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droughtofapathy · 5 months

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The Gilded Age of Broadway Divas: Duets, Trios, and Other Crossovers

While I wait for my matinee show to start, here's our final compilation just six hours before our season finale. If you've been following along with this series, you'll notice how much overlap there is in the theatre. Everyone has been with, or sung with, or played the same role as everyone else. Here is just a taste of the sublime combined talents of our favorite Broadway Divas. And yes, this is my petition to have a musical episode.

#1: "Lily's Eyes," (The Secret Garden) Miscast 2022 - Audra McDonald and Kelli O'Hara

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I watched this, and my soul transcended space and time. Performed at MCC's 2022 Miscast gala honoring Christine Baranski (of course), Audra and Kelli have a brief tiff about which soprano is worthy of Soprano Island before joining together to sing the most resplendent duet you will ever experience in your life.

The Secret Garden opened on Broadway in 1991 starring Rebecca Luker as Lily. Kelli and Audra are singing the parts of Lily's husband and brother-in-law respectively. And like Lily, Rebecca Luker has since passed away. Knowing that they are singing not only to honor Christine, but also to Rebecca, their dear friend and fellow soprano, is yet another layer of heartbreak. I love this song.

#2: "Move On," (Sunday in the Park with George) Princetown concert 2022 - Audra McDonald & Michael Cerveris

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Former co-stars reunited in Princetown last year to sing this impromptu duet from the Pulitzer-winning Sunday in the Park with George. Sunday is filled with sublime music, and "Move On" is one of the best. In it, Dot appears to George, the grandson of Georges Seurat, and encourages him to move on with his artistry and stop worrying about perfection. The show itself is beautiful and complex, and a proshot is available for your convenience.

Audra and Michael had previously done a three-day, semi-staged production of this show in 2004, also featuring Patti LuPone as Yvonne/Blair Daniels (the role Christine Baranski created in the original pre-Broadway workshop). Interestingly, this trio would move on to take part in the Lincoln Center Broadcast of Passion in 2005 with Audra as Clara (the Marin Mazzie role), and Patti as Fosca (the Donna Murphy role).

Michael Cerveris would play Giorgio multiple times in his career, including the 10th Anniversary concert with Marin and Donna.

#3 Tonight: Quintet (West Side Story) - Lucky to Be Me: The Music of Leonard Bernstein (2010) - Kelli O'Hara, Donna Murphy, Michael Cerveris

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Speaking of Michael Cerveris and Donna Murphy, and joined by Kelli O'Hara, this audio comes from a 2010 concert celebrating the music of Leonard Bernstein. The youtube video incorrectly attributes this to a 2012 concert, but it is not.

"Tonight (Quintet)" is, of course, from West Side Story, where Bernstein wrote the music, and Sondheim wrote the lyrics. Because this was a concert, certain singing parts are taken by those who would not sing such parts in a full production...anymore. (Lest we forget Natalie Wood in the movie.)

Donna sings Anita, and Kelli sings Maria, the two young Puerto Rican women in the show. And I think we'll leave that there. Michael Cerveris sings the part of Riff, and they are joined by Cheyenne Jackson as Tony.

Also featured in this concert is the amazing, incredible, beloved soprano Victoria Clark, who has starred opposite all three of our Gilded Age actors at one point or another. As the Margaret to Kelli's Clara (Light in the Piazza), the Sally to Donna's Phyllis (Encores! Follies), and in Titanic with Michael Cerveris. Theatre, it's all connected.

#4: LoveMusik (2007)

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A little more on LoveMusik. While I've already detailed a little on my Donna Murphy post, here's some more about Michael Cerveris, two-time Tony winner. As Kurt Weill, Michael was nominated for a Tony, Drama Desk, Outer Critics Circle, and Drama League Award, but did not win any. While the show itself was given mixed reviews, the performances of Donna and Michael were almost universally praised.

The 2007 Tony Award for Best Leading Actress in a Musical included three Gilded Age nominees. Debra Monk (Curtains), Audra McDonald (110 in the Shade) and Donna Murphy (LoveMusik). All three lost to Christine Ebersole of the Grey Gardens variety. Fair. I suppose. However, Audra and Donna tied for the Drama Desk. And there WAS a wonderful clip of their award ceremony online for years, except now that I need it for this, it's been taken down. Of course.

#5: "At the Ballet," (A Chorus Line) - Audra McDonald & Kelli O'Hara

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Joined by Megan Hilty, Kelli O'Hara and Audra McDonald performed "At the Ballet" from A Chorus Line at a Lincoln Center Marvin Hamlisch tribute in 2013. Audra showcases a robust lower range I simply adore. Unfortunately the lower key change leaves Kelli's soprano in an awkward place, but I love her anyway.

A Chorus Line is one of the musical theatre greats, and while "At the Ballet" is often overshadowed by "What I Did for Love," it's my personal favorite. The original stage show ran for 6,137 performances, and was nominated for twelve Tonys, winning nine. After Follies, this is the show I most want to see fully staged. A 50th Anniversary revival was rumored back in 2016 for 2025, but I'll believe it when I see it.

#6: The Ladies Who Lunch (Company) - Take Me to the World: A Sondheim 90th Celebration - Christine Baranski & Audra McDonald (ft. Meryl Streep)

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Legends. Icons. Divas. What more can I say about "The Ladies Who Lunch," performed by Christine Baranski, Audra McDonald, and Meryl Streep, mother to Louisa Jacobson? As the story goes, they had done so many takes that by this time, they were well and truly on their way to being drunk. And yet, Audra McDonald still sounds more exquisite than anyone on earth.

I watched this when it premiered "live" on YouTube during the early days of the pandemic. Several Broadway stars who would go on to The Gilded Age are featured, including Kelli O'Hara, Laura Benanti, Nathan Lane, and Michael Cerveris.

It has been almost four years, and I have still not recovered from this song's placement in the concert. Picture it: you have just been emotionally wrung out by Donna Murphy's revelatory "Send in the Clowns," sung whilst seated in front of an Al Hirshfeld print of Passion, with her cleavage out in true Mrs. Astor fashion. And then suddenly there's jaunty Company music, and an illustration of the great Elaine Stritch with her martini glass high. And then there is Christine Baranski in a bathrobe and a truly massive glass of red wine. And you think it cannot get any better. And then the second verse hits and there's Meryl Streep with a cocktail mixer. AND THEN Audra Fucking McDonald. They put those two songs back-to-back and expected me to recover one day? As if.

Bonus: "Lips Together, Teeth Apart" (2018) - Nathan Lane & Christine Baranski

While not a musical performance, I would be remiss if I didn't direct your attention to this masterpiece. Did you ever think you'd hear Aunt Agnes gunning to see Ward McAllister's dick? No? Well, here it is. Terrence McNally wrote "Lips Together, Teeth Apart" specifically for his 1991 original cast which included Christine as Chloe and Nathan Lane as her brother Sam. And they are going through marital troubles with their respective spouses. Nathan and Christine reunited in 2018 to perform this scene for McNally's 80th Birthday.

But the Gilded Age connection doesn't stop there:

In 2019, The New York Times Magazine ran a special "America 2024" issue, as a tribute to Terrence McNally. The whole thing is a fantastic read, and I'd recommend it. In it features photoshoots depicting scenes from several of McNally's plays, including "Lips Together, Teeth Apart." And look who's here: Donna Murphy as Chloe (the Christine Baranski role), Broadway's Leading Man Brian Stokes Mitchell, Michael Shannon as Sam (the Nathan Lane role), and Katie Finneran.

And on one of four covers for this issue, Celia Keenan-Bolger.

With that, the conclusion to my little Diva miniseries. I hope you've found this as entertaining as I have. And if you'd like me to go into more detail about anything you've seen throughout this series, let me know, because I have so much more gossip and drama that I had to restrain myself from adding.

LINK TO MASTERPOST

#the gilded age #aurora fane #dorothy scott #lina astor #agnes van rhijn #ward mcallister #mr. watson (gilded age)#kelli o'hara #audra mcdonald #donna murphy #michael cerveris #christine baranski #nathan lane #sondheim #terrence mcnally #broadway #musical theatre

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raffaeleitlodeo · 8 months

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ELENA

Elena non la conoscevo. Così come non conoscevo Walter, Roberto, Fausto, Iaio, Ivo, Claudio. Tutti ammazzati dai fascisti in dodici mesi.

Settembre 1977, settembre 1978.

Ma la morte di Elena Pacinelli non è solo terribile. Non è morta sul colpo. Uccisa a freddo. Se n’è andata via in disparte, senza bandiere. Nell’anonimato di una malattia troppo precoce. Di lei, si sa poco o niente. Forse non solo per la riservatezza dei familiari.

E’ il 29 Settembre del 1977. Intorno alle 22 e 30, una Mini Minor si aggira in Piazza Igea. Un finestrino si abbassa e parte una scarica di proiettili. Destinatari i compagni che stazionano nella piazza. Un rosso vale l’altro.

Il quartiere è il Trionfale. Roma Nord. Un fazzoletto di palazzoni conteso dai fascisti della Balduina, che si sono già presi Vigna Clara e Monteverde.

Tre di quelle pallottole colpiscono Elena al torace e al polso sinistro.

Elena Pacinelli che ha solo diciannove anni. Un altro proiettile si conficca nel borsello di Claudio, senza conseguenze. Appena 48 ore prima un’altra compagna, Paola Cavignani, era stata ferita a pistolettate nei pressi della stazione Eur-Fermi della metro.

Elena non si è più ripresa da quell’agguato. Dopo un travaglio di sofferenze, un male incurabile e si è spenta. La sua storia è strettamente collegata a quella di Walter [Rossi], assassinato dai fascisti la sera successiva mentre denunciava proprio il ferimento di Elena.

Come per Walter, anche per Elena nessuno ha pagato nonostante mille evidenze sulla dinamica dei fatti. L'inchiesta è stata archiviata. Per sempre.

Alfredo Facchini, Facebook

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juniperss · 2 months

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Songs from Musicals that remind me of my original HBO War* characters:

Because I’m having OC brainrot I’m making this please come yell at me about OCs if you want lol. And yes I do use some of my OCs across more than one HBO war show cause I can't help myself....

Jessamine ‘Lark’ Waterson (BoB/MotA)

• “A Change of Plan” from a Mother's Song

• “Smile Away” from My Heart Says Go

•"Times are Hard for Dreamers" from Amélie

Violet ‘Vi’ Foster (BoB/MotA)

•“Nothing You Can Take from Me” Bootstamping Version from Ballad of Songbirds and Snakes (technically not from a musical but still)

•"Breathe" from Bandstand

•"They Just Keep Moving the Line" from BOMBSHELL

•"Enlightenment" from Starry

•"Still" from Alice by Heart

Clara Emerson ( BoB/MotA)

•“Statues and Stories” from The Light in the Piazza (she’s actually named after Clara from this musical)

• "Finding My Light" from Grease Rise of the Pink Ladies

•"A Story of My Own" from The Clockmakers Daughter

Virginia ‘Jinny’ Collins (The Pacific)

•"Carelessly" from Grease Rise of the Pink Ladies (this is her with childhood best friends to lovers Eugene Sledge)

•"No One Else" From Natasha, Pierre, and the Great Comet of 1812 (letters to Eugene)

•"Some Things Fall Away" & "West of Worlds" from Alice by Heart

#masters of the air #band of brothers #the pacific #🏷️ my ocs #oc: violet ‘vi’ foster #oc: jessamine ‘lark’ waterson #oc: clara emerson #hbo war oc #band of brothers oc #mota oc #the pacific oc #eugene sledge x oc #jinny x eugene

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thestarlightsapphic · 8 hours

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My Theatre Dream Roles

No one asked…but this is my way of manifesting. These might say a lot about me as a person and that thing might be “basic” but yah know.

Anya in “Anastasia”

Christine in “Phantom of the Opera”

Judith Ford in “36 Questions” (if it ever comes to film/stage 😭)

Elle Woods in “Legally Blonde”

Clara in “Light in the Piazza”

Jenna OR Dawn in “Waitress”

Guenevere in “Camelot”

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fujikoi · 4 months

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Scaletta 1ª serata

20.44: Fanfara dei Carabinieri

20.47: Marco Mengoni annuncia l’inizio del Festival

20.48: Sigla + ingresso Amadeus

20.52: Clara

20.59: Sangiovanni

21.06: Fiorella Mannoia

21.12: Ospite da platea

21.17: La Sad

21.23: Pubblicità

21.29: Esibizione Marco Mengoni (Due vite)

21.39: Irama

21.45: Ghali

21.51: Pubblicità

21.57: Negramaro

22.03: Collegamento con Fiorello

22.10: Annalisa

22.16: Ricordo Giovanbattista Cutolo con la mamma Daniela

22.22: Pubblicità

22.28: Discesa Marco Mengoni (gag col cantante che inizia a lanciare oggetti dalle scale)

22.35: Mahmood

22.41: Ingresso Lazza

22.44: Diodato

22.49: Esibizione Lazza (Piazza Colombo)

22.55: Pubblicità

23.01: Omaggio Toto Cutugno (il piano inizia a suonare Gli amori e poi parte clip esibizione)

23.04: Federica Brignone

23.08: Loredana Bertè

23.14: Geolier

23.21: Fiorello in platea

23.25: Alessandra Amoroso

23.32: Telepromozione

23.35: Collegamento con palco galleggiante

23.36: Pubblicità

23.39: Esibizione Tedua (palco galleggiante)

23.43: The Kolors

23.49: Angelina Mango

23.55: Pubblicità

23.59: Esibizione Marco Mengoni (medley)

00.16: Il Volo

00.22: BigMama

00.28: Pubblicità

00.34: Ricchi e Poveri

00.40: Emma

00.46: Renga e Nek

00.52: Pubblicità

00.58: Mr. Rain

1.04: Collegamento con Radio2

1.06: bnkr44

1.12: Gazzelle

1.18: Dargen D’Amico

1.24: Collegamento con l’Aristonello

1.29: Rose Villain

1.35: Finto monologo Marco Mengoni

1.38: Pubblicità

1.44: Santi Francesi

1.50: Fred De Palma

1.56: Maninni

2.02: Alfa

2.08: Il Tre

2.12: Top Five Sala Stampa

2.18: Amadeus va da Fiorello

2.20: Fine puntata

#sanremo #fiorello #amadeus #marco mengoni

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ladylizaelliott · 11 months

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I don’t think I have ever experienced

A theatre SO QUIET as it was during Encores! The Light in the Piazza right as Margaret put Clara to bed after Hysteria.

Ruthie had the entire theatre on her every breath for the monologue. What an emotional, real, funny, and raw Margaret she was.

#the light in the piazza #ruthie ann miles #New York City Center

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pureanonofficial · 4 months

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ANNA ZAVELSON & JAMES D. GISH

THE LIGHT IN THE PIAZZA - New York City Center Encores!

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elorenz · 4 months

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La dissomiglianza tra gli individui è una delle prime addizione alla conoscenza, è un concetto che capisco appieno, sento Mario (nome fittizio) che espone la sua teoria dei fatti e mi domando se non sia vittima, come me, della sua stessa virtù. "Capisci? Mi sono arricchito di esperienza, ho visto e letto cose che non avrei nemmeno immaginato mi potessero interessare nella vita". Si batte il drumino sull'unghia del pollice. "Certo" rispondo "è un processo normale nelle relazioni, o almeno dovrebbe esserlo" e lo capisco, una persona diversa da me può arricchire quella parte di ignoranza dovuta ad una mancanza di curiosità nella cosa o di interesse per la cosa stessa.

"E siamo d'accordo" aggiunge "il problema è che i miei, di interessi, se li mangiano un pezzo alla volta fino a farli scomparire" gli passo l'accendino e nota che lo guardo con aria interrogativa "nel senso che questa apertura, questa elasticità, se così la possiamo chiamare, di assecondare gli interessi dell'altra persona oscura i miei, ogni volta cazzo" sottolineando l'ultima parte gli domando se è sempre stato così. "Si, non hanno mai coltivato i miei... quante volte siamo andati al cinema quest'anno? Hai mai visto con noi Clara? Tre anni fa, hai mai visto Giulia? E potrei continuare... e questo è solo uno degli interessi che ho" e lo capisco perché sono in parte uguale. "Beh, ti capisco, sono come te Mario" annuisce in segno di intesa. "Lo so, il problema è un punto di equilibrio che non si trova mai... c'è chi da tutto e chi non da nulla" conclude osservando un punto imprecisato della piazza.

C'è chi da tutto e qualcuno nulla. Beh, penso accendendomi a mia volta una sigaretta, forse le persone sono così. La loro natura è un assenza di sfumature.

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terrainofheartfelt · 2 years

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Gossip Girl Playlists: Theatre Kid AU edition! —Blair’s

[Dan's] [Nate's] [Serena's]

I don’t even remember exactly how this started, but it’s @strideofpride’s fault.

The concept began as: if they were in this world, what would be in the GG mains’ MT books? What would be their go-to song? Their 16 bar cut? And then, I got on spotify, and got wayyyy too carried away (typical me), and it sort of morphed into: what are the NJBC’s (plus Daniel’s) senior musical theatre recital programs? And now I have this: a quartet of playlists of repertoire handpicked by me for these fake people, and I am very proud of them.

All selections based on my very particular taste, honed from a childhood in community theater, an adolescence in high school musicals, and a 4 year degree from a majority musical theatre school

And, as in the tradition of Glee and all plays within a play, the rep reflects something profoundly personal about the character, because you know I love a theme.

the meta:

Blair could be nothing but the ingenue right??? She wants to be the lead, the romantic girl, the one who gets to fall in love and gets the happy ending at every curtain. She wants to be the star.

Her voice: born to be the golden age ingenue. I actually have a lot of Thoughts on how modern singers sing this music (snobby bitchy angry thoughts), and I am inclined to think Blair would agree with me. And I didn’t quite know what it was until I was talking with my dad about a production of Fiddler I just saw with the worst “Far From the Home I Love” I ever heard but I digress and I told him: “these women. Sing like they know what an email is.” and that’s the thing. Blair as an MT though, she would bring in that warmth, that roundedness.

References: Kelli O’Hara, Audra McDonald, Pippa Soo, Cristin Miloti, Judy Garland, and a girl in my class in undergrad who I swear to god was Shirley Jones’ second coming. She’s also a pageant queen, so let’s call her Miss Iowa

the tracklist:

The Beauty Is — The Light in the Piazza

Now, most people would go for the title song of this musical, but I think Blair would prefer the technical challenge of the ingenue’s first solo.

Now, there was once this guy, Richard Rodgers, and he was a god of song, and he had this grandson, Adam Guettel, and Adam Guettel is a god damn genius, and has, sadly, written so few masterpieces for us to enjoy. (is it bc he and his muse Kelli O’Hara broke up? Who’s to say). But he gave us this opus, a neoromantic musical callback to his ancestor’s work, about an american woman and her daughter that travel to Florence on vacation, and they get swept up in the city, and ROMANCE.

Clara wanders the Uffizi Gallery, musing about humanity and thinking about the boy who saved her hat from being blown away

Much More — The Fantasticks

It’s the world’s longest running musical ever, so it must be doing something right! It’s an inverse Romeo and Juliet. Two fathers pretend to feud for years, to reverse psychology their children into falling in love. There’s also this spanish bandit? Idk. the fathers go a bit overboard with the plot and some strife happens, but there’s a happy ending!

The sheltered, but ambitious dreamer Luisa sings about living a grand life. She’s a little….out there, in a way that reminds me of baby blair of the early seasons. “Please god please don’t let me be normal!”

No One Else — Natasha, Pierre, and the Great Comet of 1812

Dave Malloy knew that, unlike Les Mis, the only way to get away with a War and Peace: The Musical musical was to zero in on only one section. Galaxy brained. And you just KNOW that Blair Waldorf would be so so so into playing Natasha Rostova. (Pippa Soo leads with the belt in the recording, bc she’s amazing at it, but I see Blair adding her own Kelli O’Hara mix to it).

This has become thee ingenue song of contemporary lit. Natasha Rostova, dreamer and romantic, waits and waits and waits in Moscow for her fiance Andrey to return from the war.

Just You Wait — My Fair Lady

Blair would ever-so-deftly do a Pygmalion/Taming of the Shrew set for her recital. I just know she would.

Eliza Doolittle, fed up with her tutor Henry Higgins’ bullshit, is determined to prove him wrong. She shall be a lady, and show him the fuck UP.

I Hate Men — Kiss Me, Kate

A play within a play! Lilli Vanessi is playing Katherine in a new musical of Taming of the Shrew, which forces her to work with her ex. She is Not Amused.

Show Me — My Fair Lady

Another song where Eliza Doolittle has HAD it. This time with young Freddy, whose more a words than actions guy.

Everybody Loves Louis — Sunday in the Park with George

Sondheim wrote a whole-ass musical based on a painting and it is a goddamn masterpiece! Plus like, the name in the song, it was too perfect to pass up.

Famous (not yet) painter, George Seuraut’s love interest Dot (I know lmao), compares the absentminded George to the attentive baker Louis, and makes her choice.

Getting Married Today — Company

Next in her Sondheim set, from the classic introspective comedy on adulthood and adult relationships. Patter song of all time. Also so very close to blair’s show arc that I HAD to do it.

Amy gets a mad case of cold feet right before walking down the aisle to marry Paul.

Raunchy — 110 in the Shade

From the dream team that gave us the Fantasticks: this bop

Lizzie, a lovely, headstrong spinster, spry of wit and sharp of tongue, day dreams about stepping out of her comfort zone, and being the center of attention.

Sooner or Later — Dick Tracy

Not technically a musical, Sondheim wrote this for the 90s movie Dick Tracy & Madonna. The definitive femme fatale ballad.

Breathless Mahoney—I swear to god that’s the character’s name—is a nightclub singer and mobster girlfriend and should probs be in witness protection. She sings this song instead.

Its Gotta Be Bad to Be Good

A cabaret song by Lenny Bernstein. I like this recording bc it’s the right balance of schmultzy and technical. And it fits how I imagine Blair would sing it. (like the float at the end? So very Blair.)

Circus

Again, not from a show, Drew Gasparini is a fabulous composer, but as of right now, most of his releases are great concepts for shows that haven’t been on a major stage. Maybe if we stopped all this jukebox nonsense but that’s none of my business

Anyways, I love this song. He really did write Victoria Pedretti in You, the Song, before You was even a thing. It’s that right level of batshit insane that Blair inhabits so well, but rarely really shows. I can see the gang convincing her to program this because it plays to a different facet of her personality than all the ingenue stuff. And that facet is: terrifying.

Honey Bun — South Pacific

Blair was born to sing all the R&H girls. Nellie I think is one where her and Serena’s types and strengths overlap, which of course is rich with story opportunity!

The nurses and GIs at this WWII base put on a Follies production of their own for some holiday cheer. Nellie closes out the show with this number. Idk if they meant for it to come off so gay, but I aint mad about it.

People Will Say We’re in Love (duet w/ Dan) — Oklahoma!

This was a late addition, but when I thought of it I couldn’t NOT. It’s about the Plausible Deniability™

In a small cowtown (where a certain blogger went to preschool winkwonk) Laurey and Curly insist that they do not like each other! Nope!

What Do You Call A Man Like That? — The Bridges of Madison County

Mmmm okay so, this is one of my favorite musicals ever, and it may just have to do with the time in my life that I got into it, but I think it is truly underrated and beautiful and really the only JRB that’s worth the hype of his name (she says even though there is a L5Y playlist on Spotify that she made herself). It’s based off the novel and the film (starring Meryl Streep!) and it combines the lady country heartland style of middle america with big sweeping italian romanticism, giving us this golden age in the 21st century sound and we didn’t appreciate it enough!!!!

(maybe I only like it because Kelli O’Hara sings it and Steven Pasquale is a DILF, idc. I’m right.)

Francesca, an Italian war wife who moved to Iowa after marrying an american GI, is now a housewife with two teenage kids. Her husband and kids go away for a farmer’s convention (county fair), and while they’re away, she runs into and falls for Robert, a Nat Geo photographer who, again, is a hunk. She sings this song after their first meeting and trip to the famous covered bridge. “He’s so sincere, what the fuck is up with that?” daircore

The Gentleman Is a Dope — Allegro

Daircore

Kind of an oddball complicated flop for R&H, but it brought us this song, so it’s a winner. Emily, Dr. Joseph Taylor Jr.’s colleague, thinks he’s an idiot [affectionate].

If You Want Me — Once

A departure from the old world mt that’s dominated this playlist, but I think, in a world of Blair, consummate theater kid, who absolutely stuck with piano because it suited her ambitious end to stardom, would be really good at this role. Is it because I think Meester and Milioti have similar voices and vibes? Maybe. But the contemporary music in this isn’t like 21st century MT. it’s folk and indie, and I think Blair could inhabit that very well. And she’s got the range for this vocalizing

Brought together by music, a Girl in Dublin plays another song written by some Guy, hinting that she’s begun to fall for him. even though she’s married

The Hill — Once

All of the above. And just think about her sitting at the piano and singing this, like —

It’s The Number, the italicized “oh” number.

The Man that Got Away — A Star is Born (1954)

The second film in a legendary saga. Really a vehicle for Judy to make us FEEL things. Like with this number. You may recognize it from the other GG.

La Vie en Rose — as performed by Ute Lemper

You know she would.

What Good Would the Moon Be? — Street Scene

The Weil Foundation owes me money for talking up this show, but honestly, it’s so good. At least, the half-hour chunk I’ve shoehorned into these playlists is.

Rose’s skeazy boss insists that he could make her a star, but she elegantly and eloquently shuts him down with this cavatina

Simple Little Things — 110 in the Shade

It’s about the pure and simple love, babes!

In a deep philosophical discussion with the handsome stranger that’s new in town, Lizzie defends her own dreams

When Did I Fall in Love? — Fiorello

I may have gone overboard with the schmulz in this playlist, but like, it’s Blair, so…

Thea LaGuardia, as her husband Fiorello runs for mayor of NYC in 1929, is shocked to discover she’s actually in love with the guy.

Time After Time — Cyndi Lauper (as performed by Morgan James and Doug Wamble)

guitar!Dan agenda strikes again.

#gossip girl #blair waldorf #source: senamarais #source: homeofthenutty #this is the longest one #unrealistic. but this is my fanfic funhouse and I do what I want!#one of my favorite things about planning my recitals was doing the program notes #and helping friends with theirs #this exercise has given me that same boost and it’s hella fun #formatting is a little wonky because i wrote too many notes and it made tumblr mad #whoopsies #*ggmt #playlist #happy to push the dair agenda in all things #even this niche idea :)

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droughtofapathy · 5 months

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The Gilded Age's Broadway Divas: Mrs. Bruce (Celia Keenan-Bolger)

Despite having a largely underdeveloped Downstairs role in The Gilded Age, Mrs. Bruce runs the Russell household like a tight ship. From averting near-disastrous soup escapades, to catching escaped dogs in the dusty streets, she approaches her job with no-nonsense competence, all while totally unable to reach the high shelves.

For the first time, Celia Keenan-Bolger (45) has broken free of her child typecast cage to play a fully grown adult with adult responsibilities and it must be such a thrill for her. Those unfamiliar with Celia may not be aware of her illustrious career playing children on Broadway as a grown adult.

In 2005, Celia (26) made her Broadway debut in The 25th Annual Putnam County Spelling Bee as twelve-year-old Olive Ostrovsky, a precocious spelling bee contestant who should have won, dammit, and I'll die on that hill. In 2011, she (31) played thirteen-year-old Molly Aster in Peter and the Starcatcher, nominated for a Tony the same year as her brother Andrew Keenan-Bolger (Newsies). In 2018, she (40) starred in To Kill a Mockingbird as six-to-nine-year-old Scout Finch, for which she won a Tony. This coming spring, Celia (46) will once again be a child on Broadway as she takes on the role of Jessica Lange's teenaged daughter in Mother Play. (List non-exhaustive)

#1: "Green Finch and Linnet Birds," Sweeney Todd (2002)

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In one of her earliest professional roles, Celia (24) takes on sixteen-year-old Johanna Barker, the daughter of the titular Sweeney Todd, who has become Judge Turpin's ward. This is not great for her. But the role was. Too often, this particular song gets the short end of the stick. It's long, slow, and very high, yet Celia approaches it with a controlled vibrato that makes us all sigh in relief.

The Kennedy Center production featured a fantastic cast, including Mary Beth Peil as The Beggar Woman, Broadway's Leading Man Brian Stokes Mitchell as Sweeney Todd, and our very own Agnes van Rhijn, Christine Baranski as Mrs. Lovett.

#2: The Light in the Piazza - Pre-Broadway (2003)

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Before Kelli O'Hara took on the role of Clara Johnson, a young woman whose mental development stunted at age twelve after being kicked by a horse, the role belonged to Celia Keenan-Bolger (25). Ultimately, when the production moved on from Chicago, the creative team decided they wanted a Clara who was a little older. Kelli, who had been playing Francesca, the sister-in-law, was unwilling to "steal" a role from someone she considered a dear friend, but either way, Celia was out, so Kelli was in with minimal damage to their friendship, which persists today.

However. Some years later, when South Pacific was auditioning their Nellie Forbush actresses, the final three came down to Kelli O'Hara (who got it), Celia Keenan-Bolger, and Victoria Clark, who won a Tony for playing Margaret, Clara's mother, in Piazza. Talk about awkward.

#3: "The I Love You Song," The 25th Annual Putnam County Spelling Bee (2005)

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Losing out on Clara wasn't all thunderclouds for Celia (26). Shortly after, she landed a role in the off-Broadway production of Spelling Bee, and when it transferred to Broadway, she received her first Tony nomination.

In this scene, Olive sings the most heartbreaking and beautiful number in the entire show. It is just devastating. Up until this point, the show is a barrel of laughs, and then suddenly you're sobbing your eyes out over a lonely little girl in a bad home situation.

Will Celia Keenan-Bolger ever be allowed to play an adult again? How long until she is no longer able to play children? How did she get the role of Mrs. Bruce if she's only allowed to play kids? All questions we have no answers to.

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#the gilded age #mrs. bruce #celia keenan-bolger #the 25th annual putnam county spelling bee #the light in the piazza #sweeney todd #broadway #musical theatre #she is five-foot even and still five inches taller than me

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lamilanomagazine · 8 days

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Campionati europei di canottaggio, i brillanti risultati degli atleti delle fiamme oro di Sabaudia

Campionati europei di canottaggio, i brillanti risultati degli atleti delle fiamme oro di Sabaudia. Il Gruppo Sportivo Polizia di Stato Fiamme Oro Sabaudia brilla ai Campionati Europei di Canottaggio che sono andati in scena sulle acque del bacino Maty-Éri di Szeged (Ungheria). I dieci Atleti cremisi hanno portato a casa una Medaglia d'Oro, una d'Argento e due di Bronzo e altri piazzamenti importanti, tutti risultati di altissimo livello che hanno contribuito ad accrescere il medagliere azzurro, piazzando così l'Italia in Terza posizione assoluta dietro la Romania e la Gran Bretagna. La Medaglia che più di tutte brilla è quella d'Oro, vinta dal Quattro Di Coppia Maschile formato dall' Ag. Carucci Niccolò insieme a Panizza, Chiumento e Gentili delle Fiamme Gialle. I quattro alfieri azzurri hanno dominato dall'inizio alla fine su un campo di regata per niente facile, ostacolato dal forte vento contro. L'imbarcazione Italiana ha preceduto di mezza barca la Svizzera, mentre al Terzo posto è giunta la Polonia. Altri successi in campo maschile con la Medaglia d'Argento conquistata dal Quattro Senza dell'Ag. Vicino Giuseppe con Lodo Abagnale e Kohl. Gli azzurri precedono la Francia ma si arrendono solo all'incontenibile Gran Bretagna che sul finale reagisce all'attacco dell'imbarcazione tricolore. Un risultato di grande importanza che ci fa ben sperare per le prossime Qualifiche Olimpiche del 19-21 Maggio a Lucerna, dove questa formazione tenterà di qualificare per Parigi 2024. La prima Medaglia di Bronzo l'ha conquistata invece il Quattro Con PR3 Misto, Specialità Paralimpica che vede al timone dell'equipaggio il veterano Ag. D'Aniello Enrico e sugli scalmi gli Atleti Muti, Schettino, Frank e Foresti. Gran Bretagna e Francia hanno occupato le prime due posizioni sin da subito ma gli azzurri hanno tenuto lontana dai primi metri l'imbarcazione Spagnola, assicurandosi così il Bronzo al collo. L'altra Medaglia di Bronzo Europea, per il secondo anno consecutivo, è giunta dall'Otto Femminile capitanato dall'Ag. Bumbaca Veronica; l'ammiraglia azzurra ha strappato il terzo posto alla Germania e ha attaccato la Gran Bretagna, Seconda, per tentare di migliorare la posizione, mentre l'Oro è andato alla Romania. Diverso risultato per l'altra ammiraglia, quella Maschile, dell'Ag. Della Valle Matteo che chiude Quarto insieme a Frigerio, i gemelli Vicino, Gaetani Liseo, Monfrecola, Pietra Caprina, Abbagnale e Faella al timone. L'Italia, pur lottando per recuperare la Terza posizione, ha dovuto arrendersi alla Romania, Bronzo, dietro alla Germania, Argento, e alla Gran Bretagna che si è messa al collo l'Oro. Entrambi gli Otto azzurri, Femminile e Maschile, devono ancora passare attraverso le Qualifiche Olimpiche di Lucerna per poter far avverare il sogno a cinque cerchi. Altri importanti piazzamenti sono stati raggiunti dal Quattro di Coppia Femminile delle colleghe cremisi Ass. Cesarini Federica e Ag. Buttignon Stefania, insieme a Stefania Gobbi e Clara Guerra, che si è piazzato Settimo assoluto vincendo la Finale B, e dall'Ottavo posto del Due Senza Femminile della neomamma Ag. English-Hawke Kiri in coppia con Laura Meriano. Nella stessa imbarcazione, ma in campo maschile, si piazza al Sesto posto l'ormai consolidata coppia del Due Senza degli Agenti Comini Davide e Codato Giovanni. Questo Campionato Europeo è stato un buon banco di prova verso i due appuntamenti di Lucerna, dal 19 al 21 Maggio le Qualifiche e dal 24 al 27 la Coppa Del Mondo, nei prossimi giorni, durante il collegiale in programma a Varese, il DT Azzurro Franco Cattaneo definirà meglio le varie formazioni da schierare. Prosegue invece spedita la preparazione in ottica qualificazione per il singolista Ag. Mumolo Davide in preparazione nelle acque del Lago di Paola di Sabaudia sotto lo sguardo attento dell'Isp.C. Molea Valter e del V.Sov. Gabriele Fabrizio che, in accordo con la Direzione Tecnica Federale, stanno seguendo individualmente il percorso di allenamento specifico per il Singolo Maschile in vista di Lucerna, dove si spera di poter strappare il tanto ambito Pass Olimpico.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

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mademoiselledaae · 1 month

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Can't believe the pandemic robbed us of Amy Manford as Clara in The Light in the Piazza 😭

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atomheartmagazine · 4 months

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Nuovo post su Atom Heart Magazine

Nuovo post pubblicato su https://www.atomheartmagazine.com/prima-serata-sanremo-2024-la-scaletta/

Sanremo 2024: cantanti e ospiti della prima serata del Festival

La prima serata di Sanremo 2024 si preannuncia ricca di emozioni: saranno infatti presenti tutte 30 le canzoni in gara.

Il Festival di Sanremo 2024 si apre con una prima serata ricca di emozioni, presentando tutte e 30 le canzoni in gara. Il conduttore e direttore artistico Amadeus ha scelto di offrire al pubblico e alla giuria una panoramica completa delle proposte musicali in competizione.

Scaletta prima serata Sanremo 2024

Ecco la lista degli artisti – in ordine alfabetico – e le rispettive canzoni presentate nella prima serata di Sanremo 2024:

Alessandra Amoroso – “Fino a qui”

Alfa – “Vai!”

Angelina Mango – “La noia”

Annalisa – “Sinceramente”

BigMama – “La rabbia non ti basta”

Bnkr44 – “Governo Punk”

Clara – “Diamanti grezzi”

Dargen D’Amico – “Onda alta”

Diodato – “Ti muovi”

Emma – “Apnea”

Fiorella Mannoia – “Mariposa”

Fred De Palma – “Il cielo non ci vuole”

Gazzelle – “Tutto qui”

Geolier – “I p’ me, tu p’ te”

Ghali – “Casa mia”

Il Tre – “Fragili”

Il Volo – “Capolavoro”

Irama – “Tu no”

La Sad – “Autodistruttivo”

Loredana Berté – “Pazza”

Mahmood – “Tuta gold”

Maninni – “Spettacolare”

Mr.Rain – “Due altalene”

Negramaro – “Ricominciamo tutto”

Renga-Nek – “Pazzo di te”

Ricchi e Poveri – “Ma non tutta la vita”

Rose Villain – “Click boom!”

Sangiovanni – “Finiscimi”

Santi Francesi – “L’amore in bocca”

The Kolors – “Un ragazzo una ragazza”

Ospiti prima serata Sanremo 2024

Il co-conduttore Marco Mengoni, vincitore dell’edizione 2023 con “Due Vite“, sarà anche l’unico ospite musicale della prima serata di Sanremo 2024. Amadeus ha deciso di concentrare l’attenzione sulla gara, riducendo il numero di ospiti e puntando a una grande festa che celebri la musica.

Sul Suzuki Stage in Piazza Colombo si esibirà Lazza. Sul palco galleggiante della Costa Smeralda canterà invece Tedua. In collegamento dal glass box di Viva Rai2! ci saranno Fiorello, Fabrizio Biggio e Alessia Marcuzzi.

La classifica

La classifica parziale durante la prima serata di Sanremo 2024 sarà annunciata mostrando solo le prime cinque posizioni, creando suspense per gli spettatori. La giuria della sala stampa, composta da giornalisti di radio, TV e web, avrà il compito di valutare le esibizioni e contribuire alla formazione della classifica.

Dove vedere il Festival di Sanremo 2024

Il Festival di Sanremo 2024 sarà trasmesso su Rai1 e in streaming su RaiPlay a partire dalle 20:45. La competizione si svolgerà dal 6 al 10 febbraio.

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