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#lgbt theater
metalandmagi · 9 months
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It kind of just occurred to me how much the queer community is winning this summer. We had Nimona. We had Barbie (ace Barbie, Allan, just queer vibes all around). We had Good Omens season 2. We had Heartstopper season 2. We're getting High School Musical: The Musical: The Series season 4 and Red White and Royal Blue two days apart from each other. We even have The Witcher finally delivering with Jaskier (or at least it did in the first part, haven't watched part 2 yet).
I don't know where I was going with this. I'm just happy about it.
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miss-galaxy-turtle · 3 months
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Roxie Hart, esp movie Roxie, is a girl kisser
Think about it
All the musical numbers on the movie are her imagination trying to cope w the situation, right?
SHE'S the one putting these gorgeous women in sexy outfits
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SHE'S the one who imagines a whole ass musical number about Queen Latifah being a sugar mama
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That is NOT heterosexual behavior!!!
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happy-xy · 6 months
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Theater Camp (2023) Directed by Molly Gordon, Nick Lieberman
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porcelainlu · 2 months
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Photo collection of THIS Jinkx because I'm going absolutely ✨insane✨ over this look.
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uncanny-tranny · 1 month
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Finally listened to Dylan Mulvaney's song and?? I don't get the negative hype about it, it was frankly a cute song. Also the "playin' catch-up 'cause we missed the pre-game" made me laugh, it was a good line. Dylan, you've done it again!
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hawkeyeslaughter · 4 months
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also the thing about trapper that i think is sort of interesting that i haven’t seen anyone really talk about is how he’s perceived . in ‘ the incubator ‘ , the colonel that trap and hawk go to barter with accuses trapper of having an “ annoying streak of morality “ but takes a shine to hawkeye . now , to the audience this would seem like sort of a bizarre assessment of trap , considering what we know about him he’s definitely not the moral character this guy sees him as , but not to the people of the canonical world they’re in . why ?
trapper objectively is more intimidating than hawkeye is . at a glance he’s beefier and not as stringy as hawkeye , his resting face is slightly bitchier than hawkeye’s is , so , yeah , at first glance or first impression , this is a guy who sticks close to an ethical code . hawkeye just looks , and carries himself , like the kind of guy who would do any sort of skimping he needed to to get what he wants , so even if hawkeye and trapper want the same thing , are righteously angry about the same thing , people are more likely to take a shine to hawkeye because they see hawkeye as someone more on their level , where as trap looking and holding himself even slightly more put together is automatically seen as a righteous , morality high - ground threat .
i also think there are sort of times where he uses that to his advantage — if you note the difference between how he and hawk introduce themselves , while hawkeye pretty much immediately starts making jokes or backhand remarks , trapper introduces himself as “ john mcintyre “ and keeps pretty quiet as though examining said person as though trying to figure out how he should act and adjusts his behavior accordingly . he’s very very short with some people ( usually the higher - ups ) , a product of the intimidating morality high - ground character aforementioned , or he decides it’s a person that can be somewhat trusted and piggybacks off of hawkeye’s jokes . i think it’s a very subtle code - switching thing but i think it’s incredibly clever , especially when you pair him with hawkeye , who ultimately has the same personality whoever you put him with .
it’s why they’re such a good duo . it’s why , ultimately , they get whatever they want — separately , why i don’t doubt they could get what they wanted , it would be harder . hawkeye’s too pushy and trapper seems too … “ moral “ — someone who doesn’t know him doesn’t see him as someone they can relate to , but put them together ?? holy shit , they’re unstoppable
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itsbansheebitch · 3 months
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Hey Tumblr, why does Playing His Game from the Death Note Musical (yes, there's a musical, yes it's REALLY good, and yes, Jeremy Jordan plays Light in the English musical) sound like Light and L are planning a date?
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Like??? Are they about to kiss rn lmao???
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aprillikesthings · 6 months
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There is something deeply funny to me about the fact that, of people who pray the rosary (at least in the United States); the Catholics tend to be super conservative, and the Episcopalians/Anglicans tend to be gay.
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xkat-holstaur · 6 months
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just finished playing bad end theater. i know im not usually the philosophical type on this blog, but i kinda just.. wanted to put this out there
i dont really know what it is, but... for whatever reason, stories with queer relationships based on real people feel more authentic than any other kind of romance ive seen in fiction. like... its more.. earned. like the odds were against said relationship, and yet it prevailed anyways.
maybe straight love relationships in media and literature are just worn out. like romance is a plot device, instead of a theme. interesting stuff to think about.
thank you for coming to my TEDtalk, ill be here all night
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eerienostalgia · 11 months
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Ope another michael drawing
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asentienthaze · 1 year
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One of my favourite, and in my opinion one of the most important, aspects of Falsettos is the way that it's not about AIDS, not wholly.
Yes, it absolutely expresses the hurt and the anger of the AIDS crisis, and of how queer people were affected by it, and of the queer solidarity that arose from it, and that is something that cannot be overlooked. But it's not about AIDS in the way that Rent or Angels In America is about AIDS.
Those works took those feelings, took that hurt, and said "fuck it, I'm gonna do something with it." They were written not just as awareness for the crisis, but to heal as well. To inspire hope, to inspire the drive to fight for the community, to celebrate queer lives.
But that's not what Falsettos does. That was not it's intention to begin with.
Falsettos is a story. It is the story of a man. It is the story of a Jewish gay man, in the sixties till the eighties, and his life. If we include In Trousers here, it's a story from him growing up, his denial regarding his sexuality, and then learning to accept it and accept himself, bit by bit. It's about him building a family not by blood but by choice. But of course, it was the mid-eighties(ish), and his life would come to it's likely conclusion.
This is why I feel like it's important to talk about why Falsettos isn't just about the AIDS crisis. In a lot of discussion around it, that aspect is something many people focus on (and for good reason, we shouldn't forget it) but Falsettos is so much more than that.
It's about maturing, about letting go of heteronormative and societal standards of what it means to be a family, or a husband. It's about learning to love, both yourself and others, and about a family learning to be a family.
In the words of Marvin himself:
"It's about growing up, getting older, / living on a lover's shoulder. / Learning love is not a crime. / Its about time."
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animentality · 1 year
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sarcastic-kaz · 8 months
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Rent?! No one ever talks about rent. Tell me rent things.
AUGHHHH RENT!!!!
i went to watch it at the stratford festival like three days ago!!!
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(press for better quality)
I LOVE RENT! FROM SO MANY PERSPECTIVES! IT TALKS ABOUT THE AIDS CRISIS AND TRANS PEOPLE AND GAY PEOPLE AND DEATH AND GRIEF AND HOMELESSNESS AND SO MANY IMPORTANT TOPICS IN JUST ONE MUSICAL
keep reading if you want to see my theatre nerd side, i basically swoon over set design, backstage, lights, model choices, etc.
AS SOMEONE WHO LOVES THEATRE PRODUCTION A LOT MORE THAN ACTING, THE STAGE THEY USED TO CONVEY THIS MUSICAL HAS SO MUCH AS WELL!
LIGHTS, SOUND, PROPS AND MANAGEMENT OF SPACE WENT SO WELL AT THE FESTIVAL THEATRE!
its something called a thrust stage at the festival theatre, which is different than your usual type of stage, aka the proscenium stage. the thrust stage thrusts to the centre of the room, making it so that you can watch the play from all angles, and not specifically need to get centre, front row seats. you can see with the second photo below that even the people at the edge get an interesting perspective.
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the actors and designers also have a fun time with thrust stages! you have to act with your entire body, as all pov seats can watch you, and designers have to be careful about props and use space wisely, especially since its a much smaller space than your usual, and theres no curtains meaning that scene changes have to be imaginative as well.
as you can see with the photo i took, i did in fact get centre front seats, only because a huge tour group backed out last seconds and my mom was able to snag the tickets.
(i actually watched it twice! first time at the festival was with the theatre group where i was looking at all the lights and cues and analyzing shit, but second time was bc my siblings wanted to watch it live and i could sit back and enjoy the show, looking at some things i wanted to rewatch that other campers had talked about that i missed (the first photo i took of the stage is from camp, on the balcony, while the second is the most recent and from in front of the stage))
from theatre camp, i also got the absolute privlage to get a tour of the festival theatre, and watch a changeover. since the festival theatre goes through multiple plays a day (richard III for a matinee, rent as a night show just as an example) they change the entire set.
i dont care about shakespeare, so were here to talk about the changeover to rent. they expanded the stage and made it much denser material, since people will be dancing on it, and changed the sudden drop to stairs, so the actors wouldnt trip on stage or while dancing. they also added that small platform to the centre of the stage, and did so much with it!
at first, that small platform was used as mark and rogers apartment, and there were metaphorical walls that everyone could see. even though collins was standing RIGHT NEXT TO THEM, he wasnt on the platform and was looking upwards, while mark was looking downwards, signalling they were on different floors.
for the 'la vie boheme' dance scene, they used it as a huge table to seat all the people around it, on the ground. they simly laid a cloth on the edges to make it a table, and the audience could take it as a table.
there was also a trapdoor in the centre of that thing, so for one musical number involving rogers and mimi, they were brought up, being the centre of attention while everyone else danced around them. it also became a small table for one scene.
the next thing the trapdoor did. it went down under the stage, where angel would climb onto it, and 'today 4 u' song, she rose out onto the stage in a puff of smoke and a badass christmas fit!!! so cool!
trapdoor was then used as a makeshift bed for angel, where collins helped her lie as she died of aids. they covered her with a huge cloth, which each of the group threw in and yelled 'im done!' and walked away, leaving collins still clutching it with angel underneath, the trapdoor going inwards as her grave.
let me tell you. they transitioned so well. the trapdoor went back into the trap room, where collins would also let go of the cloth and got it to sink into the hole. id assume the actor got out, the people down there would take the cloth, and while everyone on stage was doing the funeral scene, the people down there would put angels bucket with a bouquet inside and place it on the trapdoor.
theyd then let the trap back up onto stage, replacing the cloth and angel with her bucket and a bouquet in it. that made me sob the first time i saw it. holy shit.
now, away from the sad stuff and back to set design.
if you look at the photo, you can see windows in the backgrounds. they look like normal windows, until you look closer to see silhouettes in them. men and woman.
those were used A LOT to convey the scene. i cant remember the orders, but the main examples that stuck out to me:
for the 'tango maureen', the windows lit up red and you could see the people a lot better, which implies all the people shes slept with/cheated with
when they got together for the aids meeting, the windows lit up in rainbow colours to signify all the people who suffer to aids and the general lgbtq colours
when they were talking about homeless people with benny, the lights shone in different cold hues, showing all the people in tent city and how they must be freezing in the winter
'rent' the song, the windows were flashing with the song, and when the power got cut, all the lights went out except a faint blue from the lights above so the audience could still somewhat see what was happening
sound. all the cast used mics, id guess that the chorus would trade mics based on who had huge lines. before it started, you could hear general city sounds, cars, beeping, general business that you would get from new york that i found a bit cool. i think you can tell im not that passionate about sound.
alright, what else? costumes. costumes, costumes. I LOVED ANGELS FITS. HOLY FUCK, HER NEW YEARS EVE DRESS WAS SORTA TRANSPARENT BUT HAD A RAINBOW SHIMMER TO IT?! I LOVED IT SO MUCHHHHH AAAAAAAAA other than that i have little to no things about costumes... they were all wearing basic fits that were usual for the 80's, all sorts of hip-hop, t-shirts, jeans, your usual.
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found some from the web! first photo is that outfit i scream about up there, and the second is her coming out of the trapdoor for 'today 4 u'!!!
okok now actors... I MET THE GUY WHO PLAYED COLLINS FOR THIS SEASON AT THE FESTIVAL!!! or, me and my entire theatre production camp did. we all got autographs, and got to speak to him bc we waited for everyone else to leave the theatre before we could go as a group, so all the actors had the time to change out of things and stuff. it turns out that someone he knew died of aids not too long ago, so his reaction to angel's death is pretty spot-on. he was so cool! the name's Lee Siegel if you wanted to look more into that.
last thing (i think). at the end, after an amazing scene where the cloth used on angel to lower her down the trapdoor was used to present all the little clips mark got over the year they all had together, angel came out of the centre door draped in this blanket, which all the cast would lay onto the stage.
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and everything would go to applause.
in all, rent is amazing! <3 especially after watching tick tick boom!
(sorry for ranting i love theatre (realised i should probably save this to talk about in drama class when school starts...))
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happy-xy · 1 year
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CLOSE (2022) Directed by Lukas Dhont
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kaliarda · 2 months
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Υπάρχουν κι άλλα άτομα εκεί έξω σαν εμένα...
Τα πρόσωπα της παράστασης Καταποντισμός επισκέπτονται την gay Ελλάδα της Μεταπολίτευσης και μεταφέρουν τις επιθυμίες, τις σκέψεις και τις αγωνίες των ΛΟΑΤΚΙ ατόμων εκείνης της περιόδου, όπως τις αποτύπωσαν τα ίδια, σε πρώτο πρόσωπο, μέσα από τις επιστολές που έστελναν στο επαναστατικό περιοδικό Αμφί, το πρώτο μέσο που άρθρωσε δημόσιο λόγο στην Ελλάδα για την queer εμπειρία.
Τα προσωπικά βιώματα του χτες αναμιγνύονται με τις αντίστοιχες εμπειρίες των ατόμων επί σκηνής και γίνονται υλικό εξομολογήσεων και εκμυστηρεύσεων διεκδικώντας την ορατότητα και μια αναπολογητική στάση ζωής. Εδώ μπορεί να δοθεί ο χώρος στις ιστορίες των ανθρώπων που έχουν αμέτρητη αγάπη μέσα τους, αλλά τα πάσης φύσεως στεγανά τούς καθηλώνουν στη μοναξιά. Οι μαρτυρίες αυτών που υποφέρουν από την απαξιωτική συμπεριφορά γονέων και συγγενών, από τα περιστατικά εκφοβισμού και κάθε είδους βίας.
Οι αφηγήσεις για τραγελαφικά coming out, για στιγμές λαχτάρας, διασκέδασης και κλεφτής ηδονής, για τη gay κουλτούρα που ζυμώθηκε στα σινεμά της Ομόνοιας και για το βαθύ αίσθημα ανακούφισης επειδή «υπάρχουν κι άλλα άτομα εκεί έξω σαν εμένα». Ιστορίες μιας ολόκληρης γενιάς που σβήστηκε από τον χάρτη λόγω της επιδημίας του HIV/AIDS και της κοινωνικής και κρατικής αδιαφορίας.
Καταποντισμός, του Βασίλη Βηλαρά — από 21/03 στο Εθνικό Θέατρο.
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transboysoprano · 7 months
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I'm thinking today about many times I played a boy on stage even before I knew I was trans.
There was a non-singing male role in a depression-era musical in high school that was a mechanic, which the director re-imagined as a sort of Rosie the Riveter style butch woman, which I was disappointed I didn't get a singing role, but internally excited they'd chosen me to play what was originally a male role. I was sad they still made me wear lipstick. I remember learning how to tie a tie (for... unrelated reasons), and I was the only one in the cast who knew how to tie one, so I helped all the boys tie their ties backstage. The girls had to show me how to put on make-up.
Later, at a theatre summer camp, I got the opportunity to play a male role as well, and I threw myself into it with much gusto. It was not crucial that this role be played by any gender; it was kind of a narrator role, but I definitely imagined myself as a man while playing the role, which kept me excited and informed my acting choices.
Once I discovered opera, it was Cherubino who really made me obsessed. I watched Kate Lindsey's performances of Non so piu cosa son and Voi che sapete over and over, and brought them to my voice teacher already memorized. I was disappointed to learn that companies almost never cast sopranos (or at least singers with as light a timbre as mine) in that role, or as pants roles in general.
Then, once I started doing opera in college, there were always dance scenes, but given the nature of undergrad opera programs, usually not enough men to have equal dance partners. I really enthusiastically volunteered to wear a male costume and dance with girls. Back then, I thought it was because I was a lesbian (despite the fact that I was already deeply in love with my now husband then?) and the rest of the chorus poked fun at me for being so excited about it.
There are just so many things that I look back on and wonder how I stayed in denial so long.
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