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derekklenadaily · 7 months

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The New York Pops: 21st Century Broadway at Carnegie Hall Review

Last Friday night, I attended The New York Pops' performance at Carnegie Hall in New York City. When arriving into the building, you can sense how incredible iconic this building is, especially it was built in 1891 and it is now 132 years old. A six level tier of gold rimmed balconies enclosed the rotunda of the theatre with a beautiful glass chandelier shining above the red velvet seats below. Before the show started, we as audience heard the orchestra in their best clothing, warming up with their instruments, playing several notes from variety songs that was going to be performed. Then the music director Steven Reineke arrived to the stage, leading the orchestra to play the overture from Mel Brooks' "The Producers" the Musical. The orchestra and Steve delivered an outstanding performance that left us audience feeling extremely excited for the next two and a half hours.

After finishing a song, Steven welcomed us and introduced the next performer, Hailey Kilgore. Hailey is a Tony-nominated actress known for her role in 'Once On This Island'. She began her performance with a beautiful rendition of "All that Matters" from the musical 'Finding Neverland'. She then delighted the audience with a fun and energetic performance of "Fabulous, Baby!" from 'Sister Act' the Musical. Next, Javier Munoz (Lin Manuel Miranda's in 'Hamilton' and 'In the Heights'), joined the stage with Hailey. The duo performed a lovely rendition of "When the Sun Goes Down" from the musical 'In The Heights', showcasing their harmonious voices blending together. Before Javier sang "Proud of Your Boy" from Disney's 'Aladdin', he explained that the song holds meaning for parents and anyone with children. Next he finishes his singing segment of his performance with a heartfelt rendition of "Love Who You Love" by Lynn Ahrens and Stephen Flaherty from the musical 'A Man of No Importance'.

Derek looked sharp in his blue tuxedo as he took the stage. His first song, "My Petersburg" from the iconic creative team of 'Anastasia', Lynn Ahrens and Stephen Flaherty and Terrence McNally. It was absolutely glorious to listen to and watch, as he transformed into the beloved character Dmitry right before our eyes. He followed it up with a jaw-dropping and heart-wrenching rendition of "Perfect" from Alanis Morrisette and Glen Ballard's 'Jagged Little Pill'. He portrayed the character Nick Healy who is faced pressure with of his parents pushing him to be successful in academic and sports. Despite the show's short run due to the Covid pandemic, Derek's performance rightfully earned him a Tony Award nomination for Best Featured Actor in 2021.

Tony Award Winner from 'Oklahoma', Ali Stroker joins Derek on stage, and they sang "You Matter to Me" from 'Waitress'. I really would love to see her and Derek together in another show on Broadway at some point in their career, their chemistry was so adorable for words. And I absolutely loved Ali's mind-blowing performances of "A Summer in Ohio" from Jason Robert Brown's "The Last Five Years" and Justin Paul and Benj Pasek's "Waving Through The Window" from 'Dear Evan Hansen". I couldn't believe how insane of her breath control she had while sitting in the wheelchair, and singing so ever effortlessly and so incredibly beautifully! My goodness! No wonder why she won a Tony Award. After her piece, the show paused for a fifteen minute intermission.

Once we came back from the intermission, the orchestra began to play the lively tune of the overture from 'Curtains' the Musical. After that, the four performers returned to the stage and sang a gorgeous rendition of "Purple Summer" from 'Spring Awakening'. Then it was Javier's turn to sing "Hurricane" from one of the most known shows on Broadway, 'Hamilton'. Once after he was finished, Derek joined him onstage - singing "Dear Theodosia" from Hamilton. It was so captivating and meaningful, especially now Derek has a little boy. Before Derek sang “Goodbye” from 'Catch Me If You Can', he told us the story where he saw a boot of Aaron Tveit in 'Catch Me If You Can' during its out-of-town run in Seattle, so Derek and his piano accompanist made an arrangement for his concert in Los Angeles. Marc Shaiman heard him singing this song via a Google alert and asked Derek to send a recording for as Aaron’s standby before coming to Broadway through a facebook message. With him alone singing solo pieces from each show, definitely made me wish that he would return to Broadway soon. Even though, he spent nearly 14 months on Broadway for his time as Christian in 'Moulin Rouge' (including his brief hiatus), the months went by so fast though! But I know most of us Derek fans and Broadway fans are waiting patiently now, it will be worth it once he returns with the show that is completely in his own creation, like 'Anastasia' and 'Jagged Little Pill' for example rather than replacing someone else in the show.

For Ali's final solo piece, she sang a hilarious song called "Diva's Lament" from the Broadway show 'Spamalot'. Through her rendition, Ali aimed to provide a sneak peek of what audiences can expect from the song, as well as potentially the entire show, which is scheduled to make its return to Broadway within the month. To commemorate Wicked's 20th anniversary, Ali and Hailey gave a stunning duet of "For Good" from the show. I would love see these duos in 'Wicked' in the future! Hailey gave a outstanding performance of "I'm Here" from 'The Color Purple' that left a lasting impression on the audience, resulting in a five-minute standing ovation. The chorus concert members of Susan E. Wagner High School joined Derek, Ali, Hailey, and Javier for an encore performance of "You Will Be Found" from 'Dear Evan Hansen'. The combination of their young voices blending with the quartet and the orchestra created a truly beautiful and such moving musical experience.

Overall, I really enjoyed the concert so much. It was awesome to go to see The New York Pops' concert, which featured a variety of Broadway songs from the early 2000's to 2023. It was amazing to hear different singers perform throughout the show. I know last year and even this year has been such a whirlwind but he had two amazing years, accomplishing so many goals especially making his debut at the Carnegie Hall. I am truly ecstatic to see where he goes from here with this ongoing journey with his life and career; whether it's a performance at iconic theatre, Broadway, television/films and etc. If you want to see or follow more updates on Derek, you can follow him on instagram - @derek_klena or on twitter: @DerekKlena

And if you want to follow us to keep an update on projects and career, follow us on X [twitter], Blue Sky, tumblr and instagram: @derekklenadaily

Sincerely,

Dani

#derek klena #broadway #ali stroker #javier muñoz #hailey kilgore #steven reineke #performance: 21st century broadway concert at carnegie hall #performances #review #dani**#ours**#carnegie hall

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d-criss-news · 1 year

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[UHQ] Darren Criss, left, sings with Oscar-winning composers Benj Pasek and Justin Paul at a 2023 Oscars singalong event for the shortlisted best song contender “Good Afternoon” from the Apple Original Films musical “Spirited.” (Photo by Stewart Cook / Apple Original Films)

Watch Darren Criss lead a star-studded ‘Spirited’ singalong to kick off Oscar race

What happens when you get Broadway singers and Emmy-, Grammy-, Oscar- and Tony-winning songwriters in a room with a piano during awards season? Singalongs. Lots of them.

Diane Warren joined in Wednesday night in Hollywood as “Glee’s” Darren Criss and a crowd of music lovers belted out her Oscar-nominated “Armageddon” ballad “I Don’t Wanna Miss a Thing.

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Once the music began at the bash — for Benj Pasek and Justin Paul‘s 2023 Oscar-hopeful tune “Good Afternoon,” from the Apple Original Films musical “Spirited” — it didn’t stop. Hosted by Darren and Mia Criss at their piano bar Tramp Stamp Granny’s, the FYC event kicked off with a performance of Pasek and Paul’s “Good Afternoon,” from the Ryan Reynolds-Will Ferrell “Christmas Carol” retelling, with a Golden Globes-inspired twist.

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Songwriting duo Pasek and Paul, who won the Oscar for their “La La Land” song “City of Stars,” went on to lead singalongs of their hits from “Dear Evan Hansen” and “The Greatest Showman” with Criss on the microphone.

Grammy-winning, Oscar-nominated singer-songwriter Siedah Garrett later joined Criss singing “Man in the Mirror,” which she co-wrote with Michael Jackson, before “The Unofficial Bridgerton Musical” composer Emily Bear took to the piano to accompany Broadway touring singer Sis (“Oklahoma!”) on the “Little Mermaid” classic “Part of Your World.”

#darren criss #la times #justin paul #benj pasek #spirited celebrate party #tramp stamp granny's #press #jan 2023

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ila-appreciationweek · 1 year

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Requiem

Posting on behalf of JCR/Departer, who does not have a tumblr for ILAW Day 3, villains and monsters.

Word Count: 1761 Premise: Sometimes the scariest villains and monsters in your life are human, or even more complicated, your family. Lincoln, Imogen, Harper, and Parker discuss this after the memorial. A/N: For maximum angst, listen to this while you read.

I will sing no requiem tonight, Because when the villains fall, the kingdoms never weep

No one lights a candle to remember, No, no one mourns at all

When they lay them down to sleep, So don't tell me that I didn't have it right, Don't tell me that it wasn't black and white

After all you've put me through, don't say it wasn't true, That you were not the monster that I knew

Because I cannot play the grieving guy and lie, Saying that I miss you and that my world has gone dark, I will sing no requiem Tonight

Benj Pasek and Justin Paul, “Requiem”

“I don’t miss him.”

Lincoln stared into his bourbon after saying those words, feeling the truth of them sink into his bones. He lifted his head and looked at Imogene with her mojito, Harper with a fireball and cream soda, and Parker nursing a whiskey on the rocks.

They found themselves at a bar after the memorial, having paid tribute to those who lost their lives to the Power in Westchester and Pine Springs. Lincoln couldn’t help but feel envious of Imogene, Harper, and Parker, and how their core group had remained intact despite everything. He thought of Danni and Tom who took Elliot and Robbie home, of the trust they shared with Imogene, Harper, and Parker through it all. He pondered the lonely years Demelza spent being the sole survivor of her friend group until Noah had regained his humanity. His mind turned to Jocelyn, who died in that cave thinking everyone hated her, and how her death allowed him to be brought back.

Lincoln could never hate Jocelyn. She was not the first or the last person manipulated and swayed by Matthias. Lincoln himself had once thought he could have Matthias’ love and approval by being himself. He had learned the hard way – like everyone else did – that Matthias’ support came with a price too steep to name. He sipped his bourbon and wondered what it would’ve been like to have a father who cared.

“I know how you feel,” Imogene said. She set her drink down and stared at him. Her brown eyes looked solemn behind the round glasses that sat perched upon her slender nose. “I feel awful wanting to forget about my parents but separating myself from them was the only way I could move forward and actually be myself.”

Lincoln nodded in understanding. He and Imogene knew how it felt to inherit an unwanted legacy and the artifacts of a life lived in pursuit of selling one’s soul. Imogene once went through the process of giving away her late parents’ fortunes and material possessions and had supported Lincoln through the process. They had sent countless emails and text messages, and regularly talked on the phone about the process and finding the charities that would most benefit from the wealth Lincoln refused to keep.

“My parents hurt so many people,” Imogene said. “I lived with their high expectations and rigid standards just fine, but it was only a matter of time before they would’ve used the Power against me.”

Parker swished his drink around and agreed. “Abraham Kelley raised me as his own son after my parents checked out. He kept me from making bad choices and heading down a destructive path. But now that I know who he really was, it’s hard not to wonder: would he have dragged me into the Pine Springs cult? Forced the Power onto me? Used me as a conduit to hurt others?” Parker tilted his head back and downed the rest of his drink before slamming it down hard on the bar counter. “It’s hard coming to terms with that: knowing that the person who saved you was the reason for other people’s tragedies.”

Parker signaled the bartender for another refill while Harper’s blue eyes wandered. He set his drink aside and commented, “My grandmother – Josephine – was in pain for fifty years. She suffered due to other people’s selfishness: she never got to be in my mom’s life or know her as a person. It took so little to send her over the edge.” He looked down and said, “I did that to her. I told her my mom had died and she lost it.”

“Harper, no,” Imogene said. She put an arm around his shoulders and told him, “That was not your fault. Josephine was already so far gone. You couldn’t have done anything to keep the storm from coming.”

“Thanks, Genny,” Harper said. “I still get mad at her sometimes. I don’t blame her for being angry, self-destructing, and flying off the handle, but it’s hard not to wonder if there was another way. Arthur – my grandfather – should’ve listened to her. All the problems in Pine Springs started because of him. He didn’t take Josephine’s warnings seriously and thought he knew better.”

Parker took Harper’s hand in his and squeezed it. “Arthur paid for that with his life so you wouldn’t have to. I know he regretted hurting Josephine. He wouldn’t want you living with that guilt.” Parker kissed Harper’s cheek and looked at him in a way that made Lincoln wonder how it would feel to be loved like that.

Lincoln cleared his throat before finishing his bourbon and asking for another shot. “There were so many red flags with Matthias – Arthur – Abraham – The Wescotts. How did no one see? How could my mom be so blind?"

Imogene grimaced. "It's easy to have tunnel vision when you're not on the receiving end of that abuse. You saw through Matthias before your mom – or anyone – did. Harper was the first one who saw my parents for who they really were. I didn’t want to hear it.”

“I don’t blame you for that, Genny,” Harper commented. “No one wants to believe that the people they love are capable of doing the worst.”

“Love,” Imogene mused. She took a delicate sip of her mojito before setting it down again. “Sometimes it feels as though the love between family is more complicated than romantic love or that of friends. Then again, blood isn’t always thicker than water.”

“Too much of either can make you sick,” Lincoln said. “Noah got turned into a shadow monster and got his friends killed because he loved his twin sister too much. Jocelyn put blinders on when it came to Cody and was okay with him hurting people since he was her best friend, and she was never on the receiving end of his bullying. Matthias knew she was haunted by her past and used it to his advantage.” He pounded the remaining bourbon in his shot glass and banged it on the counter. “That bastard was going to kill Everest! He was going to murder our friend – then us – and all of Westchester by playing up our weaknesses! Goddamnit!”

Lincoln put his head in his hands. He wanted to forget Matthias McQuoid had ever existed at all.

He cried and felt hot, fat tears fall from his eyes and down his face. Lincoln hated himself for crying over the man who killed his mother, Jessica Williams, Loha, and all the innocent people sacrificed in the first blood moon ritual. He wanted to kick himself for shedding tears for the one responsible for disfiguring the carnival attendees, causing Douglas Redfield to lose his humanness, and not caring how many people the Power hurt in his wake.

He heard Imogene, Harper, and Parker stand from their barstools and felt their arms around him.

“You’re allowed to be mad,” Harper said. “You’re allowed to cry and to feel everything and nothing about Matthias. There’s no right or wrong way to grieve for – or not grieve for – someone.”

Lincoln wiped his eyes, swiveled around so he could see his friends, and admitted, “It’s not that I miss him. It’s more… I mourn the loss of the idea of him and the kind of father he could’ve – should’ve been but wasn’t. He wanted to mold me in his image. He only loved me when I was small, impressionable, and didn’t have any thoughts or opinions of my own. Matthias wanted nothing to do with me when I grew into myself and became my own person. He should’ve loved me regardless. He should’ve been there for me after my mom died… he should’ve been there no matter what.”

“Matthias didn’t know what he was missing,” Parker said. “He never deserved to have you for a son.”

“Thanks, Parker.” Lincoln gave a faint smile and added, “It’s horrible, but it’s a relief not having to carry him around anymore.” He retrieved his wallet from his back pocket and pulled out a folded-up piece of paper confirming his name change. “I’m Lincoln Aquino now.”

“Your own person,” Harper affirmed.

Imogene smiled at Lincoln and said, “You have a whole new life as Lincoln Aquino ahead of you. Think of all the things you want to do and go do them. Nothing’s stopping you.”

Parker grabbed his glass of whiskey and motioned for Harper, Imogene, and Lincoln to do the same with their own drinks. He raised his glass and said, “For Lincoln Aquino!”

“Lincoln Aquino!”

Lincoln and his friends clinked their glasses together and drank deeply before Imogene said, “For love and all the complexities it brings.”

Harper went next. “For recognizing that it’s okay to have complicated feelings about your own family. For knowing your limits and setting your own boundaries regarding grief. For missing the idea of someone rather than the actual person. For not being in mourning despite the world expecting it of you.”

“I’ll drink to that,” Lincoln grinned. He steadied himself and said, “For new beginnings. For change. For making your own way and being true to yourself while doing so.”

The four of them cheered, had a final drink, shared two pitchers of cold water between them, and called a cab to take them back to Demelza’s parents’ house where their cars were parked. She had given them her blessing to stay the night before Lincoln flew back home to Las Vegas the next morning; Imogene, Harper, and Parker would make the drive back to Pine Springs the next day.

Lincoln settled into the cab with his friends and sighed with content. He was grateful for the future in store for him, the chance to mold his life into whatever he wanted it to be, and the friends who would help him along the way. He knew that the only way to go from here was ahead.

#ilaw #it lives within #ilw #playchoices #lincoln mcquoid #imogen wescott #parker shaw #it lives beneath #ilb #lincoln aquino

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georgewiman · 9 months

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Evangelical Christian Appropriation

So I'm paying my bill at the dentist, and I hear "You Will Be Found" on the Muzak. And just being conversational I mentioned to the clerk; "Oh, they made a country-western version version of 'Dear Evan Hansen?'"

She listened for a moment. "That's a Christian song," she condescended. "It was around before 'Dear Evan Hansen."

Internal thought monologue: " Really? Bejn Pasek and Justin Paul stole a song off Christian radio for a Broadway musical? Hmm."

I let it go, but not really. I looked it up. And sure enough, gospel singers Natalie Grant and Corey Asbury definitely recorded it, negative eleven years before Dear Evan Hansen.

Evangelical Christianity is so damn full of itself. And I have got to start being more taciturn. This would not be bugging me if I'd just kept my mouth shut.

youtube

#Dear Evan Hansen #You Will Be Found #Evangelical Christianity #Appropriation #Youtube

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im-tired-and-bi · 10 months

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I have a problem with reading sad mlm books. They suck me in and I go way to far in. My favorites have to be The Art of starving by Sam J. Miller (this book is more about him coming to realize the less he eats, the more power he gains. He does come to accept himself and the problems he had with himself and his sisters disappearance.) This was the first queer book I ever read.

They Both Die at the End by Adam Silvera. (Death cast calls you on the day you'll die. Mateo and Rufus are both going to die. They spend there last day together before coming to an untimely death.)

Dear Evan Hansen, By Val Emmich, Benj Pasek, Steven Levenson, and Justin Paul. (Unlike the musical we are able to see more of Conners story. His past relationship with the boy in the photo and his view of his family. There is so much queer coding in this book.)

#dear evan hansen #they both die at the end #mlm #sad books

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thatonemouseykid · 4 years

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Lmao was anyone going to tell me the Greatest Showman was written by the same people who wrote Dear Evan Hansen or was I genuinely supposed to find out while having a mental breakdown and listening to Never Enough?

#i havent listened to these songs since before i got into deh so i think this is my punishment #the greatest showman #dear evan hansen #benj pasek #justin paul #pasek and paul #bc apparently thats a thing

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pinksource · 3 years

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Pink Announces 'All I Know So Far' Title Track Ahead of 'Setlist' Live Album & Doc

The song will drop on May 7.

P!nk announced the release date for the title track to her upcoming live documentary, All I Know So Far, on Thursday (Apr. 29).

The song was produced by frequent collaborator Greg Kurstin and co-written by the singer along with Oscar- and Grammy-winning songwriters Benj Pasek and Justin Paul.

"All I Know So Far" will drop on May 7, just weeks before the May 21 debut of the Michael Gracey-directed film P!nk: All I Know So Far hits Amazon Prime Video.

The song will also show up on the project's official RCA Records soundtrack, the 16-track All I Know So Far: Setlist, which features live takes on such iconic hits as "Just Like a Pill," "Just Give Me a Reason" and "So What" as well as her MTV Video Vanguard Award Speech, covers of Queen's "Bohemian Rhapsody" and "We Are the Champions" and her heart-swelling duet with daughter Willow, "Cover Me in Sunshine."

The album features live recordings from P!nk's 2019 Beautiful Trauma world tour and it will be accompanied by the 80-page All I Know So Far Limited Edition Zine Set, which contains never-before-seen images from the Beautiful Trauma tour by award-winning photographer Andrew Macpherson.

Check out the full All I Know So Far track list below. (Source)

#pink #p!nk #alecia moore #alecia beth moore #all i know so far #all i know so far album #2021 #news #guess who just ordered the limited edition zine set whooops #also i can't believe i spent 10 dollars on international shipping like wtf #but what can you (i) do

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aion-rsa · 3 years

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How Dear Evan Hansen Changes the Musical’s Ending

https://ift.tt/2XGJPiD

This article contains Dear Evan Hansen spoilers, both for the movie and the stage show.

No matter how you come to the story of Dear Evan Hansen, and regardless of the medium, things always have to end at the same apple orchard. It’s fitting since Evan’s first major lie about Connor Murphy, the boy who killed himself, was that they spent whole days in the then-abandoned orchard, talking about girls, boats, and whatever other fantasies Evan could concoct. And it’s here that Zoe Murphy, Connor’s younger sister, requests Evan meet her for the story’s final scene.

This is true of the stage show, which took Broadway by storm five years ago—winning six Tonys including for Best Musical and Best Actor for Ben Platt—and it’s the same for the movie, with Platt’s Evan coming to a now renewed orchard and sitting with the cinematic Zoe (Kaitlyn Dever). Among the trees, Evan can see at least one good thing that came out of his lies: The Connor Murphy Project reopened this small slice of paradise.

Yet how Dear Evan Hansen gets to that moment in the movie is drastically different from the stage musical. Then again, so is the world in the five years since the musical’s Broadway debut (and six since it was first performed in Washington D.C.). Hence why director Stephen Chbosky and screenwriter Steven Levenson, who adapted his own book from the stage, have attempted to adjust to our current social climate. The new ending addresses the harshest criticisms about the Evan Hansen character, and the values his tale might promote. This is, after all, a musical about a troubled young man who exploits the suicide of a stranger in his school to increase his popularity and to insinuate himself into the dead boy’s family.

But is the new ending an actual improvement? Well…

How Dear Evan Hansen Ends on Stage

The entire narrative of Dear Evan Hansen pivots on a misunderstanding between Evan and the Murphy family as the latter grieve over the suicide of Connor. When Connor’s parents, Cynthia and Larry, first misconstrue Evan’s letter to himself as their son’s suicide note, Evan attempts to correct them. However, they seem so heartbroken, and Evan is so desperate to please and be accepted—by anyone—he quickly goes along with it and begins spinning tales about his and Connor’s intimate friendship.

The musical is thus a rising crescendo that builds as Evan climbs higher and higher off his mistruths. So the inevitable moment where his house of cards comes crashing down is the narrative’s real climax. And yet, in the original version of Dear Evan Hansen, the story more or less ends right there. After Evan confesses in the song “Words Fail” that he lied about the letter and his entire friendship with Connor, the horrified Murphys walk away from him one by one, with various degrees of disgust. He then comes clean to his mother in the final big song of the show, “So Big / So Small,” where she comforts her son. She’ll never walk away.

The musical then quickly jumps one year into the future, with Evan revealed to be working part-time and attending community college, hoping to save up enough money to someday attend a university. Zoe, who’s now a senior in high school, invites Evan to the orchard where he thanks her family for never revealing his secret to the public—never telling the world he lied about Connor. And, rather incredulously, Zoe absolves Evan and the audience of any guilt. She says, “Everybody needed [the lie] for something.” She even goes so far to say it “saved my parents.” It brought her family closer together.

So while it’s still bittersweet since Evan’s relationship with the Murphys, including Zoe, is forever severed, there are still no real consequences for Evan other than Cynthia and Larry won’t pay for his college education. Even his guilt is assuaged, and he can brag to Zoe that he’s been reading the 10 books Connor said were his favorites in eighth grade. The show more or less ends in a figurative group hug by omitting through a time jump all of the messy fallout from his choices.

How Dear Evan Hansen the Movie Ends

In the film, “Words Fail” is still the climax of the story, with Evan confessing his sins and Zoe walking away. However, in one telling addition, Cynthia (played with delicate fragility by Amy Adams) is barely able to whisper, “I think it’s time for you to leave” while holding back tears. Since she was Evan’s biggest champion, that she is now the one who states explicitly he is disinvited from their home hits hardest.

Then after Evan’s heart-to-heart with his mother (Julianne Moore), we actually see Evan attempt to make amends for his misdeeds. For starters, the whole reason the truth finally came out in both versions of the story is because of the machinations of a schoolmate named Alana (Amandla Stenberg in the film), who accidentally unleashed a whole social media mob on the Murphys, with randos on the internet blaming the parents for Connor’s suicide.

On stage, this plot element is entirely dropped after Evan confesses to the Murphys, who presumably bear the brunt of the social media hate in quiet while protecting Evan’s secret. In the film though, Evan actually attempts to talk to Zoe in school the following week and she asks him to leave her alone. She also reveals the only reason her parents haven’t unmasked what Evan did is because “they’re afraid you’ll do something to yourself.” Like Connor.

Thus Evan gets on Twitter that night and tells the world, “[The Murphys] don’t deserve your hate. I do.” He confesses. Afterward, he again becomes a high school pariah, but we learn in montage he is more content this way as he tries to make further amends to the Murphys by not only reading Connor’s favorite books but tracking down someone’s phone video of Connor during his stint in rehab. Evan even finds footage of Connor playing his guitar, a feat he hid from his parents. The new song “A Little Closer,” which scores the final montage, is revealed to be a melody Connor wrote and sang in rehab, and Evan is able to at least mail that to Connor’s parents. He’s finally given them something true that they didn’t know about their son.

Only then, before the current school year ends, does Zoe invite Evan to an apple orchard and they reminisce about what might’ve been.

Does It Improve Evan Hansen and the Story?

The clear implication for adding these sequences, plus a song that the real Connor Murphy character can sing, is intended to fix the moral and thematic slipperiness at the heart of Dear Evan Hansen. Through a series of hummable ballads by songwriters Benji Pasek and Justin Paul, and some heartbreaking performances, including by Platt in the original cast, the stage production relies on the power of its emotions to overwhelm logic or deeper analysis. Some might even say it manipulates.

Yet over the years, the musical has had its fair share of detractors who pointed out how calculating and toxic the Evan Hansen character can appear. And the fact the musical just ends on the emotional high point without actually bothering to sift through the wreckage of what Evan did has always been a cheat.

Conversely, there are a few fleeting sequences in the stage version where the musical at least briefly seems to consider its darker implications. Evan’s loose group of (bad) friends in Alana and Jared contribute to this element in the song “Good for You,” where they sing in unison, “Well, I guess if I’m not of use, go ahead, you can cut me loose. Go ahead now, I won’t mind.”

The Alana relationship is particularly interesting in the show since it is only after she demands of Evan “how” will he raise $17,000 that he shows her Connor’s “suicide note.” He immediately protests after she decides to post it online, but did he not on some level show it to her in order for her to use it to raise $17,000 and reopen the apple orchard? After this scene, Alana ghosts him, suggesting she was herself only using Evan to brandish her social clout in the school and, eventually, her college applications.

The Dear Evan Hansen movie tries to wipe even this thorniness away. The context of Evan showing the note to Alana is handled slightly differently, but as a consequence there’s no ambiguity on why he showed it to her—he did not intend for her to share it online. She also, like Evan, is softened around the edges when she does answer Evan’s ringing phone on-screen and cries that she tried to take the letter down but it’s still all over social media.

The logic behind the change would seem to make both Evan and Alana more purely sympathetic and blameless for their mistakes. In Alana’s case, she isn’t a master manipulator, and in Evan’s case it is beyond his control when others take things too far. He then puts in the work to help the Murphys, beginning by admitting to the world his dishonesty.

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These were obviously conscious choices made after the five years and full lifetime which passed since 2016—a year where Barack Obama was still president and the #MeToo movement hadn’t yet occurred. Now in an age where social accountability, especially in online life, and alleged authenticity are valued more than ever, having a hero who lies to the world and gets away with it is inherently problematic. So the flaws in Evan’s choices, and even Alana’s, are “fixed” with crocodile tears of regret from Alana, and then Evan making an actual effort to atone for his mistakes.

Yet I would argue it doesn’t actually improve the fundamental issues with the musical. In the case of Alana, having a character show the ugly side of social manipulation, even among ostensibly sympathetic figures, was one of the truer impulses in a story that otherwise glorifies the healing power of finding validation from strangers on the internet. While both the film and show also depict the downside of online life with a discordant singing hydra coming after the Murphys, it’s only because of a couple of misguided mistakes. And in the case of the stage show, the larger message is Evan’s musical platitudes are simply too powerful (or profitable) for the Murphys to shatter.

In 2021, Evan and his creators make the choice that he can admit his mistakes. Yet the story still attempts to justify Evan’s actions, which ironically puts the film at odds with itself. It basks in the splendor of Evan’s self-help ballad, “You Will Be Found,” and then shows him suffering comeuppance for lying—even if Zoe still gives him final absolution.

The one significant change that clicks for me is Evan at least seeking out some hidden truth about Connor, and sharing it with the real people who actually loved him instead of strangers, who in turn would only again offer performative gestures and signaled virtue toward a kid they otherwise ignored. Hearing Colton Ryan’s Connor sing for himself—for the first time in any medium—and not merely be a puppet for Evan’s self-serving fantasies was a significant, moving improvement over how this thread is resolved on the stage.

Still, I think going further in that direction with Evan realizing the crassness of what he created, and the emptiness of his bromides, would’ve made this a more interesting narrative. But what do I know? My instincts wouldn’t have turned this into a Broadway anthem for Generation Z. So how about yourself? Do you like the new ending to Dear Evan Hansen?

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The post How Dear Evan Hansen Changes the Musical’s Ending appeared first on Den of Geek.

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weekendwarriorblog · 3 years

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DEAR EVAN HANSEN Review: Much Better Than Expected, Mostly Due to Ben Platt and Killer Songs

I’ll admit that I never saw the musical, Dear Evan Hansen, on Broadway, and you would generally have a hard time getting me to see many Broadway musicals for no reason other than… well, they’re damn expensive, and I really need to be persuaded to go. So therefore, I missed the musical when it ran on Broadway. I didn’t pay much attention when it won a lot of Tonys in 2017 and won a Grammy for the cast album a year later, and then I just forgot it even existed.

Cut to a bunch of years later, and some wise individual, probably Steven Levenson, who wrote the book and adapted it for the movie, decided it would work as a movie. If you’ve seen the film’s trailer or any of the derision that followed it, you might think differently. The thing is that the trailer does a good job relaying the story as quickly and concisely as possible but doesn’t really get into the reasons why the movie is so good. That’s what we’re here to discuss in the form of my review.

The gist of the story is that Ben Platt’s title character, Evan Hansen, is a high school loner, awkward and inept with his only friend being the equally nerdy Jared (Nik Dodani). He shows up on the first day of school with a cast after breaking his arm, and he’s been instructed by his therapist to write “Dear Evan Hansen” letters to himself in order to work out his issues connecting with other people. Fellow student Connor Murphy (Colton Ryan) has a run-in with Evan and grabs one of said letters from a printer. A few days later, Connor’s mother Cynthia and stepfather Larry (Amy Addams, Danny Pino) show up at Evan’s school with the letter saying that Connor committed suicide, and they’ve determined that the letter “to Evan” was his suicide note. Instead of telling them the truth, Evan concocts an elaborate lie about being friends with Connor in order to sooth his parents’ misgivings about his death. In order to maintain that illusion, Evan continues to lie to them as well as to Connor’s sister, Zoe (Kaitlyn Dever from Book Smart), and his lie just snowballs. Pretty soon, the school’s social justice activist Alana (Amandla Stenberg) has up the Connor Project so that others who feel alone can feel seen and heard, and Evan has become hugely popular at school.

That might seem like a lot, but that’s all in the trailer. What’s missing from the trailer is why it was a wise choice NOT to recast Platt in the role he played on stage for five years, even though he’s now 27 and already 4 years older than his stage portrayal. Platt is a fine actor, but he’s an even better singer with a beautiful lilting voice that one imagines would be very hard to find a suitable replacement for. Heck, I’m not even sure they could sell this movie to the higher-ups at Universal if the movie wasn’t offering the promise of reproducing Platt’s Tony-winning stage performance.

The thing is that I watched Dear Evan Hansen, and I could totally relate to all of it. When I was a kid, I started out a bit like Evan and I eventually turned into something more like Connor. I was never lonely and had plenty of friends, but I was awkward and that eventually just turned into anger, and also depression would inevitably strike every so often. (Is it any wonder that by my 20s I was a Goth? If you’ve met me, then probably not.) But Evan also reminded me of a good friend of mine who was a lot like Evan and who passed away a few years back, leaving many questions unanswered. Even not knowing fully what happened to this friend, I’ve always felt that I hadn’t been there for him, and I wish I had been. Maybe if we had stayed in touch, he would still be alive, who knows?

Although a lot of the focus of the singing is on Platt and his quite beautiful voice, each of the other primary cast have some amazing singing moments, whether it��s Stenberg doing a song about feeling anonymous like Connor or the song, “Requiem,” that shows off the amazing singing prowess of Devo, Pino, and even Adams. Julianne Moore, who plays Evan’s hardworking single mother, even gets an absolutely epic number towards the end that will get the waterworks flowing if nothing beforehand has done that job.

The movie’s absolutely showstopper is the number “You Will be Found” (which is featured in the trailer and was featured in the TV commercials for the musical), and it’s another great example of how the songs by Benj Pasek and Justin Paul (La La Land) translate so well to the screen, and for the renditions by the film’s bigger name actors. After seeing the movie, I can fully understand why people might become obsessed with this musical and its songs.But it’s not all grief and teary dramatic slow songs either, because the movie also offers more than a few laughs, such as the song “Sincerely, Me,” which allows Colton Ryan to show his singing range in a very funny duet with Platt.

Director Stephen Chbosky has previously proven his prowess in making coming-of-age dramas, having had great success with his adaptation of Wonder (which I still haven’t seen) and before that, Perks of Being a Wallflower (one of my favorite movies of that year). That’s truly the case here as well, but Evan Hansen also shows that he has a strong grasp on social media, cyber bullying, viral videos, and even cancel culture and how it destroys people, including families.

Dear Evan Hansen brings out all the feels, and while I can understand why some people have issues with the story, I also can say that I have seen almost everything in this movie happen IRL, and these characters and the story feel very real, which is as much a testament to Chbosky as a filmmaker, but also his cast and the people behind the original musical. There’s a good reason why Dear Evan Hansen was such a success on Broadway, and all of that is retained by the movie.

Rating: 9/10

Dear Evan Hansen opens nationwide on Friday, September 24.

#Dear Evan Hansen #Movie #Review #Ben Platt #Amy Adams

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cheshirelibrary · 4 years

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16 Introvert Books That Will Speak to Your Soul

[via Epic Reads]

You sometimes prefer to spend your time with fictional characters rather than real people, and that’s okay! We do too! Whether your Myers-Briggs type begins with an I or an E, these books will speak to your introverted soul.

The Upside of Unrequited by Becky Albertalli

Emergency Contact by Mary H.K. Choi

A Very Large Expanse of Sea by Tahereh Mafi

Almost American Girl by Robin Ha

Fangirl by Rainbow Rowell

The Perks of Being a Wallflower by Stephen Chbosky

Turtles All the Way Down by John Green

The Poet X by Elizabeth Acevedo

To All the Boys I’ve Loved Before by Jenny Han

Pet by Akwaeke Emezi

Far From the Tree by Robin Benway

Dear Evan Hansen: The Novel by Val Emmich, Steven Levenson, Benj Pasek, and Justin Paul

I’ll Give You the Sun by Jandy Nelson

Eliza and Her Monsters by Francesca Zappia

The Rest of the Story by Sarah Dessen

Tweet Cute by Emma Lord

#Cheshire library #best book list #introverts #books for introverts #ya book list

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d-criss-news · 4 years

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Members of the Film & TV Music community, made up of composers, songwriters, music editors, music supervisors, studio executives and more, are contributing their talents to SOUNDTRACK OF OUR LIVES: A CELEBRATION FOR THE FILM & TV MUSIC COMMUNITY, an online benefit event for MusiCares® COVID-19 Relief Fund. This specially produced program debuts June 25th, 2020, at noon pacific on YouTube, and will honor the talented people whose scores and songs transport, inspire, uplift and entertain us by creating the "soundtrack of our lives." The fun, delightful and heartfelt hour-long special will feature leading and iconic singers, composers, songwriters, actors, celebrity guests and others while celebrating glorious Film & TV Music moments with heart and humor. Donations to MusiCares® COVID-19 Relief Fund will be encouraged throughout the show.

"Thousands of music professionals and creators are struggling during this pandemic and remain in desperate need of assistance," says Debbie Carroll, Vice President Health and Human Services MusiCares®. "The continued support from the music community during these turbulent times has been heartwarming and inspiring. The power of music unites us all and gives us hope for better days ahead."

Over 75 film and television composers and songwriters, "From A to Z, Abels to Zimmer," will appear in this program. Collectively, this prestigious group has been nominated for 273 Grammys (with 87 wins), 216 Emmys (with 51 wins) and 136 Oscars (with 34 wins).

Confirmed performers and special guests include Sting, Catherine O'Hara, Ming-Na Wen, Patti LuPone, William Shatner, Elisabeth Moss, "Weird Al" Yankovic, Marla Gibbs, Jane Levy, Mandy Moore, Richard Kind, Alex Newell, Zachary Levi, Paul Reubens, Kiernan Shipka, Harvey Fierstein, Ginnifer Goodwin, Anika Noni Rose, Kasi Lemmons, Ted Danson, Auli'i Cravalho, Darren Criss, Drew Carey, Ray Romano, Holly Hunter, Reba McEntire, Bob Saget, Ken Page, Lucy Lawless, Mary Steenburgen, Dave Coulier, Kevin Smith, Peter Gallagher, Naomi Scott, Annie Potts, Clive Davis, Jodi Benson, Harvey Mason Jr., Susan Egan, Paige O'Hara, John Stamos, Andra Day and Rita Wilson.

Composers and songwriters participating include Michael Abels, Kristen Anderson-Lopez, Angelo Badalamenti, Glen Ballard, Lesley Barber, Nathan Barr, Tyler Bates, Jeff Beal, Marco Beltrami, Alan Bergman, Terence Blanchard, Jongnic Bontemps, Kathryn Bostic, Kris Bowers, Jon Brion, Nicholas Britell, Bruce Broughton, BT, Carter Burwell, Sean Callery, Joshuah Brian Campbell, Lisa Coleman, John Debney, Tan Dun, Fil Eisler, Danny Elfman, Charles Fox, Germaine Franco, Harry Gregson-Williams, Hildur Gudnadóttir, Alex Heffes, Joe Hisaishi, James Newton Howard, Justin Hurwitz, Ashley Irwin, Mark Isham, Steve Jablonsky, Amanda Jones, Laura Karpman, Christopher Lennertz, Joe LoDuca, Robert Lopez, Mark Mancina, Gabriel Mann, Clint Mansell, Dennis McCarthy, Bear McCreary, Alan Menken, Bruce Miller, John Murphy, Starr Parodi, Benj Pasek, Justin Paul, Daniel Pemberton, Michael Penn, Heitor Pereira, Rachel Portman, Mike Post, A. R. Rahman, Tim Rice, Lolita Ritmanis, Dan Romer, Anna Rose, Jeff Russo, Arturo Sandoval, Lalo Schifrin, Marc Shaiman, Teddy Shapiro, Richard M. Sherman, David Shire, Rob Simonsen, Mark Snow, Tamar-kali, Dara Taylor, Pinar Toprak, Brian Tyler, Nick Urata, Benjamin Wallfisch, Diane Warren, Mervyn Warren, Paul Williams, Austin Wintory, Alan Zachary, Geoff Zanelli, Marcelo Zarvos, David Zippel and Hans Zimmer.

Some highlights of the special include:

Members of the Film & TV Music community deliver heartfelt messages of hope, solidarity & encouragement.

"Musicians!" - a humorous musical tribute to the Film & TV Music community featuring Zachary Levi, Patti LuPone, Alex Newell, "Weird Al" Yankovic, Peter Gallagher and Harvey Fierstein.

Tony Award winner and Disney Legend Anika Noni Rose highlights the history of African American composers, songwriters and artists who have contributed to the Film & TV Music industry through the years.

Performers Danny Elfman, Catherine O'Hara, Paul Reubens and Ken Pagereunite to perform a song from the film The Nightmare Before Christmas.

Eight-time Academy Award winning composer Alan Menken performs his timeless song, "A Whole New World," alongside his daughter Anna Rose, introduced by Aladdin (2019) stars Mena Massoud and Naomi Scott.

Stars from beloved animated features step out from behind the microphone to lend their voices to inspirational messages, featuring Irene Bedard, Jodi Benson, Auli'i Cravalho, Holly Hunter, Mandy Moore, Susan Egan, Ginnifer Goodwin, Linda Larkin, Paige O'Hara, Annie Potts, Anika Noni Rose and Ming-Na Wen.

John Stamos hosts "Name That TV Tune!" with celebrity panelists including Elisabeth Moss, Drew Carey, Ray Romano, Eve Plumb, Reba McEntire, Bob Saget, Dave Coulier, Marla Gibbs, Lucy Lawless and Kevin Smith competing to identify famous TV themes.

Zoey's Extraordinary Playlist actor Jane Levy invites us into the dreamworld of her Extraordinary Soundtrack Playlist.

Various performers, including members of the original cast of La La Land, sing a parody version of "Another Day of Sun."

William Shatner explores how different scores can give the same film a different meaning as an exasperated director, played by Richard Kind, leads a composer in multiple directions for a short film starring Kiernan Shipkaand Christian Coppola.

Songwriter Paul Williams performs his classic song "The Rainbow Connection," from The Muppet Movie, joined by various special guests from the Film & TV Music community.

Tony- and Emmy-winner and seven-time Oscar® nominee Marc Shaimanperforms an original song tribute to end title sequences.

MusiCares® COVID-19 Relief Fund was created by MusiCares® to provide support to the music community during the pandemic crisis. The music industry has been essentially shut down with the cancellation of music performances, events, festivals, conferences and the many other live events that are the cornerstone of the shared music experience. Since the fund's establishment in March, over 14,000 clients have been served, with many more still needing help.

Show co-creator Peter Rotter says: "When the pandemic tragically hit our world and began to shut down our film music community, I felt that something needed to be done to help those who were in need of support and care. Through MusiCares® we have found the charitable vehicle that can come alongside our hurting musical family.

"Music has always played a role in history; reflecting both the subtle and monumental moments of our lives through its unique DNA. Music connects each of us, acting as a common thread of unification, opening the hearts of all people.

"Regardless of the color of one's skin, status or station in life, music powerfully breaks through boundaries as its message permeates deep within us; healing our human frailties and condition at our cores. Music is transformative and personal. It powerfully underscores our lives."

"Music has always helped transport, uplift and inspire us through wars, economic hardships, health crises and societal upheavals," says show co-creator, Richard Kraft. "When COVID-19 hit, it threatened the lives and livelihood of much of our Film & TV Music community. So, we decided to create an online special that both celebrates the soundtrack of our lives and benefits, via MusiCares®, the artists who create it."

Starting June 25th at noon pacific, watch the video on Youtube via Rolling Stone, Variety & GRAMMY's channels, as well as on www.soundtracklives.com. Donate at soundtracklives.com now!

#darren criss #broadway world #soundtrack of our lives benefit #press #upcoming events #june 2020

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