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fearsmagazine · 4 months

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SAW THE MUSICAL: THE UNAUTHORIZED PARODY OF SAW Extends Off-Broadway and Announces National Tour.

After an astonishing New York run this Fall, SAW The Musical The Unauthorized Parody of Saw has extended its run Off-Broadway at AMT Theatre (345 West 45th Street) through Jun 23, 2024. It will also kick off a national tour in LA with a six-week run beginning Feb 29 at the Hudson Theatres Mainstage (6539 Santa Monica Blvd, Los Angeles, CA 90038 in Hollywood) SAW The Musical: The Unauthorized Parody began performances Off-Broadway on Sept 16, 2023, with its New York Opening Night on Sunday, Oct 1, 2023, and was called "Hilariously Absurd" by NPR. The run is extended through Jun 23, 2024, in Midtown's Theater District.

Danny Durr as Gordon and Jill Owen

The National Tour stops include Los Angeles, CA (Hudson Theatre Mainstage, Feb 29- Apr 7, 2024 ); San Diego, CA (Tenth Ave Arts Center, April 10 – 28, 2024), Las Vegas, NV (May 1 – 5, 2024), Portland, OR (Alberta Abbey, May 15 – Jun 9, 2024), Greely, CO (Union Colony Civic Center, June 2024), Chicago, IL (Jul 26 – Aug 18, 2024). Exact dates, locations, and tickets can be purchased by visiting www.sawthemusical.com/national-tour.

One of the most thought-provoking horror films of all time now is…a musical. SAW The Musical hilariously captures the events of the first movie, parodying the Saw that started it all, following from where Lawrence Gordon and Adam Stanheight find each other for the first time in the bathroom trap. Will they follow "the rules" as they discover each other's secrets? Will they escape the game in time and saw right through? A love story with fluidity (and lots more fluids), SAW The Musical: The Unauthorized Parody of Saw is Little Shop of Horrors meets Avenue Q, pushing the boundary on sexuality and how to love. [Parental Advisory: Explicit Content]

"SAW The Musical: The Unauthorized Parody of Saw brings the iconic horror film to life on stage with a wickedly funny twist. Now is the perfect time to laugh at the macabre as we blend horror and hair-raising laughter, creating a unique musical experience that's both hilarious and thrilling. Get ready for a love story entangled in traps, secrets, and unexpected humor, pushing the boundaries of entertainment with a dash of explicit fun." Cooper Jordan, Creator, and Producer

Created by Cooper Jordan (DEX! A Killer Musical, The Rat Pack Undead), SAW The Musical has a book by Award -Winning Writer Zoe Ann Jordan (Virtuoso - NYCHFF) and music & lyrics by Patrick Spencer & Anthony De Angelis (An Axemas Story), and directed & choreographed by Tony Award Winner Stephanie Rosenberg (Easter Bunny HOP! LIVE; Co-Producer: Moulin Rouge! The Musical, Anastasia) with music direction by Leigh Pomeranz (DEX! A Killer Musical) and fight direction by Dan Renkin (All My Sons, DEX! A Killer Musical). The Musical is produced by Cooper Jordan, Saw The Musical Parody LLC, Stephanie Rosenberg, Merciful Delusions Productions, Panit Chantranuluck, June Rachelson-Ospa, and more to be announced. Cooper Jordan is the Lead Producer.

SAW The Musical: The Unauthorized Parody of Saw (New York) stars Danny Durr (National Tour: A Christmas Carol, Tony-nominated War Paint) as Gordon, Adam Parbhoo (NY: Home's Kitchen) as Adam, Gabrielle Goodman (NY: Open, Stay) as Amanda/Alli/Jigsaw and Voiceover for Detective Tapp is by the late Donnell Johnson, with Swings & Understudies; Andrew Caira (New York: The Importance of Being Earnestly LGBTQ+, Regional/Tour: Atlantic City Blues Brothers), Patrick Voss Davis (Film: Lucky Louie. Regional: Newsies), James Lynch (New York: Baby Powder), Thomas Skea (Film: Out of Water), Morgan Traud (Regional: Mame), Jessica Morilak ("A Sketch of New York") and Keaton Barry. SAW The Musical's National Tour Casts will be announced in 2024.

For an updated schedule, National Tour tickets or to purchase tickets, please visit SawtheMusical.com.

#theater news #play news #saw the musical #national tour #Unauthorized Parody

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randomestfandoms-ocs · 1 month

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10 facts Kirsty? 🥺

1 – Kirsty's main comfort items are a stuffed whale from Mia and a blanket knit by Sookie. She's had both since she was a baby, and Sookie knit the blanket big enough that even now it fully covers her

2 – Whenever Kirsty is really stressed or overwhelmed, she goes into a deep cleaning overdrive until she physically can't anymore and just ends up laying on the floor wherever she was last working

3 – Kirsty became fascinated with photography when Rachel was around when she was a kid, got her first camera from Rachel and still has it, whenever she isn't participating in town events for Patty, she's taking pictures

4 – Kirsty has a key to Miss Patty's (she's the only other person who does) and when she's having a difficult time with her brain she'll go at night and either goes on one of her cleaning sprees until she falls asleep on the mats or she just puts on her music and dances until she's too exhausted to keep going

5 – Kirsty has a car (at least until Teach Me Tonight) which was a gift that Emily insisted on getting for her sixteenth birthday, but Kirsty is terrified of cars and never gets her license

6 – Emily is significantly more involved in Kirsty's life. When Kirsty was 8 she took the bus to Hartford by herself and made a deal that Emily would pay for all of her activity fees (mainly dance/skating/gymnastics but also travel fees to competitions) in exchange for Kirsty having lunch with her every Sunday. Over the years this grew to include Kirsty's involvement with the DAR (she actually enjoys planning events for them) and a lot of Emily's other organizations/committees, as well as Emily accompanying her to New York every December for Kirsty to be in the New York Ballet's Nutcracker. While Kirsty loves Emily and Emily tries to love Kirsty, Kirsty is also very much her attempt at a do-over daughter and can be controlling to the point of abusive, Kirsty has yet to unpack how traumatized she actually is from some of it

6B – Emily being hyper-controlling and hypercritical has also led to Kirsty developing an eating disorder as a child and was a main factor in her severe addiction spiral

7 – Kirsty's natural hair colour is very auburn, but after getting home from her New York trip with Emily in her freshman year of high school she had Chandler (her best friend) dye it dark brown, and that night was also when she got drunk at a party for the first time

8 – Kirsty suffers from a lot of chronic pain from dance (especially hips, knees, and ankles) and is almost always using at least one hot water bottle when she's at home. For her sixteeth birthday, Sookie knit her a whole collection of cute covers for them

9 – Kirsty also struggles with chronic fatigue. On her bad days she can be found carrying her blanket from Sookie around everywhere until she finally feels comfortable to just curl up somewhere and rest

10 – some of Kirsty's main ballet's have been Nutcracker (she's been a party girl, Clara, a snowflake, the Snow Queen, and the Sugarplum Fairy), Romeo and Juliet, Don Quixote, Coppelia, the Secret Garden, Swan Lake (as Odette/Odile), Alice in Wonderland, and she's done a Phantom Of The Opera as Meg when she was pretty young but then again when she was older as Christine. She's also been a New York City Rockette for years and was a dancer at the Moulin Rouge in Paris

10B – she's also been on Broadway, and some of her main roles have been Victoria Cats, Natalie in Next To Normal (OBC), Jenna in Waitress (OBC + wins a Tony), Sophie in Mamma Mia (thinking National Tour not Broadway), Satine in Moulin Rouge (OBC + wins a Tony), Velma Kelly in Chicago, and Anastasia in Anastasia

#ask #answered #the witching ash #kirsty gilmore #about kirsty

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nordleuchten · 2 years

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The forgotten children

The sad truth is that history sometimes tends to forget and to overshadow. Take the La Fayette family. A prominent family and when the oldest daughter Anastasie de La Fayette married on May 9, 1798 Juste-Charles de Fay (Faÿ) de La Tour-Maubourg, the family was overjoyed. The couple’s future looked bright, when La Fayette wrote on August 20-21, 1798 to George Washington:

(…) But Anastasia Being a little Unwell, tho’ Nothing Alarming in it, Has Made a Halt in Holland, with Charles Maubourg, while Her Mother and Virginia Have proceeded on their way to paris where they now Have Been a few days Arrived (…)

“To George Washington from Lafayette, 20–21 August 1798,” Founders Online, National Archives, [Original source: The Papers of George Washington, Retirement Series, vol. 2, 2 January 1798 – 15 September 1798, ed. W. W. Abbot. Charlottesville: University Press of Virginia, 1998, pp. 539–545.] (10/11/2022)

The reason for Anastasie being unwell? She was pregnant and Virginie wrote happily in her book:

After a short stay there [Paris], and a visit to Mme de Chavaniac in Auvergne, we all met again in the following year (1799) at Vianen, near Utrecht [in the Netherlands]. My father had come there from Holstein, with George. Exiles can fix themselves nowhere. Their only thought is to abandon their momentary home, their only wish, to depart. It was there that my sister gave birth to her first child, and that my aunts came to see us.

And in the footnotes, we can read:

Célestine de Maubourg, married to the Baron de Brigode who died “Pair de France.”

Mme de Lasteyrie, Life of Madame de Lafayette, L. Techener, London, 1872, p. 337.

Jules Germain Cloquet published this little chart in his book:

Jules Germain Cloquet, Recollections of the Private Life of General Lafayette, Baldwin and Cradock, London, 1835, p. 227

We see that Anastasie was the mother of two daughters, her oldest child being Célestine – but what if I were to tell you, that that is not all? I went to search the baptism record of Célestine in the Archives of Utrecht – and was for once successful in my inquiry.

We see that Célestine Louise Henriette was baptised on February 2, 1799. Her aunt Virginie and Alfred Louis Marie de Fay de La Tour-Maubourg stood as witnesses. But prior to Célestine’s baptism there was another one. “Maria Victorina” (the Dutch spelling) was baptism and her grand-mother Adrienne as well as one of her father’s brothers, Marie Victor Nicolas de Fay de La Tour-Maubourg, were her godparents. Marie and Célestine were twins.

It seems as if “Maria Victoria” must have died shortly after her baptism because on May 9, 1799 to Thomas Jefferson:

My wife, my daughters, and Son in law, join in presenting their affectionate respects to Mrs Washington & to you my dear g[ener]al the former is recovered & sets out for france on monday next with Virginia—our little grand Daughter is well (…)

“To George Washington from Lafayette, 9 May 1799,” Founders Online, National Archives, [Original source: The Papers of George Washington, Retirement Series, vol. 4, 20 April 1799 – 13 December 1799, ed. W. W. Abbot. Charlottesville: University Press of Virginia, 1999, pp. 54–59.] (10/11/2022)

But there is more, La Fayette further wrote to Thomas Jefferson on June 21, 1801:

The Health of My Wife is Mending—Anastasia Will Before long Make me Once More a Grand Father—Virginia is as Yet UnMarried—My Son Who Has Received Two Wounds at the Battle of the Mincio and is Now With me intends to Set out in a few Weeks for Milan Where His Regiment is Quartered (…)

“To Thomas Jefferson from Lafayette, 21 June 1801,” Founders Online, National Archives, [Original source: The Papers of Thomas Jefferson, vol. 34, 1 May–31 July 1801, ed. Barbara B. Oberg. Princeton: Princeton University Press, 2007, pp. 403–404.] (10/11/2022)

Most sources name Jenny as Anastasie’s next child but Jenny was born on September 6, 1812 (La Fayette’s birthday). Some other sources (less credible ones, if you were to ask me) claim that there was a daughter by the name of Louise, born in 1805. I could find nothing about her or any other potential children, but I think it is safe to assume that Anastasie and Charles had to carry some of their children to the grave, just like her parents had to do with her oldest sister Henriette.

#marquis de lafayette #la fayette #french history #american history #letter #history #anastasie de lafayette #virginie de lafayette #founders online #utrecht archive #la tour-maubourg #george washington #thomas jefferson #1798 #1799 #1801 #1805 #1812 #resources

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bm2ab · 2 years

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Arrivals & Departures 16 October 1925 – 11 October 2022 Dame Angela Brigid Lansbury DBE

Dame Angela Brigid Lansbury DBE was an Irish-British and American actress and singer who played various roles across film, stage, and television. Her career, much of it in the United States, spanned eight decades, and her work received much international attention. At the time of her death, she was one of the last surviving stars from the Golden Age of Hollywood cinema. She was the recipient of numerous accolades, including six Tony Awards (including a Lifetime Achievement Award), six Golden Globe Awards, a Laurence Olivier Award, and the Academy Honorary Award, in addition to nominations for three Academy Awards, eighteen Primetime Emmy Awards, and a Grammy Award.

Lansbury was born to an upper-middle-class family in Central London, the daughter of Irish actress Moyna Macgill and English politician Edgar Lansbury. To escape the Blitz, she moved to the United States in 1940, studying acting in New York City. Proceeding to Hollywood in 1942, she signed to MGM and obtained her first film roles, in Gaslight (1944), National Velvet (1944), and The Picture of Dorian Gray (1945), earning her two Academy Award nominations and a Golden Globe Award for Best Supporting Actress. She appeared in eleven further MGM films, mostly in minor roles, and after her contract ended in 1952, she began to supplement her cinematic work with theatrical appearances. Although she was largely seen as a B-list star during this period, her role in the film The Manchurian Candidate (1962) received widespread acclaim and it is frequently cited as one of her best performances during her career, earning her a third Academy Award nomination and another Golden Globe Award for Best Supporting Actress. Moving into musical theatre, Lansbury finally gained stardom for playing the leading role in the Broadway musical Mame (1966), which won her her first Tony Award and established her as a gay icon.

Amidst difficulties in her personal life, Lansbury moved from California to County Cork, Ireland, in 1970, and she continued to star in a variety of theatrical and cinematic appearances throughout that decade. These appearances included leading roles in the stage musicals Gypsy, Sweeney Todd, and The King and I, as well as in the hit Disney film Bedknobs and Broomsticks (1971). Moving into television in 1984, she achieved worldwide fame as the fictional writer and sleuth Jessica Fletcher in the American whodunit series Murder, She Wrote, which ran for twelve seasons until 1996, becoming one of the longest-running and most popular detective drama series in television history. Through Corymore Productions, a company that she co-owned with her husband Peter Shaw, Lansbury assumed ownership of the series and she was its executive producer during its final four seasons. She also moved into voice work, contributing to animated films like Disney's Beauty and the Beast (1991) and Don Bluth's Anastasia (1997). She toured in a variety of international productions and continued to make appearances in films, such as Nanny McPhee (2005) and Mary Poppins Returns (2018). Her final film role was in Glass Onion: A Knives Out Mystery in 2022.

Lansbury received an Honorary Academy Award, a Lifetime Achievement Award from the BAFTA, a Lifetime Achievement Tony Award and five additional Tony Awards, six Golden Globes and an Olivier Award. She also was nominated for numerous other industry awards, including the Academy Award for Best Supporting Actress three times, various Primetime Emmy Awards on 18 occasions (including 12 Emmy nominations in a row for Best Actress for Murder, She Wrote), and a Grammy Award (for Beauty and the Beast). In 2014, Lansbury was appointed Dame Commander of the Order of the British Empire by Queen Elizabeth II. She was the subject of three biographies.

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beyondthegoblincity · 2 years

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Anastasia Second National Tour Thoughts (May 2022 Detroit performance)

I saw the Anastasia 2NT when it came to Detroit in early May. Here are my longwinded thoughts on my experience, including changes made for the tour, thoughts on the lead Anya and Dmitry, and whatever else comes to mind. Please note I am very blunt about what I like/don’t like, if you really don’t want to hear those things, this is not the post for you.

The Overall Production

So, biggest thing first: the show I saw was missing an entire ensemble member. During Dance of the Romanovs, only two sisters came out, and for a moment I wondered if the 2NT actually cut down the sisters but I double checked the playbill and all three (plus Anastasia, so 4 total) were listed. Throughout the show, it was obvious that a woman ensemble member was missing.

There was always a man without a partner, at one point the man without a partner was essentially tossed in with a different pairing, making the choreography triple. There were only two little swans during Swan Lake. Etc.

The show had to cancel its' first two Detroit shows due to COVID cases, and I believe three ensemble members made their debut on 5/6's evening show. Presumably the cast is stretched thin, and uh, it was definitely something to see the show like this. Was it obvious to people who hadn't ever seen the show? I don't think so. No one I saw it with mentioned anything. But if you were watching like I was, or you specifically knew the show was supposed to have 3 swans, all of OTMA, etc, then you might have noticed the details.

The Second National tour has made changes to the staging. This includes reducing the overall complexity (what complexity there was) of the Broadway and 1NT tour staging.

Staging differences + Actor Breakdowns below the Keep Reading!

Some differences between the 2NT and old 1NT:

No train set piece.

Instead, there is a projection of the outline of the old bare-bones train car, and the cast line up their suitcases between the train car projection and sit in rows. The train car projection rotates to "side view" during the song, and the cast moves so that they are spaced out while Dmitry, Anya and Vlad do their bits. Vlad had more room to walk around and be silly here, which was nice and I did like that you could pay more attention to the trio while they were singing.

But the train projection looked a lot lower quality compared to the other projections in the show and it was not very wide, so that unless you were sitting center, it looked rather silly. If they are using a projection, why bother with that "skeleton" car? The point of the skeleton car in the original production was so you could see the actors inside it. If you're using a projection, make it wider and just make it an actual train interior at that point. What are you doing, what are your choices, Anastasia 2NT?

No turntable.

Actors just danced around Anya and Dmitry in the end. I don’t’ know if the stage had any automation, actors moved various set pieces on/off. But I can’t really remember what was/wasn’t automated on Broadway or the 1NT, aside from having the turntable.

-That center back panel, the one used for the windows in Close the Door (where little Anastasia pops in and out) and for the Romanov execution effect in The Neva Flows Reprise, was gone.

Instead there was a digital screen with digital windows/projections in its place. One square of the digital projections in the back kept blinking to black during Dance of the Romanovs; it wasn't even an entire panel, so it was just like this random chunk of the scene kept flickering. Thankfully that was the only time the projections were messed up.

Little Anastasia did not come out during Close the Door and there’s nothing in front of the Romanovs during the NF Reprise.

I do not know if this is normal, or if because of the cast shuffling that she didn't come out for some reason. If anyone has seen the 2NT and can confirm if she doesn't come out normally, that'd be great. The Romanovs were there for the background scene in The Neva Flows Reprise, but they were just... there, behind Anya and Gleb. Would have been a good time to put down a mesh screen or something to give them the "otherworldly" effect that you get from seeing them from behind the panels.

Little things missing on stage.

No throne for Anya to hide behind, only one sofa for the Dowager Empress in Close the Door. Key props are still there (the ugly doll, God, the ugly doll!) but the set feels less textured. Though it really wasn't all that textured to begin with, but, removing things like this makes it feel more bare during certain scenes.

Thoughts on the Actors

Before I continue, let me preface with my very blunt opinion about Lila Coogan's Anastasia, since I saw her live during the first national tour: Her acting was bad. I did not like it, at all. She barely reacted to other actors on stage, instead keeping herself closed off and in her own world, like she was waiting for their mouths to stop moving so she could say her lines. Whenever she was on stage, I dreaded her scenes with other characters. Overall, because Anya is obviously a massive part of the show, I left the first national tour feeling less than enthused.

Kyla Stone as Anastasia

Kyla Stone is proof at how much having a competent actor can absolutely change how you experience a show. While I do have misgivings about the overall production, none of them are related to Kyla Stone and her performance. Unlike with Lila Coogan, I never dreaded a moment with her on stage--except frustration at Brendon Delgado's lackluster performance in their scenes together, more on that later. She and Sam McLellan as Dmitry developed believable chemistry, and it was so refreshing and so much more fun to see the show with a good Anya.

Now, I'm not wild about some of her choices--Anya in The Neva Flows Reprise just sobbing and running away for most of the song never does it for me, though unlike Lila, at least I felt like Stone's Anya was actually upset here rather than mimicking emotion.

Sam McLellan as Dmitry

Sam McLellan as Dmitry comes as close as one can to cracking the unlikable coconut that is stage!Dmitry. It was almost disconcerting, and I don't know how to explain that. It was like most of the stage!Dmitry's flaws, which still exist in the writing, were smoothed over by his performance.

It's different from my views on Stephen Brower's Dmitry--which was "he made this unlikable character work, and he made Dmitry fascinating, and I will forever think about his expressions during In a Crowd of Thousands which almost seemed like he regretted telling Anya his story because he found it gross that she was taking his personal memory and using it."

Instead, it's like... Dmitry just clicked. I didn't find myself rolling my eyes at him being an asshole to Anya, because his performance (and Stone's chemistry with him) didn't make him feel like such an asshole. The line "This is the first time you've paid me a compliment" from Anya didn't make me think "YES, AND THAT'S A PROBLEM." Instead it felt like she said it in jest, because McLellan's Dmitry does not have the dickish inherent nature of other stage Dmitry's.

He felt looser, a bit guarded, but not serious when he's bantering with Anya. It felt more fun. Looking back, I never once thought to myself: "Dmitry is a dick and this show made him an unlikable ass" like I typically do in other productions. Instead he just... worked. It wasn't until the scene between him and the Dowager Empress that I remembered my misgivings about the writing in full, and even then, McLellan's Dmitry was so much more charming and earnest (even though the writing shouldn't let him come across this way) that the Dmitry + Empress scene didn't make me want to wring the script out as much as it normally does.

Added Anya and Dmitry Interactions

I think a lot of this shift in how Dmitry is perceived is because the second national tour's apparent added stage directions for Anya/Dmitry, which I *think* are new stage directions and not just personal choices on part of the actors. There were lots of added micro-interactions that made it way more obvious that these two characters had chemistry, from as early as Learn to Do It. Longer gazes, not unpleasant looks between them, more laughter, jests. Anya elbowing Dmitry when he teases her, but laughing herself.

There is added scene on the train where Anya stumbles and Dmitry catches her. When Anya and Dmitry dance during "Learn to Do It," they had a moment where they looked at each other with fascination and kindness. Anya stepping on his toes was accidental the first time, on purpose the second--but Stone makes it silly and funny, and McLellan's Dmitry was more exasperated than pissed.

For the first time since I've seen any version of this show, bootleg and otherwise, Vlad's line "I never should have let them dance" actually made sense. Because their chemistry and growing feelings started in that song, and not just "Dmitry is a dick for 95% of the show, er, wait I guess he loves Anya now."

I may be wrong in my assumption that these are new directions for all the actors, if anyone has seen the other actors in these roles and got a totally different vibe more akin to what we've seen before, I'd love to know.

Brandon Delgado as Gleb

Brandon Delgado is... uh. There as Gleb, and I say this as a massive fan of the character and all the hidden potential within. He just didn't seem to care at all, didn't connect despite all the energy Kyla was giving him on stage, and he kept doing odd gestures with his eyes--closing them repeatedly, rolling them up--that were genuinely off putting.

He let no dialogue breathe, and the woman next to me actually let out a laughing scoff in her throat during The Neva Flows Reprise when he suddenly rammed his gun onto Kyla's lower shoulder, then dropped down WAY too fast, within a second, without letting the moment breathe at all.

Instead of a sense that Gleb changed his mind, it was a sense of chaotic directionless mania. Gleb just... rushed at her, then oop, never mind.

His voice was solid, lovely, but his diction was not great, muddled with again, no sense of wanting any scenes to breathe. I did like his initial interaction with Anya, but it seemed like once he got singing The Neva Flows, his character just took off on a balloon and floated away from everyone else.

So many reviews single out Delgado as providing a great performance, so I don’t know if I saw him on a really off day or what. But he just didn’t do it for me.

Bryan Seastrom as Vlad

Bryan Seastrom was good as Vlad. I thought he had a very interesting reading of "He's a dead man on both counts" at the train station, it was a lot more serious than other Vlads that I've seen and it gave the scene a lot more initial weight. It also led nicer into the beginning of Stay I Pray You, because the audience was not flipping right from "one-liner" to "sad song about leaving your homeland from a character destined to die."

I didn’t care for the way that he took the “Vlad looking at the Romanov portrait and seemingly recognizing that Anya has Romanov characteristics” and made it more of a joke. He looked at the photo, seemed to study it, then got Dmitry’s attention and mouthed something like “THIS IS THE ONE” and made an “ok/we got it” symbol with his fingers. I don’t remember that happening on the 1NT when I saw it, but maybe it’s been part of the staging with other actors and I just didn’t know.

Personally I prefer the more serious, photo-to-heart reaction that I saw on the 1NT. But I am also a person who laments the removal of Gleb’s “your eyes, a man could look right into them… be careful comrade, they’ll give you away!” line, so there’s that.

Elizabeth Ritacco as Lily

Elizabeth Ritacco (swing) was on for Lily. She was fun, fine, much more youthful in appearance than other Lilys I've seen and it gave her a different vibe. She and Seastrom played off very well with one another, which is a must. I feel bad for not having more to say. She was fine, snappy, had a commanding, lounging aristocrat presence.

Christian McQueen as Ipolitov

His performance was so good that I have to mention it here. I do recommend checking out the 2nt Stay I Pray You audio to hear his version, because wow. It was just so different. The show basically seems to have given him carte blanche to do his own thing, and it has really stuck with me ever since I saw it. It was so aching and raw in a different way than the traditional way actors perform the song. I don't know if Ipolitov did this on Broadway or the 1NT because I can't remember, but he stayed until the end of the song, giving Anya a farewell blessing. Stone's Anya crossed herself after receiving it.

Overall Thoughts

The show’s writing still has major issues. Major, serious “I can and have ranted for hours about them” issues.

However, seeing the show with competent Anya and Dmitry actors who seem to understand these issues and smooth them over by creating great chemistry out of acting choices within a highly flawed script made SUCH a difference to a serious degree. By contrast, the odd choices made by Delgado during this performance and his seeming lack of “give-a-fuck” during the show I saw made Gleb’s scenes boring, pointless, and unfortunately since that climactic scene at the end rests on having a compelling Gleb, it just sort of… happened.

But I will say this, overall:

I left the first national tour critically thinking about all the show’s structural and narrative problems, and mentally affirming that the show is poorly written.

I left the second national tour wishing I was able to catch the show again before the tour left. My niece, as we were pulling out of the lot, sighed and lamented: “I wish we were still inside watching the show.” And with this particular cast, I can’t say I disagreed.

#anastasia #anastasia musical #anastasia tour #kyla stone #theater reviews #theater

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radarsteddybear · 5 years

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Lila Coogan and Stephen Brower (Anya and Dimitry in the Anastasia First National Tour) sing “At the Beginning” on Instagram (11/7/2018)

#Anastasia #Anastasia First National Tour #Anastasia Broadway #Lila Coogan #Stephen Coogan #Anastasia Tour #video #original post

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anastasiatour · 3 years

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From Kyla Stone's Instagram story (Oct. 15, 2021)

#kyla stone #anastasia cast #anastasia 2nt #anastasia second national tour #anastasia tour #anastasia the musical #tour stop: evans ga #tour stop: columbia county pca #event: first preview

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anastasiamusicalupdates · 1 year

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Lila Coogan as Anya in the First National Tour.

#anastasia the musical #anastasia first national tour #lila coogan #anya ballet #anya blue ballet

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jakesdmitry · 5 years

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From Jake Levy’s Anastasia Instagram Takeover (Oct. 5, 2019)

#jake levy #anastasia tour #anastasia first national tour #anastasia bway instagram takeover

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jellyfishyishy · 5 years

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Sometimes I forget that my favorite, innocent, cinnamon rolls were in Spring Awakening.

Riff Queen Ben Fank?

I know Andy is a cinnamon roll too, but he plays other characters like Hanschen.

I’m sure you thought Queen Kimiko probably has never been a show like Spring Awakening. She’s so smol!

Wrong.

Surely not Cronut Queen Christy Altomare, right? She plays dainty ingenues- no, not the VVendla type, the Anya type!

WRONG AGAIN. :)

I love all of these people. I love Spring Awakening. These nice versatile people :) Actually, when you think about it, it’s their type. Dainty, naive, strong ingenue for Christy, the adorkable friend for Kimiko, and introverted, warm-hearted, *gay*, and complex for Ben!

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fearsmagazine · 8 months

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SAW THE MUSICAL : THE UNAUTHORIZED PARODY OF SAW gets NY debut September2023

After a wildly successful run in Philadelphia, Cooper Jordan Entertainment will bring SAW The Musical: The Unauthorized Parody of Saw Off–Broadway this fall. Created by Cooper Jordan (DEX! A Killer Musical, The Rat Pack Undead), SAW The Musical has a book by Award -Winning Writer Zoe Ann Jordan (Virtuoso - NYCHFF) and music & lyrics by Patrick Spencer & Anthony De Angelis (An Axemas Story), and directed by Tony Award Winner Stephanie Rosenberg (Easter Bunny HOP! LIVE; Co-Producer: Moulin Rouge! The Musical, Anastasia) with music direction by Leigh Pomeranz (DEX! A Killer Musical). It will begin performances on September 16, 2023 in, advance of its opening on Sunday, October 1, 2023; the limited run is slated to run through January 1, 2024 at the AMT Theater (345 West 45th Street) in Midtown’s Theater District.

SAW The Musical: The Unauthorized Parody of Saw premieres Off-Broadway Fall 2023 in New York after its smash out-of-town tryout in Philadelphia last year! One of the most thought-provoking horror films of all time now is…a musical . SAW The Musical hilariously captures the events of the first movie, parodying the Saw that started it all, following from where Lawrence Gordon and Adam Stanheight find each other for the first time in the bathroom trap. Will they follow "the rules" as they discover each other's secrets? Will they escape the game in time and saw right through? A love story with fluidity (and lots more fluids), SAW The Musical: The Unauthorized Parody of Saw is Little Shop of Horrors meets Avenue Q , pushing the boundary on sexuality and how to love. {!Parental Advisory: Explicit Content}

SAW The Musical: The Unauthorized Parody of Saw stars Bart Shatto (Bart Shatto Broadway (Dracula: the Musical - Quincey Morris), Tony- nominated War Paint) as Gordon, Adam Parbhoo (NY: Home’s Kitchen) as Adam, Jill Owen (NY Easter Bunny HOP! LIVE;) as Amanda/Alli/Jigsaw and Voiceover for Detective Tapp is by Donnell Johnson, with Danny Durr (National Tour: A Christmas Carol), Gabrielle Goodman (NY: Open, Stay), Patrick Voss Davis (Film: Lucky Louie. Regional: Newsies), James Lynch (New York: Baby Powder), Thomas Skea (Film: Out of Water), Morgan Traud (Regional: Mame), Jessica Morilak (“A Sketch of New York”). Additional cast TBA

The creative team includes Sound Designer Ryan Gravett (Sound Designer), Katie Reif (Associate Sound Designer), Dan Renkin (Fight Director), Sarah Thurmond (Production Manager), and Gabrielle P. Guagenti (Production Stage Manager). The Musical is produced by Cooper Jordan, Saw The Musical Parody LLC, Stephanie Rosenberg, Katie Reif and more to be announced. Cooper Jordan is the Lead Producer.

SAW The Musical: The Unauthorized Parody of Saw begins performances on September 16, 2023, at AMT Theater, located at 345 West 45th Street. It will play on Saturdays at 11 PM and Sundays at 5 PM (after 2pm & 8pm Broadway curtains come down), running 100 minutes with no intermission. Tickets are $41-$113 (incl. fees). Extremely limited “Super Saw VIP Front Row Seats” including The Bathroom Mirror Merch Box are available for every performance for $113 total ($110 + $3 fee), VIP Front Rows A-B at $98 ($95 + $3 fee), Premium at $78 ($75 + $3 fee), Orchestra at $61 ($58 + $ 3 fee) & Rear Orchestra / Mezz at $41 ($38 plus $3 fee) and are available by visiting SawtheMusical.com or at the AMT Theater Box Office in person or by calling 646-543-4385. All VIP Seats include “Pictures with Pigs in Wigs” on Stage following the performance. SAW The Musical contains mature content and is not recommended for children under 16.

#theatre news #off broadway #saw the musical #Unauthorized #Parody #Stephanie Rosenberg #Zoe Ann Jordan #Patrick Spencer #Anthony De Angelis #Cooper Jordan #AMT Theater

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