an amazing contemporary socially and culturally relevant human experience, simply because they do not know or have not yet been sold the depth and breadth of the jazz canon.

But Play On! is "Jazz Hands" in safe hands. And I can say with confidence that Talawa Theatre have a winner on their hands; it is Black Joy. And "Black Joy" may turn out to be a better euphemism for the vibrancy we expect "Jazz" to bring to us. Congratulations on the fully immersive experience that Director Michael Buffong brought to the Belgrade Theatre tonight.

PS: As with many theatre shows, the stupidly difficult train schedule doesn't really support the 2+ hour format, but I can only say that on this occasion it was worth missing our last train to catch the "A Train" one more time...

Talawa’s Black Joy season presents:

Play On!

A new Jazz musical

Based on Shakespeare’s

“Twelfth Night”

Conceived by Sheldon Epps

Book by Cheryl L.West

Music by Duke Ellington

Produced by Talawa Theatre Company and The Belgrade Theatre

Co-produced with Birmingham Hippodrome, Bristol Old Vic, Liverpool Everyman & Playhouse, Lyric Hammersmith Theatre and Wiltshire Creative

Artwork by Feast Creative

For the full programme, click or scan the image below: