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@schuyler-obsessed
Just some animatic stills! Sorry I’ve been so bad at updating these.
I did another rough draft of 30 more seconds of the animatic, and I should be getting a big break the next month to whip up a lot more of it. Thanks for all your lovely reblogs and support!
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ah fun home, one of the most recent "all gay men are pedophiles" and "kill yourself because you're gay" pieces of media to reach popularity in the modern age somehow
you realize that’s her life right like
alison bechdel didn’t kill off her dad for the angst
Me, while being eaten by a bear: I can’t believe they would fridge a neurodivergent WOC like this
Eurydice: Kinda makes you wonder how it feeeeels
Everyone else:
no offence but to days of inspiration playing hookie making something out of nothing the need to express to communicate to going against the grain going insane going mad to loving tension no pension to more than one dimension to starving for attention hating convention hating pretention not to mention of course hating dear old mom and dad to riding your bike mid day past the three piece suits to fruits to no absolutes to absolut to choice to the village voice to any passing fad. to being an us for once instead of a them
Hey we’ve talked maybe once ever but uhhh this photo exudes both general spring awakening energy but specifically Hanschen Energy
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Mood: musical bootlegs with wacky titles as to throw off the copyright police
If you want to see Mean Girls look up Mean Girls Slime Tutorial.
The best one is Autumn Going to Bed. I’ll let you guess which musical that is.
ten biggest plot twists in musical theatre
10. You think the love interest will end up with the protagonist’s rival, but they actually end up with the protagonist.
9. You think the lead female character is an innocent bystander, but she’s actually the villain’s daughter.
8. You think the character’s dead, but they’re actually alive.
7. You think the character’s alive, but they’re actually dead.
6. You think you know the musical inside out, but then you log into Tumblr and see headcanons about characters you’ve never even heard of.
5. You think you know every lyric in the show by heart, but then you suddenly hear a lifechanging line you never registered before.
4. You think modern musical theatre is for everyone, but then they make you pay $1000 for tickets.
3. You laugh your head off, but then Act II happens.
2. You become unhealthily obsessed with the show anyway.
1. You think musical theatre is fun, but then you sell your soul.
Bonus: You log into Netflix and you think you’re going to watch something new, but then you just watch Newsies, again.
Don’t you think it’s kind of fucked up how in the original Spring Awakening play Melchior literally has lines that are “Wherever I do now, it’s still rape” (Act Three, Scene Four) and “I murdered her. I am her murderer” (Act Three, Scene Seven) and Satar still looked at that and decided that there was somehow a love story to be told between Melchior and Wendla. Imagine missing the point that badly. In this essay I will -
honestly I wish I could dedicate myself to being a giant fucking inconvenience as much as the phantom of the opera did
#i’m not sure that i am capable of being annoying enough#for people to give me a good monthly salary and free theater tickets to get me to stop#but by god i am willing to make the effort
If the fact that Glinda sings the alto part and Elphaba sings the soprano part in for good (because they’ve both taken from each other) in For Good doesn’t make you tear up a bit then I don’t know what does.
The only time in the play. Every other time they sing different notes, Glinda gets the high part, all dancing superficial sunshine, while Elphaba gets the deep supporting shadows; in “For Good”, Elphaba gives value to brightness and Glinda value to depth, because they do believe they have been changed for the better in knowing each other.
(Also note how through the vast majority of “Loathing” they share the same note, because neither can give up her hold on the starring melody, but “For Good” they can sing different melodies and words in perfect harmony and balance because they trust each other.)
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five types of musical love duets
1. “hey, I just met you and I’m ready to die for you”
Examples: “A Heart Full of Love” (Les Misérables), “Helpless” (Hamilton), “Ten Minutes Ago” (Cinderella)
2. “…we’re not actually talking about (thing mentioned in title)”
Examples: “Baptize Me” (The Book of Mormon), “Light My Candle” (Rent), “Small Umbrella in the Rain” (Little Women)
3. “if we talk in hypotheticals, we don’t have to face the magnitude of our true feelings”
Examples: “If I Loved You” (Carousel), “This is Life” (Bandstand), “What Would I Do” (Falsettos)
4. “the world is so messed up, but we have each other”
Examples: “Hey #3/Perfect For You” (Next to Normal), “I Should Tell You” (Rent), “The Last Night of the World” (Miss Saigon), “Only Us” (Dear Evan Hansen),
overlaps significantly with:
5. “it’ll all be over tomorrow, but at least we have today”
Examples: “As Long as You’re Mine” (Wicked), “The Last Night of the World” (Miss Saigon), “Something to Believe in” (Newsies)
BONUS: “this song is totally coming back, but next time, only one person will be singing it”
Examples: “If I Loved You” (Carousel), “I’ll Cover You” (Rent)
don’t be J.D. kids
i finally watched the video
Hear me out here:
A television show done in the style of The Office or Parks and Recreation, except it takes place backstage in a touring company of a failing Broadway musical.
We never find out what the musical is ever about. We just get shown bits and pieces of dialogue, songs, and choreography throughout the episodes. But every new piece of the musical that’s revealed only adds to the mystery… it’s just a confusing hodgepodge of genres and seemingly unrelated side plots and characters.
And AND a bewildering number of Broadway greats are in the show but we only see them or hear them in passing or in the background. Just enough to make us go “Hey, was that…?” and we never see the same person more than once.
so i just saw hamilton officially at the kennedy center and i’m feeling a lot of feelings but there’s one thing that really got me. stop reading right now if you don’t want spoilers for things they do at live shows. at the very very end of “who lives who dies who tells yours story” eliza meets alex at center stage and he leads her down stage (closer to the audience if you don’t know stage directions) then he backs up so she’s alone down center facing the audience. then as the music is fading she gasps. and it’s the most beautiful gasp i’ve ever heard. and it took me a second to realize why she did that and once i did i started crying ten times harder. she’s seeing the audience. the thousands of people sobbing their eyes out over alexander freaking hamilton. she’s seeing the result of all her hard work to make sure hamilton was remembered, the work she had just spent the entire last song worrying about and wondering if it would be enough. and in the end she was able to see that she did it. and she gasps. and i lose it. because one of the most heartbreaking part in hamilton is that eliza never knew if her work was enough. but lin made sure she did. in conclusion lin is a genius and eliza hamilton deserves the world.
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You: I’m only 19 but my mind is older
Me, an intellectual: I’m 19! But I’m ooooooold for my age; I’m just b o r n to be BAD
I showed my best friend Emily DWSA for the first time (whilst my friend Tevyn was in the room)
Here are some highlights.
Tevyn asking what ASMR would be like for deaf people during the opening number.
Emily immediately started laughing at “Bobby Maler, he’s the best”. I’ve taught her well.
Once Em realized that Hänschen was about to start masturbating during My Junk, she promptly replied with “Oh. Oh…! OH OKAY.”
She was losing her shit throughout that entire scene, it was great.
“Don’t get too attatched to the idea of Melchior and Wendla becoming a couple, everything goes to shit in a few scenes.” “Oh, lovely.”
During the “I passed!” scene, I went back once to show Emily Alex Boniello’s little happy dance because it’s adorable, and she deserves to know of its existence.
“Baiting some girl with hypothesis” “Ohhhhh now I see why”
Tevyn wasn’t really watching or paying attention, so when it goes quiet after Martha admits her father beats hers, he looked up and said “Why did everything go quiet?”
After Moritz tells his father he failed his exams and sees the gun on the chair, this exchange took place…
“What is that?” “…It’s a gun…” “Oh no!”
“This is so fucked up, dude.” during I Believe
The boot we watched was split into two parts, so I had to give her a second to process everything before we moved on to act two.
So much quiet despair during Don’t Do Sadness/Blue Wind and Left Behind.
“Don’t worry, these next two songs’ll provide some levity.” “Thank fucking god.”
I pointed out Daniel David Stewart humping the wall during Totally Fucked, and that’s all Em focused on for the rest of the song.
“Okay Em, just so you know, if you laugh during this next scene, I’m fighting you.” “K”
Okay, well I let her laugh when Ernst hits the piano keys, and “Mm, I know!”, but that’s it.
“I love you, Hänschen! As I’ve never loved anyone!” “AW!”
She didn’t mention it while we were watching, but she noticed Andy Mientus’s Piano Scoots™
“And the nausea?” *noise of realization that Wendla is pregnant*
Once she realized that Wendla is dead: “WHAT. NO!!”
My dog started making noise during Those You’ve Known, so there was a lot of concealed laughter.
My failed attempts to explain the symbolism behind The Song of Purple Summer.
Tevyn after I closed YouTube, “That play sounded really fucking depressing. Like, I wasn’t watching, but holy shit.”
