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royalnugget42 · 5 months

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The God of Stories and the Nowhere Man

A Post-Canon look at the characters if Loki

In the years (weeks? decades? seconds?) after the birth of Yggdrasil, there was no mention of the TVA in any part of history. Such has always been the case. The TVA prides itself on anonymity and secrecy, almost as much as it values bureaucracy.

The same cannot be said of some of the figures involved.

———

Also majorly fuck Disney corporation for funding genocide. Go here to support humanitarian aid for Palestine.

B15 has a seat in the war room, defending Loki’s branches against the coming storm. Incredibly skilled tactician, yet humble enough to seek counsel from others, it isn’t long before she’s the de facto head of their little council. She insists that no one stand on ceremony though.

Casey, for his part, finally decided to look into his past. Reading history pages and conspiracy theories about his sacred timeline self is a little unnerving, but also very cool. In his branch he was Frank Morris, a criminal mastermind and an incredible escape artist. He’s always been a desk worker, but even if he never does any field work, he’s gained the confidence to become a proper analyst, a spiritual successor to Mobius.

O.B is recursive as always, but after finally leaving his basement level room, he came up with some improvements to the TVA headquarters. Their tech is now more reliable, their processes more streamlined and efficient, and the wifi has never been faster. He publishes the second edition of the TVA handbook. Victor Timely works well with him, and also suggests that they make better temporal radiation suits, even if they hopefully won’t have to use them anytime soon.

Most of the hunters still haven’t read the new guide, but Casey finally works up the courage to ask for an autograph. O.B writes his phone number as well. Of course, neither of them actually have phones, O.B was trying to be romantic, but the gesture goes over Casey’s head for a bit. Eventually they figure it out. O.B takes him to a bookstore.

Brad is left to go back to his own version of the timeline, but it’s bittersweet. He can’t forget the faces of the people who were depending on him in that cube. Can’t help thinking that it should’ve been him in there, not Dox. They all still exist somewhere on the timeline, but it’s not the same. They’re not coming back in a way that matters. When he goes back to being an actor he uses as much money as he can on humanitarian aid and charitable donations. It doesn’t erase the screams, but they get quieter.

Ravonna is lost at the end of time, and constantly on the run from various Lokis that she pruned a long time ago. Alioth never hurts her though. Even though she stood before it, choosing death instead of a life constantly on the run, it passed over her like a normal mist. In her heart she knows it’s Loki. She thinks he’s being vindictive by letting her survive. Eventually she’ll learn that he’s being gracious, allowing her the chance to change. She reminds him so much of himself sometimes.

Sylvie works at the McDonald’s, and it doesn’t pay much, but she never cares about it. What she wants she can summon or enchant someone into getting it for her, and what she doesn’t want she just doesn’t bother with, because she doesn’t have to anymore. She doesn’t have to do anything she doesn’t want to do ever again. She smiles. Maybe she’ll go on a date or something. Maybe she’ll go on vacation just for the Hel of it. There’s something so beautifully divine in being a creature of habit, a goddess of chaos finally settled, like a puzzle piece rattling into place. Privately, she calls herself the goddess of freedom.

All of them find their places, and make names for themselves, but their stories do not reach far, by intention. They are little things, twining with the rest of the branches.

There are two that find themselves in many branches; The God of Stories, and the Nowhere Man.

The god of stories is an ornate title, and a little dramatic. It’s accurate though. He weaves the lives of many into new branches, shifting with each misplaced footprint. The sheer multitude of the branches is their protection; The Conqueror won’t find them if he doesn’t know where to look.

This weaving has consequences though. One of the branches Loki touches is near the genesis of his own people. Heimdall is there, and he sees the tree, and its branches, and all the nine realms. It bothers him that he cannot see into the center, but alas, some things are beyond even his sight. He knows someone is there, though, and the legend grows in Asgard of the one who sits in the world tree, spinning the threads of fate into stories. Over time, the legend turns into the three frost giantesses known as the Norns.

And he is not idle in his throne either. At length he discovers that he can leave his seat at the center of the tree, but it’s dangerous to do so. His power is tied to the tree, and without him it begins to wilt again. It’s a while before he can leave it for more than a few seconds.

He manages though, and even while separated from the tree he can reach into the fabric of the branches he travels, unwinding them and twisting them as he sees fit. Legends arise around New Asgard that the brother of Thor has returned, with an unknown power in his hands. SWORD looks into it, but they find nothing out of the ordinary. Darcy looks into it and finally meets Thor’s brother. She slaps him, like Jane Foster once did, but she grows to like him eventually. They bond over a shared love of snakes.

And he doesn’t always appear as…himself. Sometimes the god of stories is herself, or theirself. They’ve appeared as a snake, a wolf, and once as a horse, but that story doesn’t need to be elaborated on. The snake is most common though, and some begin to call him Jormungandr. The world serpent.

Eventually Steven Strange takes an interest in whoever has been crawling through the multiverse. Loki drops him in a perpetual fall for an hour, and Strange decides it’s none of his damn business.

Legends of these types have echoing similarities. Solitude is their main theme, occasionally countered by the figure of the nowhere man.

Some stories say he’s the only one who dares to stand against the god of stories. His fate is his own after all, because he exists in no time at all. No story to twist, no time to pause, a Mobius, with no end and no beginning. Once they learn of him, they decide that he must surely be the greatest adversary of Jormungandr. Loki, for his part, finds it absolutely hilarious.

Other types of stories do crop up, though. The nowhere man walks among the people, and can erase your fate with a mere touch. Relentlessly the Norns pursue him. Some say it’s because the god of stories wishes to have his fate pulled away from him, like stars into the void. Some say it’s because Jormungandr craves total authority, and only when he consumes the nowhere man will he be sated. Some even say that they’re partners, companions, a yin and yang of sorts. They say that without one, the other would fall to ruin. This version of the tale emerged after too many instances of someone threatening Mobius where Loki could hear them (and if they’re on one of his branches he can always hear them loud and clear).

The Nowhere Man is a being of pure chaos. The God of Stories is order incarnate. The two of them cackle about the reversal of their roles, as they walk the branches of Yggdrasil. They laugh together often these days, and these days are now all the days, for all time. Always.

#loki season 2 spoilers #loki spoilers #lokius #sylvie #mobius #aftermath #norse mythology #headcanons #casey x ouroboros #this is my vision of what comes after #one part headcanon #two parts folklore #three parts gay #free palestine #fuck disney #yggdrasil

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d-criss-news · 8 months

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heatherrelizabethh: God these humans.

We marched in solidarity’s with the @sagaftra and @wgastrikeunite @wgawest @wgaeast

T-shirt by @ paper_eight

#darren criss #heather morris #kevin mchale #iqbal theba #jenna ushkowitz #romy rosemont #dot marie jones #becca tobin #michael hitchcock #brad falchuk #josh sussman #curt mega #sag aftra strike #wga strike #wga west #glee day picketing #instagram #video #aug 2023

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janamelie · 3 months

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Rocky Horror Stage Show Review

As a glance at my blog will tell you, I rarely post about “Rocky Horror” as it’s not my main fandom, but I’ve loved it for 30 years and have just attended a stage show for the first time since the 90s so am writing down my thoughts for my own benefit and sharing here.

I was aware that the current production is somewhat different both from the film and the stage show I saw back in 1994 starring Jonathon Morris. (Yes, I am a Gen Xer and was heartened to see how many others in my age bracket attended, many in costume.)

If anyone’s curious, this was the earlier Friday performance at Wolverhampton Grand Theatre in the UK.

I’ll get the negative part out of the way first and it’s nothing to do with the actual show. Unfortunately there was someone near me who had an ongoing argument with someone who was with her throughout the show and at times it interfered with my enjoyment. (It definitely wasn’t audience participation; I know the difference.)

She carried on doing it after the interval despite being spoken to by staff. During Columbia’s emotional “I loved you!” speech, “Toucha-toucha-touch me” and other quieter parts it spoiled it a bit for me. After the show ended a bloke in full Frank drag told her off publicly for “being an arsehole” and I'm afraid to say she deserved it. If you’re not interested in a show, stay at home and don’t ruin it for the rest of us.

Science Fiction, Double Feature

I love this song and the Usherette’s actress performed it well, getting into the spirit of things straight away with stockings and wiggles.

Dammit Janet

Another really catchy song and the actors handled it well. They both have strong singing voices which is good as I have seen a Brad who wasn’t that great in that respect.

The Narrator’s first appearance was amusing as he ad-libbed in response to the standard insults thrown at Brad and Janet: “They can hear you, you know!” (The actors were currently frozen onstage so he could do his bit and he joked they weren’t allowed to move or there would be dire punishments.)

The Narrator was a highlight throughout - it really does improve on the film version when the pompous character is actually in on the joke and interacting.

Over At The Frankenstein Place

Well performed again and I enjoyed the audience holding up coloured lights to accompany it. Riff-Raff’s first appearance got so much applause he just started singing right over it.

The majority of the audience seemed to have seen the show before or at least the film although the Narrator did jokily “spoil” them with his line “Stranger than a sex-crazed transvestite from outer space - whoops, spoilers!”

A word on the audience callbacks which have of course been a staple since the 70s. There was a reasonable amount but not too much. I have seen shows which were closer to the film and people would yell after almost every line which got a bit much so this was just about right.

Our hapless couple enter the Castle and are immediately surrounded by Riff Raff, Magenta and Columbia who play it more as pantomime villains than in the film but this doesn’t bother me as theatre doesn’t have close-ups and needs to play to the gallery. The Eddie plotline is hinted at and then of course it’s…

The Time Warp

What can I say about this one? Always a showstopper and had everyone on their feet. Brilliant. Columbia got to do her tap solo which was a highlight as it is in the film. And we’ve barely recovered from that before…

Sweet Transvestite

Woohoo. Frank’s actor was great, as charismatic and confident as you need to be for that part. He embraced the sensual nature of the role and had physical interactions with practically everyone, even Dr Scott and in the encore, the Narrator by ripping aside his trousers to reveal stockings and suspenders.

The lab scene whizzes by and soon it’s Rocky’s entrance with…

The Sword Of Damocles

Thoughts on Rocky’s characterisation - of course in the film they went for a non-actor who was well-muscled as required for the role and had him only speak when singing. I actually think Peter Hinwood’s performance works really well as the whole point of Rocky is that he’s just been born and everything is new to him.

But in the stage show Rocky speaks and is more openly rebellious, even telling Frank to piss off twice. This tends to mean casting a professional actor who isn’t as muscular as Frank’s dialogue implies but that wasn’t an issue here - the actor had both acting chops and muscles. The relationship between Rocky and Frank is a lot closer to equal.

Rocky compliments Frank on his “good job with the bodywork” and we go into…

I Can Make You A Man

I’m going to be honest, this is probably my least favourite “RH” song which isn’t to say I don’t like it. I just don’t share Frank’s muscle fetish. But it was well staged and leads into one of my favourites…

Whatever Happened To Saturday Night?

This song rocks hard and Eddie’s actor did it justice. Not sure it got quite as much applause as it deserved but I get it - we’ve just met him, he’s taken the focus off Frank and is about to be unceremoniously killed for that. I adore the way the film stages the song with all the Transylvanians rocking out too.

So Frank chases Eddie offstage with a chainsaw and returns to reprise “I Can Make You A Man”. I’ll add here that as far as I’m concerned, no production which includes this blatantly queer, unashamedly lustful song is in danger of becoming too “mainstream”. Frank was all over Rocky, complete with gyrating. Even this audience which were certainly the most tolerant in that respect that I’ve been in still reacted to the stronger parts. Mostly with approval though.

I realise that things have changed since the 90s in that respect and as an elder queer myself, it warms my heart. I do think it’s partly that the plot of “Rocky Horror” is better known now. And thank God for that as I don’t need to be in another audience who apparently thought they’d come to watch “The Sound Of Music” and nearly walked out.

After the interval, it’s directly into the bedroom seduction scenes which are staged a bit differently from the film and earlier stage shows - we go straight into (strongly) implied oral sex with first Janet and then Brad, both of whom only then find out that it’s Frank rather than their fiance / fiancee respectively. After which both agree to more sex without too much persuasion needed, as long as Frank doesn’t tell anyone.

All I’m going to say is that “Rocky Horror” has always been problematic. It’s basically an X-rated panto and taking it seriously is kind of missing the point. I enjoy analyses of it though. But when you’re watching it live the music tends to override all that as it’s such a good time.

The production manages to make the Frank / Brad sex scene even more gay by having Riff Raff pop up next to them. Nothing happens as he’s just there to tell Frank that Rocky’s loose but for a second you think there’ll be a m/m/m threesome. Which would of course fit the undercurrent in both show and film that Riff Raff at least is attracted to Frank if maybe not vice versa.

I hope I’m remembering this next part in sequence. Janet enters the lab feeling guilty and upset and meets Rocky who’s hiding from Frank (the aforementioned woman who wouldn’t shut up meant I missed part of the dialogue and it differs from the film. Grrr).

I think Rocky says something to raise Janet’s suspicions so she uses the monitor to search the Castle’s rooms and gets an eyeful of Frank and Brad getting it on. I’ve never been clear as to whether her hypocritical shock is due to the fact that Brad’s having gay sex whereas she had straight sex but at least it leads to another of my faves…

Touch-a touch-a touch me

I love this in the film and it was well done here. My only quibble is that Magenta and Columbia were up in the rafters and just provided a chorus rather than the full-on sapphic frisson which Patricia Quinn and Little Nell treat us to in the film. But I guess it would be hard to make that work on stage.

Exit Janet and Rocky, enter Brad who also uses the monitor and sees his beloved with Rocky. I’m not sure how much emotional sense it makes for him to then launch into…

Once In A While

But I don’t care because this was actually a highlight which it’s never been before in stage productions I’ve seen. I understand it being cut from the film as it would have killed the momentum stone dead.

But in this frantically paced stage production it’s a welcome quiet moment and as I said before, Brad’s actor had the voice to pull it off without the Narrator needing to take the piss out of him to keep audience interest.

Oddly though, Janet reappears in the rafters and sings along with the latter part of the song which makes no sense since she’s supposed to be shagging Rocky right now. I suppose it’s a way to indicate she’s having second thoughts about wrecking her relationship which fits how the show leaves Janet and Brad, hinting they’ll reconcile.

Followed by Frank whipping Riff Raff (offstage of course, they don’t want to cause actual bodily harm to an actor) for letting Rocky escape and wailing about Rocky’s betrayal as he finds it out via that extremely convenient plot device, the monitor. Via which they also notice Dr Scott’s arrival.

Once Scott’s inside, Rocky and Janet reappear and we get that hilarious repeated “Janet!” “Dr Scott!” etc exchange which was milked for maximum humour, ending in Rocky telling Frank to piss off which was a bit jarring for me being such a film aficionado. Although Hinwood’s glare does kind of imply that.

Dr Scott brings up Eddie and rather than the film’s “unknowing cannibalism” scene we just get the actors passing a joint of meat around and pantomiming shock which is fine by me as that bit is gross, let’s face it.

It’s like that meme - I can excuse murder, very dubious consent and incest but I draw the line at cannibalism. Nah, just kidding, it doesn’t bother me that much.

Eddie’s Teddy

A nice ensemble number which I don’t have much to say about. Fine.

Planet Schmanet Janet

Good song which delivers the necessary exposition regarding the Floor Show, followed by Columbia snapping and confronting Frank about how he uses people but instead of getting frozen as in the film she’s hit with drugged gas and has a lengthy trip played for laughs.

Not sure about this change as surely it’s enough to have her frozen like the others to explain her continued participation. It changes the situation from Columbia voluntarily staying in the Castle even though she knows Frank doesn’t love her to her actively deciding to leave until she’s hit with the gas. Not keen.

Having frozen everyone except Magenta and Riff Raff, Frank reacts to her question about when they’ll return to Transylvania by saying their loyalty will be rewarded and this is interestingly different from the film. He says “You will discover that when the mood takes me, I can be quite generous” and pulls at her legs (she’s seated) in a way which makes it blindingly obvious he means sexually.

Her retort “I ask for nothing, Master” happens as Riff Raff chases Frank away from her in an obvious nod to their incestuous relationship (yes, we do get the “My most beautiful sister” line). I really didn’t get the sense that Magenta has any sexual interest in Frank even in this production let alone in the film. Riff Raff, on the other hand, is jealous as hell of him but also wants him. (Although I was seated to the far side so may have missed some nuances.)

So, to the Floor Show. “Rose Tint My World” is such a banger. It was beautifully staged with stunning costumes and lighting as Columbia, Rocky, Brad and finally Janet pop through the curtains in their basques, stockings and suspenders in rapid succession for their solo verses and then Frank makes his starring entrance for “Don’t Dream It, Be It” and “Wild And Untamed Thing”. Love it.

Then of course Riff Raff and Magenta crash the party and Frank pleads for his life with “I’m Going Home” which was sung and performed beautifully and again, got so much applause that the actors had to talk over it.

Frank takes the time during it to have affectionate moments with all four of his most recent paramours which is a nice touch, especially as he seems genuinely upset when Columbia tries to shield him from Riff Raff and is mercilessly shot dead. For a moment at least, then self-preservation takes over. But in vain, and he and Rocky also die. I’m sentimental (sorry Magenta, don’t kill me) so I like the confirmation that Rocky clearly did feel something for Frank even if he was scared of him.

Riff Raff orders Dr Scott to leave but not Brad and Janet. Clearly an oversight somewhere as the Castle takes off into space in an impressive special effects explosion and there they still are to perform “Super Heroes”. They first walk away from each other then change their minds, hug and walk off together, hinting all is not lost for their relationship.

The sweetly melancholy tone continues for the “Science Fiction, Double Feature” reprise. But like the film, they’re nice enough to leave us on a higher note, in this instance by bringing the whole cast back onstage for an encore of the “Time Warp” (this time including Frank which I love) and part of “Sweet Transvestite”.

Excellent decision both to leave us on a musically upbeat note and to (sort of) fix the ending which does kind of fit the “Kill your gays” trope. I know that’s because the show is a celebration of old sci-fi films which usually did kill anyone even remotely like Frank but these days, who cares how awful he is if considered realistically? He’s not real, he’s literally an alien and there is no reason he has to die except for drama, so bring him back at the end. He’s too good to waste.

So that’s it. I had a great time and as always loved the inclusive atmosphere.

#rocky horror show #rocky horror #rocky horror picture show #rhps

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todaysdocument · 5 months

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Discharge Petition for H.R. 7152, the Civil Rights Act of 1964

Record Group 233: Records of the U.S. House of RepresentativesSeries: General Records

This item, H.R. 7152, the Civil Rights Act of 1964, faced strong opposition in the House Rules Committee. Howard Smith, Chairman of the committee, refused to schedule hearings for the bill. Emanuel Celler, Chairman of the Judiciary Committee, attempted to use this discharge petition to move the bill out of committee without holding hearings. The petition failed to gain the required majority of Congress (218 signatures), but forced Chairman Smith to schedule hearings.

88th CONGRESS. House of Representatives No. 5 Motion to Discharge a Committee from the Consideration of a RESOLUTION (State whether bill, joint resolution, or resolution) December 9, 1963 To the Clerk of the House of Representatives: Pursuant to Clause 4 of Rule XXVII (see rule on page 7), I EMANUEL CELLER (Name of Member), move to discharge to the Commitee on RULES (Committee) from the consideration of the RESOLUTION; H. Res. 574 entitled, a RESOLUTION PROVIDING FOR THE CONSIDERATION OF THE BILL (H. R. 7152) which was referred to said committee November 27, 1963 in support of which motion the undersigned Members of the House of Representatives affix their signatures, to wit: 1. Emanuel Celler 2. John J. Rooney 3. Seymour Halpern 4. James G Fulton 5. Thomas W Pelly 6. Robt N. C. Nix 7. Jeffery Cohelan 8. W A Barrett 9. William S. Mailiard 10. 11. Augustus F. Hawkins 12. Otis G. Pike 13. Benjamin S Rosenthal 14. Spark M Matsunaga 15. Frank M. Clark 16. William L Dawson 17. Melvin Price 18. John C. Kluczynski 19. Barratt O'Hara 20. George E. Shipley 21. Dan Rostenkowski 22. Ralph J. Rivers[page] 2 23. Everett G. Burkhalter 24. Robert L. Leggett 25. William L St Onge 26. Edward P. Boland 27. Winfield K. Denton 28. David J. Flood 29. 30. Lucian N. Nedzi 31. James Roosevelt 32. Henry C Reuss 33. Charles S. Joelson 34. Samuel N. Friedel 35. George M. Rhodes 36. William F. Ryan 37. Clarence D. Long 38. Charles C. Diggs Jr 39. Morris K. Udall 40. Wm J. Randall 41. 42. Donald M. Fraser 43. Joseph G. Minish 44. Edith Green 45. Neil Staebler 46. 47. Ralph R. Harding 48. Frank M. Karsten 49. 50. John H. Dent 51. John Brademas 52. John E. Moss 53. Jacob H. Gilbert 54. Leonor K. Sullivan 55. John F. Shelley 56. 57. Lionel Van Deerlin 58. Carlton R. Sickles 59. 60. Edward R. Finnegan 61. Julia Butler Hansen 62. Richard Bolling 63. Ken Heckler 64. Herman Toll 65. Ray J Madden 66. J Edward Roush 67. James A. Burke 68. Frank C. Osmers Jr 69. Adam Powell 70. 71. Fred Schwengel 72. Philip J. Philiben 73. Byron G. Rogers 74. John F. Baldwin 75. Joseph Karth 76. 77. Roland V. Libonati 78. John V. Lindsay 79. Stanley R. Tupper 80. Joseph M. McDade 81. Wm Broomfield 82. 83. 84. Robert J Corbett 85. 86. Craig Hosmer87. Robert N. Giaimo 88. Claude Pepper 89. William T Murphy 90. George H. Fallon 91. Hugh L. Carey 92. Robert T. Secrest 93. Harley O. Staggers 94. Thor C. Tollefson 95. Edward J. Patten 96. 97. Al Ullman 98. Bernard F. Grabowski 99. John A. Blatnik 100. 101. Florence P. Dwyer 102. Thomas L. ? 103. 104. Peter W. Rodino 105. Milton W. Glenn 106. Harlan Hagen 107. James A. Byrne 108. John M. Murphy 109. Henry B. Gonzalez 110. Arnold Olson 111. Harold D Donahue 112. Kenneth J. Gray 113. James C. Healey 114. Michael A Feighan 115. Thomas R. O'Neill 116. Alphonzo Bell 117. George M. Wallhauser 118. Richard S. Schweiker 119. 120. Albert Thomas 121. 122. Graham Purcell 123. Homer Thornberry 124. 125. Leo W. O'Brien 126. Thomas E. Morgan 127. Joseph M. Montoya 128. Leonard Farbstein 129. John S. Monagan 130. Brad Morse 131. Neil Smith 132. Harry R. Sheppard 133. Don Edwards 134. James G. O'Hara 135. 136. Fred B. Rooney 137. George E. Brown Jr. 138. 139. Edward R. Roybal 140. Harris. B McDowell jr. 141. Torbert H. McDonall 142. Edward A. Garmatz 143. Richard E. Lankford 144. Richard Fulton 145. Elizabeth Kee 146. James J. Delaney 147. Frank Thompson Jr 148. 149. Lester R. Johnson 150. Charles A. Buckley4 151. Richard T. Hanna 152. James Corman 153. Paul A Fino 154. Harold M. Ryan 155. Martha W. Griffiths 156. Adam E. Konski 157. Chas W. Wilson 158. Michael J. Kewan 160. Alex Brooks 161. Clark W. Thompson 162. John D. Gringell [?] 163. Thomas P. Gill 164. Edna F. Kelly 165. Eugene J. Keogh 166 John. B. Duncan 167. Elmer J. Dolland 168. Joe Caul 169. Arnold Olsen 170. Monte B. Fascell [?] 171. [not deciphered] 172. J. Dulek 173. Joe W. [undeciphered] 174. J. J. Pickle [Numbers 175 through 214 are blank]

#archivesgov #December 12 #1963 #civil rights #civil rights act of 1964 #1960s

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glassprism · 9 months

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I don't know if you've answered this question before, but do you have favorite Phantom/Christine pairings?

I have answered it before, but not too recently, so maybe it's time to make a big ole updated masterpost of all my favorites as of now!

Keep in mind that if a name isn't on here, it doesn't mean they're not a favorite or whatever, it might just mean I never saw them with a Phantom or Christine I particularly liked (e.g. Gina Beck is an all-time favorite but she's not on here because I never really saw her opposite a Phantom I also really enjoyed) or I preferred a slightly different pairing (e.g. I really liked Franc D'Ambrosio with Lisa Vroman but I slightly preferred the latter with Brad Little). And there may be one or two where I could not decide at all (e.g. do I prefer Kelly Mathieson with David Thaxton or Josh Piterman? I can't tell!). Anyway, here they are:

Michael Crawford/Sarah Brightman - The OG cast. It can't be helped, they both had such unique takes on the role and it makes them one of the most memorable pairings for me.

Dave Willetts/Jan Hartley Morris - His rougher take on the mold that Crawford left vs. Jan Hartley Morris's old-school, classical Christine is a winner.

Mikael Samuelson/Elisabeth Berg - I love Samuelson's slightly harsher vocals compared to Berg's operatic tones.

Alexander Goebel/Luzia Nistler - Goebel is eerie, ghostly, and unhinged at the end; Nistler has a lovely classical voice and a scared, slightly naive take on her Christine. It fits well.

Davis Gaines/Tracy Shayne - Gaines is commanding, sensual, elegant; Shayne is innocent but with a touch of maturity that brings a certain uniqueness to the role.

Saulo Vasconcelos/Irasema Terrazas - Hands! I think both were allowed a lot of freedom in the role and it's great.

Hans Peter Janssens/Ineke van Klinken - Janssens is both very nuts and very sad while van Klinken is a reserved yet steely-willed Christine who is more than a match for him.

Ian Jon Bourg/Alison Kelly - Bourg is good with so many Christines, but I loved Alison Kelly's feistiness.

Michael Nicholson/Olivia Safe - Just a fascinating pairing, and they were both understudies!

Yoon Young Seok/Hye Kyoung Lee - It didn't matter that both were speaking Korean, they were so emotional that I felt like I understood every aspect of their performance.

Brad Little/Lisa Vroman - Kind of mentioned above, but I love how well these two act together.

Hugh Panaro/Julie Hanson - Hugh Panaro is a sarcastic jokester of a man and it makes you really feel for Julie Hanson's child-like Christine at the end of the show.

Gary Mauer/Elizabeth Southard - A real-life married E/C couple brings all the chemistry!

Earl Carpenter/Rachel Barrell - Barrell is also really good with JOJ, and more spirited around him, but I love Earl Carpenter more.

John Cudia/Jennifer Hope Wills - Oh the sparks these two brought to the role! Cudia was scary and dominating but JHW was absolutely able to hold her own against him.

Simon Pryce/Julie Goodwin - The voices of these two!

Marcus Lovett/Anna O'Byrne - Leroux-accuracy heaven.

Jeremy Stolle/Samantha Hill - Again, I've seen these two give fantastic performances with multiple performers, but I really do love what they bring to the show together.

Tomas Ambt Kofod/Sibylle Glosted - Very detailed, nuanced performances in a production that was full of it.

Jonathan Roxmouth/Meghan Picerno - There was fire between these two! Roxmouth was intent on bending Christine to his will but Picerno was so fiercely independent that you knew he could never succeed.

Jeon Dong Seok/Son Ji-soo - JDS is a swoon-worthy Phantom while SJS brought lovely expressions to the role.

And I'm sure there are many others...

#GP gets asks #your-average-phan

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natashasbitxh · 4 months

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Finally got to see Peter Pan Goes Wrong in West End with Charlie Russell, Matthew Cavendish, Greg Tannahill, Matthew Howell, Harry Kershaw, Clark Devlin, Jamie Birkett, Chris Leask, Ellie Morris, and Jean-Luke Worrell! They were all amazing, I thought I'd share some of my fav bits! (Warning: There's a lot)

• Firstly, programme stuff: the note from the director basically just being Chris and Trevor arguing like a married couple. Chris being too scientific and Trevor having to remind him it's supposed to be festive.

● Them leaving a note asking if anybody was a flying operator as they didn't currently have one😭

• Robert leaving the children of the Cornley Youth Theatre abandoned in a forest with limited food and knives,to prepare for their performance of Lord of the Flies. NSPCC and police had to intervene, 2 of the children are still missing today (Ben McIntyre and Sarah Cordell)

• Jonathon's interview where's he's practically begging the interviewer to take note he was 'fashionably late', when he was actually waiting for 6 hours.

• Jonathon saying (in the interview), he's been focusing on humanitarian work, such as adopting a child from Ethiopia and a child from Vietnam. And then the interviewer just replied with "That is Brad Pitt. Everything you have just said is about Brad Pitt and not yourself."

• In the cast section, Chris Bean writing "I would like to remind my father that there is a spare ticket at the box office for him if he chooses to show up." That's so sad😭

• Trevor's section ended with "trevorzbeatz/YouTube.co.uk" 😭

• Pip (assistant stage manager) just says: "They call me Big Pip up north. Trevor's cousin. Out and about and that. Nice one." Like okay yh me too Big Pip

• They tried to feed the crocodile an alarm clock😭 (RIP Nadia tho😔)

• Annie left a little note saying she's "looking for a man" and then there's some description of what she's (not) looking for

• A page saying welcome to the theatre, but it is still very much in character😭 "Director Chris Bean always fulfils his promise of giving us a show we will remember for a very long time."

•Pre-show antics: one of the assistant stage managers (I'm gonna guess Pip? Not too sure tho) was walking around looking for a hammer. I noticed that he'd act like he was looking around and then when he spotted a child he'd go and ask them. I thought that was cute🥹

• I couldn't see the wires going through the audience cause I had seats up high, but I did see Robert pulling the end of the wire whilst on stage with the help of an audience member

• Dennis was late I think, ran across the stage from the audience with a bag on

• Lucy suddenly ran off stage, Robert not far behind shouting things like "You have to do it!" (And then later on she ran back on stage,but it seemed Robert got caught up in a convo)

• Now onto the actual show, I thought Dennis singing les mis due to his headgear was pretty funny seeing as les mis was about a door or 2 down

• At one point we were clapping for something (can't remember what, but it was during the beginning Darling Family scene), and Max joined in with the clapping. Sandra had to tell him to stop with a pointed glare and a lil hand gesture

• Every appearance with Robert as the shadow was amazing, I know it's simple but I'm always impressed with the rug pull and the way he lands

• During the bit where there's too much smoke and it engulfs the pirates, Trevor comes to the rescue but does hit Chris in the arse by accident, christrev anybody?

• I will forever love Robert trying to get Dennis to pick up the sword, Dennis picking up the boat paddle and Robert going on a rant about how he's been moving his arms for the past 5 mins why would he need the paddle

• During the interval the lights would still go out occasionally, fun touch

• As Jonathan flew up before crashing down, a banner fell down with Robert holding a bean, a reference of his show Jack and the bean

• Before this, I'd only seen the BBC recorded version of Peter Pan Goes Wrong, so I rlly enjoyed the changes. Such as the mermaids, but I RLLY laughed at Robert being the Mr Bumble in Oliver that killed a child. Especially when he went to be Peter Pan before starting to sing 'Food, Glorious Food"

• The whole poison bit was incredible, Harry's improv was on FIRE. We obvs did the traditional pantomime business which made Chris mad, he very much gave teacher vibes as he sat down on the set and said it was our own time we were wasting. He also complained that this was only the matinée and they still had an evening performance to get to. Then he pointed out how somebody in the audience was hissing, "Nobody goes to a show and says 'Yeah it was good but the person in the fourth row wouldn't stop hissing'" (this resulted in a lot of children hissing whenever he appeared on stage). Then when it got to the poison bit, a child was yelling at him to hurry up, causing Chris to go on a rant about how he didn't even want children there, sitting there on their booster seats. After the child yelled at him multiple times, Chris gave up and told the child to open it for him, which they did. Then as he was leaving, we were booing again and he was like "NO NO DONT BOO ME, IT WAS THE CHILD THAT POISIONED HIM." Then as he exited, he said something along the lines of "blame the child murderer." It was insane.

• Then, when Peter asked who would try to poison him, Tink/Annie pointed at the child that opened the bottle. I think Chris Leask actually had to turn his head downwards and to the side to hide his laughing.

• I've pointed this out before, but I'm so endeared with how worried Chris was when Annie was unconscious. HE KNEELED THERE HOVERING OVER HER BODY JUST LIKE TOUCHING HER FACE, NOT SPEAKING FOR AWHILE. Adorable. Every characters reaction was adorable...sorry Annie

• I just have to say Francis' Cabaret performance to distract us from Annie was amazing. Loved the audience clapping along as well and the rest of the cast looking absolutely shocked and confused

• I loved that we heard a whole marriage fall apart through Dennis' headgear. I want to know more abt them, the husband that took over to help Dennis sounded sweet

• When Lucy slid down the ship in her wheelchair she was flung out and then caught by Trevor in a sort of bear hug, Lucy's legs wrapped around his torso. Trevor was SEVERELY judging the cast HE WAS NOT HAPPY WITH THEM. They're besties ur honour, I thought it was so cute

• Loved Francis' Cabaret performance again during the big fight scene with the set moving.

• Trevor saying something like "You've got to be joking" when Lucy picked up the book 😭

• I wanted to scream laugh at Chris lying in the bed like an ill victorian child as Lucy closed up the story, and then Dennis choosing to lie on the squished bottom bunk

• As Lucy continued to read, Chris, Sandra, Trevor, Dennis, and Max were all checking up on one another in the background. Hugs, shoulder grabs. Guys, I love Sandra and Chris' dynamic so much, Sandra was making sure he got off the bed alright and then gave him a hug

• Of course the whole end song, Max as the crocodile encouraging us to clap

It was so amazing, everybody was fantastic!! My jaw still aches from laughing so hard! Hope ppl found this interesting cause I always love when other ppl share what happened during their show😭

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