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#Broadway Theatre
lu-does-things · 1 year
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How funny would it be if one of the Phantom of the Opera cast members decided to stay... under the stage... and torment every other production ever performed there...?
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asentienthaze · 1 year
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One of my favourite, and in my opinion one of the most important, aspects of Falsettos is the way that it's not about AIDS, not wholly.
Yes, it absolutely expresses the hurt and the anger of the AIDS crisis, and of how queer people were affected by it, and of the queer solidarity that arose from it, and that is something that cannot be overlooked. But it's not about AIDS in the way that Rent or Angels In America is about AIDS.
Those works took those feelings, took that hurt, and said "fuck it, I'm gonna do something with it." They were written not just as awareness for the crisis, but to heal as well. To inspire hope, to inspire the drive to fight for the community, to celebrate queer lives.
But that's not what Falsettos does. That was not it's intention to begin with.
Falsettos is a story. It is the story of a man. It is the story of a Jewish gay man, in the sixties till the eighties, and his life. If we include In Trousers here, it's a story from him growing up, his denial regarding his sexuality, and then learning to accept it and accept himself, bit by bit. It's about him building a family not by blood but by choice. But of course, it was the mid-eighties(ish), and his life would come to it's likely conclusion.
This is why I feel like it's important to talk about why Falsettos isn't just about the AIDS crisis. In a lot of discussion around it, that aspect is something many people focus on (and for good reason, we shouldn't forget it) but Falsettos is so much more than that.
It's about maturing, about letting go of heteronormative and societal standards of what it means to be a family, or a husband. It's about learning to love, both yourself and others, and about a family learning to be a family.
In the words of Marvin himself:
"It's about growing up, getting older, / living on a lover's shoulder. / Learning love is not a crime. / Its about time."
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secretceremonies · 7 months
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Anne Bancroft in the stage production of The Devils, 1965
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mimi-0007 · 9 months
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Chip Fields, sometimes credited as Chip Hurd or Chip Fields-Hurd, is an American singer, actress, television director, and producer who has appeared in popular films, television shows, and Broadway theatre. She is best known for portraying Lynetta Gordon, the abusive birth mother of Penny Gordon Woods (played by Janet Jackson), in a four–episode story arc (1977) of the 1970s sitcom Good Times.
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neverland-royaltie · 24 days
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I GIT TO SEE JEREMY JORDAN PREFORM LIVE?!?!
IM STILL REELING WHAT THE FUCK
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adventuringpages · 1 year
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voca1ion · 3 months
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1925 Playbill for the show “Sunny” at the New Amsterdam Theatre on 42nd Street.
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sl-newsie · 1 year
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I really want to visit New York, the UK… ANYWHERE there’s a good musical!
🗞️❤️💚💛
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broadwaycouchpotato · 10 months
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Leaving Avis here- I do t know, inspiration hit and I kinda like this one!
But this quote hits deep to be honest. Antisemitism is on the rise,. Jewish actors/actresses are being erased from the scene by non Jewish actors who play roles of Jewish characters. It’s disappointing…
Yes, Patti LuPone is absolutely amazing as Avis Amberg, I LOVE her in this character! Avis is Iconic!!!!!
But still, there are so many women who are actually Jewish, like Avis. They weren’t given a chance to break through in this roll. Even when they’d be able to add an aspect to the character that a non jewish actress wouldn’t be able to do. There are aspects to Avis’s character that could have been enhanced by the personal experiences of Jewish women. (Sorry- wording reads a little weird here. I am not words today)
The character of Avis faces death threats, hate crimes, being looked over in the acting industry, being left behind and abandoned by society due to physical features that were not in her control. Also for being a part of a minority ethnic group.
Jewish women have struggled with these things relentlessly for generations. Jewish women have wrested antisemitism and hate and have been targeted because of their Jewish heritage.
Now I do know that Patti has experience with hate, abuse and bullying in the industry. I acknowledge her struggle and the pain it causes her. It’s valid! No one should be treated in such terrible ways! People need to respect others no matter what!
Yet she hasn’t faced what many Jewish women have gone through for generations.
Sadly, we carry so much generational trauma from such acts of pure violence.
Many women in my community have first hand experience with all of this. Go up to any woman/girl at any synagogue and they’ll have at least one story about an act of antisemitic hate, violate, comment, joke, micro aggressions- made towards them.
Patti hasn’t experienced these acts of hate in this specific situation and circumstance. She can’t. Because she’s not a Jewish woman.
Jewish women shouldn’t be facing violence or hate. No one should.
We can start making the entertainment industry more accessible to Jewish people, by giving Jewish people the spotlight for the characters who are written as being Jews!
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personinthepalace · 1 year
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Revolting Children - Matilda the Musical Broadway (2013) - Late Night with David Letterman
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this was one of my favorite performances back in the day but it seems like it's no longer on youtube. So I decided to reupload it - enjoy :)
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wheresbincsxo · 6 days
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Second show this month. I’m trying to reconnect with a part of myself that was lost. I spent the last two years aching over a heartbreak and completely forgetting the things that once made me happy. Spending my time getting back to me and what I enjoy.
Also, Lempicka was an amazing show. Too bad it’s ending—it’s worth a second watch
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asentienthaze · 1 year
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Into The Woods: Why the movie was shit
I'm not the first person to talk about this, nor will I be the last. It's pretty widely accepted among theatre fans that Disney bungled up this fantastic show. But it's important nevertheless to talk about how it went wrong, 'cause adaptations are delicate things, and the core of a good adaptation is an understanding of the themes and messages that constitute the story, and not just the story itself. Stephen Sondheim and James Lapine together wove a fairly meticulous fabric that is this musical, and it's fascinating to see how Disney's adaptation reduced it to rags.
For a summary of this show's plot, I recommend watching the first few minutes of Sideways' video on the themes in this show, mainly because it's a fairly complex plot and he explains it well. This is especially important, since the plot of the movie is……definitely not the same.(The whole video is definitely worth a watch too, and it brings up points that I might talk about here too.) Done that? Good, let's keep going.
"The narrator comes on stage, and he starts, 'Once upon a time.' Now once he says that, the audience starts to relax inside. Now what I wanted to do was to wake them up immediately, so before [the narrator] gets to the fifth word, I wanted a loud sound from the orchestra, or the piano"
That was Stephen Sondheim talking about the very beginning of the show. The choices he made in the songs were almost all deliberate, they were for a reason.
Now what does the movie do? They say the entire first line of the song before playing the musical sting. They knew that they had to have that there, since it was part of the prologue song, but they didn't understand at all why the song was structured the way it was.
Let this be an omen as to how the movie will adapt this musical.
Another important part of the first song is the constant quarter note motion the piano makes throughout. It's what keeps the energy of the first song going, and is the song's connective tissue. Guess what the movie didn't do? As a result, it makes the prologue feel like five different disconnected small songs.
The main problem that the adaptation suffered, was the removal of seemingly small things, but which ultimately led to the plot of the movie collapsing in on itself.
The first major one is the removal of the narrator and the baker's father. Yes, the movie technically had a narrating voice, and the father got….like one scene, both played much more prominent roles in the original musical. The baker's father, initially a mysterious old man, pulled many of the threads that made the various characters really interact, and he's an outside force helping move the story along. As for the narrator…well it's important to note that the narrator is a character. A major feature of the show is that it's a story with characters, and the show knows that. The narrator dictated how the story would go, and when the witch sacrifices him to the giant, the characters are left to fend for themselves, and that is how most of the destruction in the second act really happens.
The second one is Rapunzel's death. In the musical Rapunzel is crushed by the giant, and it leads to Witch's Lament:
"This is the world I meant. / Couldn't you listen? / Couldn't you stay content, safe behind walls / As I could not?"
An important thing to note is while yes her relationship with Rapunzel is definitely toxic, there's a complexity that arises out of her over sheltering Rapunzel to protect her, and then as a result she comes to despise that "shelter", and is then ultimately killed. The fact that she is grieving the loss of her daughter plays largely into her character in the second act, something that is entirely lacking in the movie. SO MANY OF HER LINES get undermined by this one detail, that Rapunzel never died, and that she was wrong the whole time.
Lastly, songs that were cut. There are four main ones that are important to talk about.
First, Maybe They're Magic. It's sung right after the Baker and his wife sell the beans to get the cow. It's the first time the question of whether or not they'll really have to lie and possibly steal to obtain the items, and what the ethics of it really are, arises. It also exemplifies the character of the Baker's Wife, and her more clever side, which we further see when she obtains her items mostly through either deceit or persuasion. This glimpse into her character helps set her up for 'Moments in the Woods', a song much later which also expresses her inner thoughts.
Two: Ever After/Prologue: So Happy. This is how the show ends its first act and begins the second. In the movie the events in the second act occur immediately after the wedding, while in the musical there is a time gap between the acts. The music is referenced in the instrumental track, but it's never actually sung. Although the songs are definitely very much suited for a theatrical performance, cutting both the songs means that the resulting events that occur within them have to be shuffled and rearranged. The way that the characters make their way into the woods changes, and the prince and Rapunzel run off together much later, which doesn't allow for their later scenes to ever happen in the movie. It's where the cracks in the movie start to show, and ultimately the way the decisions made for earlier parts snowballs into the later parts of the movie.
Three: Agony Reprise. Agony as a song is famous from both the movie and the show. However the reprise happens in the second act, when it turns out the two princes are not focused on the giant, but in fact on another maiden somewhere else, much like how they were in the first act. Except now they're married. Removing this song is basically like telling a joke without the punchline. Yes, Agony by itself is funny, but it's the perfect setup for its reprise. As the plot stood in the movie, it's clear why it couldn't be put in, but,,,like that's the problem. That's the whole problem
Finally: No More. This song is the one I'm most mad that they cut out. It's the final interaction the Baker has with his father, just after he runs away leaving his baby son with Cinderella. The movie,,,,badly paraphrases it, and then cuts to the Baker,,,,,crying? There's no actual emotional development, no actual introspection, and it removes one of the best written scenes in the show.
"Where are we to go?
Where are we ever to go?
Running away—we'll do it
Why sit around, resigned?
Trouble is, son
The farther you run
The more you feel undefined.
For what you left undone,
And more, what you left behind"
I implore you, watch this scene, if nothing else. It's a work of art, and the fact that it's completely cut out is a crime.
Pretty much every character in the movie became a duller and flatter version of their original, but the most egregious examples are Jack and his mother. Jack is older in the show, significantly so. He's basically in his late teens, and is sweet and naive, but not particularly bright. In the movie, however, he's,,,,a child. Like just straight up a child, and now his personality is no longer "too ungrounded for his age" but instead it's exactly how a child his age might act. Conversely, Jack's mother is overbearing, but ultimately 'stern but sweet', and is much more gentle with Jack than in the movie. In the movie though, she's mean and almost callous towards Jack, in a way that doesn't make her an enjoyable character.
I won't blame the actors for most of this. Yes, a point can be made that some of the acting itself may have been bad, but most of the fault in what I've talked about goes to the directors and script writers.
In every adaptation, choices need to be made. Since this was no longer a theatrical performance, liberties had to be taken to fit it into a film format. But each choice has a consequence, and their choices to change parts of the story snowballed into the climax of the movie, making it almost entirely different from the musical.
We talk about Into The Woods as a Sondheim show, but it is just as much a show by Lapine as it is by Sondheim. Lapine's ability to craft a story with strong and clear themes, no matter how complex or abstract the plot is, is one of the show's greatest assets. The movie was a disservice to original stage musical, but most of all it was a disservice to Lapine, taking his carefully crafted story and muddling and twisting it, until the end product had killed the central spirit of the original.
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mind-less-boy · 1 month
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When you tell people you’re gonna become an English teacher but really your dream is to be center stage of in the biggest hit on Broadway
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jekyll and hyde confrontation except its micheal jacksons man in the mirror
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terrificallytoni · 3 months
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Back to the Future on Broadway
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