Has anyone listened to Mad Ones. please listen to Mad Ones.
Artists finding inspiration in #TheMadOnesMusical is giving me life.Â
Sade Olutola
DEAR READER
he wasn't even looking at me and he found me

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@kaitkerrigan
Has anyone listened to Mad Ones. please listen to Mad Ones.
Artists finding inspiration in #TheMadOnesMusical is giving me life.Â

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New âGo Tonightâ Animatic!
Heyo my newest animatic is now up! Itâs âGo Tonightâ from The Mad Ones â a track that absolutely slaps. Letâs start the fandom, yaâll
This is my favorite thing of 2020. I know, I know - thereâs a pandemic so the bar might seem like it would be low. But Iâve also made some pretty mean sourdough and donât underestimate my love of bread. No seriously, watch this IMMEDIATELY. You will die. #themadonesmusical
(via https://open.spotify.com/album/4tGtz0qnLoZLmoVyzOEAED?si=6PYNRK3rTxWgG_HqrW8JFg)
Kerouac is mentioned a lot in RAWM, but I think that song is the only time he is referenced in TUAOSB. He is referenced a LOT more in The Mad Ones. Has Kerouac always been an influence in Sam's story or did RAWM kind of snowball that inspiration?
He was always a reference point for me - something I was pushing off against. I studied English at Barnard, where thereâs a strong focus on close readings. I always wanted to make my writing full and intricate enough that it warranted a close reading. I always wanted easter eggs in there for others to find but after several years of writing, I realized that Iâm making theater not novels. Novels and poems get close readings. Theater rarely does. Theater is about the immediate experience of being in a dark room and taking something in. Sure, someone might come back, sure someone might listen to the album over and over if Iâm lucky, but I canât expect them to dissect the text in the way that I did with Toni Morrison or Ralph Ellison or Virginia Woolf. Instead - I needed to make something that was much more direct. I was always in dialogue with Kerouac but I realized that it needed to be active in the script. Now it is.Â
For my one of my college classes, each student has to pick a quote that means something to them and present it to the class. I can't decide between (both from Kelly's lines in The Mad Ones, before "Remember This") "You're scared. You should be. If you're not, you're not doing it right." or "You do it now, you do it for you, and you do it alone." Both of those phrases mean so much to me. â¤ď¸
Thank you so much. Those lines mean a lot to me too. The first one is new for Off-Broadway and the second one has been with us for a long time. Theyâre so interrelated. Which one did you decide on?

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Hi! I read your post "Is Theatre Criticism Dead?" in the New Musical Theatre Blog a few weeks ago, and now I have the opportunity to talk to my classmates about criticism in the arts. So, I wanted to ask you which books, articles or professional critics do you think are important for me to know about?
Thanks for this question! And thanks for reading! I think Emily Nussbaum is writing really interesting TV criticism. Sheâs at the New Yorker and won the pulitzer for her writing. I think that Frank Rich was an incredible theater critic. There is a wonderful collection of his critique that Iâve read almost cover to cover. I think books talking about the art form are often interesting - even Michael Reidelâs book. He can be a bit catty in his column but heâs a true theater lover. Iâll be curious to see what happens with Isherwood now that heâs not at the NYTimes. Something strange happened when he first arrived at the times. He wrote too many good reviews of up and coming plays - in particular he raved about Thom Pain (I personally think the rave was warranted). Soon after - he wrote pans of several incredible plays including Bach at Leipzig (written by Itamar Moses who won the Tony this year for bookwriting) and Ruby Sunrise (which was directed by Oskar Eustis and written by Rinne Groff and was one of my favorite theatrical experiences - ambitious, feminist, beautiful, and sweeping - in many years. Both were plays that might have transferred to Broadway and both were killed by the Times and - the rumor was - the pans that summer were a result of Isherwood getting a slap on the wrist for being too effusive. His critique went downhill from there for me. I have wondered if thereâs something off in the culture of the Times that is creating the bad environment for real critique ever since. It seems to only get worse and worse. My only hope is that it can become irrelevant so we can listen to other voices instead. The Interval is talking about theater in a really interesting and feminist way, but thatâs more advocacy.Â
Iâve been working on a new musical about this incredible spitfire of a woman for the past month. I donât like the slight dig at Al Gore. It doesnât age well. Irena Sendler was protecting children, the future, but so was Al Gore. Still and all, her legacy is not cemented in our collective memory and it should be. Iâm excited to bring this story into the popular consciousness.Â
I resisted writing "Go Tonight". I was scared of melodrama. But isnât that what youâre supposed to do? Walk right up to the thing you
Mad Ones Monday isnât over yet, folks. In this blog post Kait takes us behind the lyrics of âGo Tonightâ, revealing some of the many ways we process grief and loss and how these processes shaped âThe Mad Onesâ.
Check out the blog, and the song, at NewMusicalTheatre.com and follow @kaitkerrigan for more Behind The Lyrics.
I went down the wormhole of âGO TONIGHTâ - a tumblr favorite. Who has ever felt the loss of someone and that sense of swirling towards the void? I want to hear about it. What does it feel like? How do you pull yourself out?Â
Happy #madonesmonday!
Check out @kaitkerrigan singing âMiles To Goâ, a timely reminder that things can always get better, no matter how far weâve come.
Sheet music was just released on NewMusicalTheatre.com, so pick it up if youâd like to sing it, too. Share your cover using the tag #KLcovers and we might just share it here!
Somehow I made it through singing this song. And then, somehow, I also wrote a whole piece on what this song means to me:Â Â https://medium.com/@kait_kerrigan/miles-to-go-feminism-and-the-mad-ones-50926835010a
musical theatre meme: [1/5] shows
the mad ones (2017)
This. Meme. Emma. Hunton.Â

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Hi loves! Youâll be SHOCKED to know that todayâs From B video is an emotional one. (I know! Itâs almost like thatâs my thing or somethingâŚ) This answers some questions people have been asking as Iâve been launching the song vlog and various internet-writing-projects. Kait and I are struggling with some hard questions in our careers right now. Talking about them WHILE theyâre happening may beâŚfoolish. But some âBâ person had some thoughts about vulnerability so here you go. Be nice about the guitar playing at the end - I had literally been playing for 2 months.
This is for @kaitkerrigan who has been letting me air all our crap on the internet sorry about that and love you from b
Brian wrote about us and all of our 2018 internet madness. Read on, McDuff.Â
Femme-shaming that is rampant on the internet right now. Itâs happening on the rightâââin the halls of Congressâââand itâs happening onâŚ
are you aware that youâre a lesbian icon? (why, you ask? because iâm a lesbian and i say so!) thanks for being one of the most talented lyricists iâve ever come across!!!!!!!! đđŤđđđâ¨đ
I *am*?! I am HONORED. Thank you. That is very exciting to me because all my favorite icons are lesbian icons: Virginia Woolf, the Indigo Girls, Lisa Kron... Adena on THE BOLD TYPE :).Â
Still Breaking ft. Melissa Rose Hirsch
âHoly shit, i wrote a song about an ex. Thatâs not a thing I do, thatâs more something Pink does!â - Brian on âStill Breakingâ
Follow Brian on:Â facebook | youtube | instagram
Have you seen our tumblr? We just started it. Weâre slow. But now weâre posting. You should follow! And reblog. xo
You were mad to reach, mad to drive. Mad, mad and so alive. The space you left, the empty air  ⸺  I reach, reach but youâre not there. | The Mad Ones
Oh my god I love this collage. Tumblr is the best. Thanks for making!! xo

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underappreciated musicals: some recommendations!
If you like Be More ChillâŚ
âŚcheck out The Mad Ones! With quirky, conversational lyrics and impossibly catchy contemporary melodies, these two shows honor and celebrate the many struggles of adolescence. Like in Be More Chill, each song is almost a self-contained story, a mini-musical in and of itself, exploring platonic, romantic, and familial relationships in all their awkwardness and frustration. Because of the standalone quality of the individual songs, itâs also an excellent place to look to for recital pieces.Â
A musical highlight: the heart-pounding duet âGo Tonightâ and the tender concert staple âRun Away with Me.â
If you like FalsettosâŚ
âŚcheck out Next to Normal! Like Falsettos, Next to Normal cuts deep into complex family dynamics. Itâs hard to pinpoint a âmainâ character, since each characterâs psychology is rendered with such depth, focus, and attention. And the lyrics! Falsettos won the Tony for Best Book of a Musical and Next to Normal won the Pulitzer Prize for Drama, so youâre getting the best of the best here. Each line is a work of art. If youâre a wordsperson of any kind, Next to Normal will be a treat. (Or, more accurately, a five-course meal.)
A musical highlight: the intense âYou Donât Knowâ and âI Am the One.â
If you like The Last Five YearsâŚ
âŚcheck out Ordinary Days! Ordinary Days, like The Last Five Years, finds the large within the small. It is keenly attuned to the entire world to be found in a single relationship. The musicalâs four characters sing about the nuances of their lives in a style that is narrative and confessional. The focus is small-scale: memories, sensory details, private thoughts. The accumulated effect of these is momentous: whole lives changed over the course of the story. By the way, make sure to emotionally prepare yourself before:
A musical highlight: the revelatory, tear-jerking âIâll Be Here.â
If you like MatildaâŚ
âŚcheck out Tuck Everlasting! Calling Matilda a kidsâ musical would be a grave misstatement, and the same is true of Tuck Everlasting. Tuck Everlasting is whimsical, wholesome, and thoroughly moving, striking a poignant balance between the magic of youth and the wisdom of adulthood, never sacrificing either for the other. The scope of Tuck Everlasting is smaller than that of Matilda, but its shared spirit of mischievous innocence and buried longing will win your heart. Take the nostalgia as a bonus: it will transport you to a beloved book from childhood and bring its characters to life. (Also, prepare multiple tissues for the ending.)
A musical highlight: the wise, melancholy âThe Wheel.â
If you like NewsiesâŚ
âŚcheck out Billy Elliot! From its endearing characters to its historical setting to its social justice underpinnings to its incredible, incessant choreography, Billy Elliot is the perfect musical for Newsies fans. Like Newsies, while the musical features a young protagonist, it can also be dark, heartbreaking, political, and disturbingly relevant, making it the perfect show to take your family to if you want to introduce them to musical theater but the only thing in town is Spring Awakening. (And thereâs a professionally filmed live version!)
A musical highlight: the soulful âElectricity.âÂ
If you like WaitressâŚ
âŚcheck out The Bandâs Visit! Musically, the two couldnât be more different. However, the hearts of these shows are in a similar place. Neither of them have firm plot structures; instead, all the drama arises from character interactions, in turns utterly hilarious and painfully vulnerable. The romance at the center is never quite realized, but the characters walk away as better people for having known each other. If you like shows with an intimate small town feel, featuring an unconventional love story thatâs about connection rather than romance, you canât go wrong with The Bandâs Visit.
A musical highlight: the rousing, surreal âAnswer Me.â
Do you have recommendations? Reblog away!
Totally and completely accurate!Â
musicals as Kid Gorgeous bits
last night, I finally watched Kid Gorgeous for the first time and it was the best decision ever
1776: I donât remember THAT in Hamilton!
Avenue Q: an ENGLISH MAJOR
Be More Chill: You spend most of your day telling a robot that youâre not a robot. Think about that for two minutes and tell me that you donât want to walk into the ocean.
The Book of Mormon:Â Get the fuck out of here with your technicalities. Just âcause youâre accurate does not mean youâre interesting. *also*Â God canât hear you.
Dear Evan Hansen:Â Do My Friends Hate Me or Do I Just Need to Go to Sleep?
Hamilton:Â When I walk down the street, I need everybody, all day long, to like me so much. Itâs exhausting.Â
Les MisĂŠrables:Â đśBread is god is breadđś
The Mad Ones: *about college* By the way, I agreed to give them $120,000 when I was 17 years old. With no attorney present. Thatâs illegal. They tricked me.
Mean Girls: âWhatâs a clique?â âItâs when a group of people hang out together.â âOh, you mean like having friends?â âNo, because these people make fun of other people.â âOh, you mean like having friends?â Â
Next to Normal: Was there ever a ghost, mother, or was the dead Victorian girl you saw just me all along?
Something Rotten:Â Of all the sentences in that email I would be ashamed to have read out loud in a court of law, I think the top one is âSee you at improv practice.â
Just proud to be one of the nominees. HAHA