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#Playbill.com
klaineownsmysoul · 7 months
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dorothy16 · 2 years
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Darren Criss Puts His Training to Work
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little-lovett · 3 months
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https://playbill.com/article/to-aaron-tveit-and-sutton-foster-sweeney-todd-is-a-love-story
i just read this lovely article from our soon to be darlings and i’m going absolutely FERAL. so, here are my predictions for sutton lovett and aaron sweeney and how they’ll interact.
i honestly think they’re going to turn up the romance and sexiness even more than josh and annaleigh did because it was so well recieved. it makes the show both endlessly more funny and more tragic. josh and annaleigh certainly more than dipped their toes into the relationship between nellie and sweeney, but i think aaron and sutton are really gonna lean into it completely.
i see sutton’s lovett being very comforting and calming to sweeney, and i see aaron’s sweeney letting himself be comforted by her. i feel like sutton is gonna be REALLY silly and eccentric but at the same time so painfully and unconditionally loving/affectionate.
and i feel like aaron will really lean into the bond they share as two lonely people. he will trust her completely with his broken heart and his crimes and his body and the most vulnerable parts of him.
i feel like there’s gonna be so much physical affection and touch. i just know their little scene after by the sea is gonna go so hard. i have a feeling aaron might even really kiss her. i just know there’s gonna be so much love between them and i am SO excited. i cant wait to see the beautiful things they do with these roles❣️
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thelondonfolly · 10 months
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Hale Appleman in The 24 Hour Musicals.
photos from Playbill.com, by Danté Charles Crichlow.
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normalaboutdntm · 2 months
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Playbill Presents: Death Note: The Musical Panel at NYCC2023
As described on the NYCC site:
"Following acclaimed productions in Japan and Korea and after two star-studded sold-out concert engagements in London, DEATH NOTE: The Musical is coming to New York Comic Con. Playbill will present a panel about the show featuring stars from the recent London concert (cast to be announced) and will offer a sneak peek into the developing production. "Based on the best-selling Japanese manga series (60 million copies worldwide) of the same name by Tsugumi Ohba and Takeshi Obata / Shueisha, this groundbreaking musical (Winner Best Musical, Korea Musical Awards) has a score by Frank Wildhorn (Jekyll & Hyde, 4 years on Broadway, The Scarlet Pimpernel, Bonnie & Clyde) with lyrics by Jack Murphy, book by Ivan Menchell, and orchestrations and arrangements by Jason Howland."
And on Playbill.com:
"October 14's programming kicks off with a Death Note: The Musical panel at 10:30 AM. Set to appear are cast members Adam Pascal, Joaquin Pedro Valdes, and Dean John-Wilson; producers Yuzo Kajiyama and Jamie Chapman Dixon; and book writer Ivan Menchell, with producer Haley Swindal hosting."
For context, this was the earliest panel slot on the third day of a four-day con. Not quite prime territory (especially with the listening party as the last slot of the same day) but they still secured a really good turnout with a lot of cosplayers. Need I remind everyone, the manga is twenty years old, and the anime isn't much younger. So it's really a sign of DN's staying power and the love that people have for this show that congoers showed up in droves to check out this preview.
Unfortunately nothing of consequence was announced at this panel or at the listening party. I was hoping we'd get confirmation of the West End run or even a Broadway concert performance, but no such luck. I was also looking forward to the audience Q&A but tbh all the information we received was so fascinating that I'm glad Haley let the panelists talk instead of trying to keep time for that.
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[ID: Adam Pascal, Joaquin Pedro Valdes, Dean John Wilson, Jamie Chapman Dizon, Ivan Menchell, a translator, and Yuzo Kajiyama sitting on stage at NYCC while Haley Swindal stands at a podium.]
After thanking sponsors and bringing everyone on stage, Haley opened by asking each guest a question, starting with Yuzo, the producer of the original Japanese production.
[everything here not in quotation marks is paraphrased]
Haley: Yuzo, what about Death Note inspired you to turn it into a musical, and what were the steps you took to get there?
Yuzo's translator: When he started at Horipro in 2006, at that time all the musicals were imported. He felt the need to produce original musical shows from within Japan. And that was when he had his eyes on Death Note. Horipro already had a relationship with Shueisha, the rightsholders, from the DN movie.
He had two things he felt were important in making this:
The content had to be something that was internationally popular.
Light Yagami’s actor would always get recognized when he went abroad.
It needed to have some kind of extraordinary element to fit with the spontaneous singing.
The concept of the comic, a person who has their name written and dies and the presence of the shinigami, he felt was a perfect fit for the musical.
He also knew that since Shonen Jump, the magazine Death Note originally appeared in, is sold for 2 dollars, the show therefore needs to be a low price.
So that’s when he went to Shueisha. He remembers the first words that they said were “Death Note is gonna be a musical show?" At that time there was only one manga-adaptation musical: The Prince of Tennis. He convinced the people at Shueisha that this would be a first-class show.
Yuzo knew the most important part of the production was the music. At the time Horipro was involved with the Japanese production of Jeykll & Hyde, which also had themes of justice. Yuzo approached Frank Wildhorn about DNtM, but Wildhorn turned it down because "it had to have a love story element, which he felt was the most important aspect" of a musical. Yuzo was impressed by this.
Wildhorn went back to the US and spoke to his son who was a big fan of Death Note, and his son told him he needed to take the job. [Everyone cheered.]
(continuing in reblogs)
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leporellian · 11 months
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actually the difference in opera program vs musical playbill books never fails to send me. musical playbill ads will be like by the way if you go to playbill.com you can order holiday snow globes featuring elphaba and all your other favorite broadway characters!!! meanwhile opera program ads are like Hey. Hey. You know you're going to die soon right. Could you put us in our will. Thanks
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jaxs-beanie · 14 days
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New info on the Epic III lyric change from the West End, from Anais herself!
https://playbill.com/article/why-anais-mitchell-made-an-epic-change-to-hadestown-five-years-on
"I didn’t touch any lyrics for the North American tour, though I was tempted to! But when I learned we were headed to the West End, I thought that might be a lovely place and time to try something new," Mitchell confesses. Those changes made for the West End was soon reflected on Broadway, though Mitchell hadn't planned on it. 
"Honestly, I didn’t even think it was 'allowed' for me to change the lyrics on Broadway," she remarks. "It was actually Jordan Fisher, our current Orpheus, who somehow heard the London 'Epic III' on TikTok. I don’t even remember my TikTok password so I had no idea there were bootlegs! He texted me very moved by it and wanting to try it. And I was like, 'Yeah, I wanna hear you do that too!' I’m grateful everyone said yes and grateful to Jordan for advocating for it."
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gennydreams · 6 months
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Cast of characters from death rattle’s playbill
Like their official playbill from playbill.com
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ectonurites · 1 year
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hilarious side effect of having worked in professional theatre is how on a pretty regular basis if im scrolling on social media and see a playbill.com article, people i personally know or people i have interacted with in a professional capacity will be mentioned by name (or like, projects they are working on will come up too)
most of the time its fun to go ‘omg!! friends/acquaintances doing cool things hell ya!!!’ but on occasion it’ll just reawaken an entirely one-sided feud i have with someone who absolutely does not know my name but had at some point interacted with me in a way that made my job more annoying
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Another wonderful article Joe has given about Sweeney. Seeing the trajectory of the last couple of years of his life is quite staggering!
https://playbill.com/article/after-an-amazing-and-strange-2-years-heartstoppers-joe-locke-says-hi-to-broadway
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klaineownsmysoul · 2 years
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jgroffdaily · 7 months
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https://playbill.com/article/video-daniel-radcliffe-lindsay-mendez-and-jonathan-groff-are-kind-of-obsessed-with-each-other
More red carpet video interviews from Playbill.
In Merrily We Roll Along, audiences are swept along a journey of three decades of friendship between three friends. In the first-ever Broadway revival of the Stephen Sondheim musical, Daniel Radcliffe, Lindsay Mendez, and Jonathan Groff play those three old friends onstage every evening—but the friendship doesn't end when the curtain closes.
"You know when you're on a date or something, and it just clicks?" Groff said at the opening night red carpet, where the trio gushed about their mutual adoration for each other. "We love each other!" Radcliffe vouched.
While Mendez and Groff had been friends for several years, Radcliffe was a "wild card" addition to their friendship, which only strengthened and deepened as they prepared for the hit revival. "Jonathan and I have been friends for a long time...We came up at the same time on Broadway. Dan was the wild card, but when we all found out we were going to do this together, we started video messaging, and we were like, 'Oh, we're all kind of obsessed with each other, how weird!'" Mendez shared.
"To be so in love with the two people that are playing your best friends in something, frankly, just makes my job so much easier," Radcliffe said.
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scorbuslove · 7 months
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https://playbill.com/article/broadways-harry-potter-and-the-cursed-child-to-welcome-new-cast-members-in-november
ERIK AND JOEL ARE STAYING FOR ANOTHER YEAR! They are so great!
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allyouwxnnado · 2 years
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happy pride month queendom 💜🌈
official six the musical pride playbill from playbill.com
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"The Projectionist"
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The Projectionist is a play written by Michael Sargent (second picture) and staged in L.A. in 2009. I digged everywhere but no luck with the actual play @apbajs . Here the main reviews:
1.
https://playbill.com/article/hamish-linklater-is-lobby-lingerer-in-the-projectionist-at-kirk-douglas-theatre-in-la-com-158938
"The Projectionist is a wry comedy about an unlikely hero, Randy (!), living and working in a seedy, second-run movie house on the edge of Hollywood and Vine. Randy develops a relationship of sorts with the punk vixen he hires to sell popcorn, but his attention is diverted when Sal, the owner, shows up with a loaded pistol and a plan for opening the office safe. Soon, the action in the lobby becomes more violent than that on the screen."
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https://variety.com/2009/legit/markets-festivals/the-projectionist-1200473961/
"Emcee for this funky cabaret is the Art’s jack-of-all-trades Randy, Hamish Linklater offering an amusingly greasy variation on the slacker he plays in CBS sitcom “The New Adventures of Old Christine” sitcom. This dropout from film school and life (check out the Camus he reads slouching in the box office kiosk) suffers from a bad back and worse karma. Halting and unsocialized, he moves in a jerky trance, words bursting out like the creature emerging from John Hurt’s chest in “Alien.”"
3.
https://www.bartdelorenzo.com/projectionist
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shakespearenews · 10 months
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https://playbill.com/article/the-history-of-the-theatrical-turntable
Lautenschlager's design was immensely popular, and was soon colloquially known as a "Shakespeare stage," with the multiple set design becoming extremely popular with directors attempting to depict the numerous locations within any one Shakespeare play. With a revolve, a director of a play such as Richard III could easily move through the stately Royal court, the Tower of London, St. Paul's Cathedral, and the bloody battlefield—all depicted in equal detail (something that had previously been near impossible when presenting Shakespeare's work on a stage with a single set of scenery).
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