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disastergenius · 2 years

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Details from the Deaf West Spring Awakening pt2

back with part 2 regarding my favorite details in DWSA (based on the Wallis version)

· The Guilty Ones staging: odd at first but it’s very pretty

· The transition from this gentle scene to Moritz’s frantic energy of Don’t Do Sadness

· He also jumps off the staircase!

· The performance of Don’t Do Sadness at 54 Below has definitely got many of it’s views from me

· Because this is about to get very sad, I recommend the video of Alex Boniello and Daniel Durant deciding to switch parts during practice in their dressing room (https://youtu.be/wImIMzPRv1M)

· Since watching Krysta Rodriguez talk about the various issues that occurred during the Blue Wind scenes, I cannot help but imagine them everytime they are having a Dramatic Moment

· He tries to give her his coat

· Big props for the wig decision as well, that’s neat

· The choice to use Daniel Durant’s actual voice to cry out for Ilse

· The way that Moritz pushes his Voice’s mic down. It’s so sad, so defeated. It’s not even a goodbye, it’s an acceptance that they have made their decision.

· Because I had the luck of seeing the broadway boot, I didn’t get to see the actual monologue for a long time and wow does it do it justice by finishing in ASL

· And fade to white out.

· I can’t remember if the original version has Ilse find him, but the staggering way she just, looks at him as he stands there, arms down

· Moritz just walks offstage, among his friends but without them

· Not DWSA related but Jonathan Groff’s story about Left Behind has ruining me whenever they get to it it’s unfortunately all I can hear for at least 5 seconds

· Marta and her voice are finally together in this scene when they approach Moritz’s casket.

· When they go to sit, Marta walks infront of Moritz’s father and stares at him as she passes. I don’t know what this might mean but it feels significant

· His father is holding a teddy bear that we saw in And Then There Were None

· I do appreciate that most of Melchior’s objections are factual but said with such arrogance

· The energy that Totally Fucked

· I love that the hearing characters cover their mouths and the deaf characters hold their hands out with their mouths open, such a good staging to show how they are being silenced

· The vineyard scene was the first scene I remember watching enough times to start learning the signs

· “and be expelled” Ernst following the path of the signing as Hanschen flicks it away

· I sort of want to know if Andy had the same observation he did when he was in the 1st National Tour: post Totally Fucked he was out of breath and had to wait to say his lines so he didn’t sound more “creepy and lecherous.” Maybe that’s why he decided to just stand and moon the audience instead

· This is the best interpretation of this scene everyone else is wrong

· *leans back casually as if he has not been waiting for this for months* “Mmmh, I know”

· The little spin on the piano stool; I love that Ernst and his voice are so connected with each other through the show

· Really loving the decision to allow them to kiss again as they leave the stage, letting the company finish the song out instead

· It really is heartbreaking how the doctor doesn’t talk to Wendla so she’s even more in the dark about what’s happening to her than she already is.

· Again, using Sandra Mae Frank’s actual voice is such good storytelling for this moment to have it’s full effect.

· It happens again when she’s being literally torn away from her Voice as they take her away, again without knowing what is going to happen to her.

· Melchior promising Moritz that he will do right by him is devastating, because in a story that ends in tragedy there is nothing sadder than making plans for the future.

· Yes the way that Moritz and Wendla come back is a bit offputting but the singing is so beautiful and haunting when they start. The imagery of Melchior on his knees before them as they tell him to keep going is just perfect

· The “Not gone” lines slowly backing away from Melchior until he is left alone onstage, repeating his mantra from All That’s Known but now with new meaning. Brilliant

· Also the staging for the lines where each side is mirrored with their Voices is very good.

· For all intents and purposes that’s where the show ends. Melchior alone but having courage to go on. And Austin McKenzie plays every second of that song beautifully.

· I like that in the end, the Voices aren’t matched with the characters

· So I listened to DWSA first and just assumed that the music toning down to leave the show with a soft and haunting beauty was how it went. Imagine my surprise when they amp it back up and it finishes loud. This version is significantly better for many reasons, particularly because they tone down and then end with just sign.

· The sign-only version of this song made me cry the first time I watched it. And it’s just that little clip in the DW Broadway.com vlogs. I really wish they had a video of it being sign-only through the whole thing.

· Also this backstage video at 54 Below is really good! Particularly appreciating the top harmonies I’ve never heard by someone https://youtu.be/amqNmG3WuaE

anyways that’s all for now but i am in love with this production and mourn the fact that there is no proshot

#deaf west spring awakening #dwsa #spring awakening #spring awakening revival

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someplayfromthepast · 2 years

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Can we unpack this!

#spring awakening #spring awakening reunion #steven sater #spring awakening movie #?#spring awakening revival #??

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thesongofpurplesummer · 1 month

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What are some of your controversial opinions about The Tony Awards or Olivier Awards? (Shows/People that should have won)

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helenaredamancy · 2 years

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some of my favorite musical theatre production photos (part 1)

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tobbogan-13 · 5 months

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I was at a theatre competition today, and it's held at this one performing arts school in my county, and a teacher was retiring so they were selling old vocal selections books for pretty cheap (6 bucks a peice, whenever I find them new their like 15-30)

✨️my finds✨️

Cabaret collection, with songs from the 66 Bway, 72 film, and 98 revival

spring awakening

a new brain

Les Mis

The new AND the original starlight express

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hippophobia · 2 years

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they literally released a spring awakening documentary the same day it was leaked that the supreme court is de-legalizing abortion.... you couldn’t plan this shit if you tried

#whelp guess it’s time for another spring awakening revival #spring awakening #abortion #roe v wade

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ghostlypawn · 2 years

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beautiful stunning revolutionised theatre snubbed robbed ahead of its time will never be lived up to etc

#sorry just thinking about the spring awakening revival rumours #and why when they could bring this back !#like i dont think this song will ever be the same after this performance

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spring-awakening-headcanons · 1 year

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i kinda wanna revive this blog

#the last ask made me dig around the blog and i realized how much i love this show #but school is gonna start up again in january so #maybe like a semi revival #send asks👀#spring awakening #dwsa #sa #admin bitch

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tabileaks · 7 days

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playthe-piper · 2 months

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I need Chris McCarrel as Ernst Robel.

#guys please #I’ve fancasted an entire revival of SA and Bare #ernst robel #spring awakening #percy jackson #musicals

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emmitaaa4 · 3 months

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"As if the city view held some answer." On visions, heartbeats through stone, and the Dusk Court.

I'm but a procrastinating engineering student so this is going to be a bit of a messy post/theory, but here we go.

HOFAS spoilers:

Others have probably already theorized about this, but we know that Bryce ended up giving back TT and handing the Starsword (Gwydion) to the acotar folks... could it be that the Gwydion is destined to be Elain's? Or used by Elain, perhaps in the revival of the Dusk court? After all, as @bright-side20 and others have pointed out we already know that she likely accessed TT's powers in acowar (stepping out of a shadow to kill Hybern; if I am not mistaken TT leaked a darkness that even Az was surprised to witness in HOFAS).

sidenote: if you are curious about the link between Avallen & the Dusk court, I encourage everyone to go read this theory/breakdown!

Could this also be why the fact that Elain returned TT (which was an obvious action) was emphasized in ACOFAS, where SJM said she planted seeds for future bookS? Cause I find it interesting that it is Mor of all people that hums pensively as she points out that Elain gave TT back to Azriel: does she know/sense something with that power of hers? Does Elain perhaps See something too, given that she supposedly moved away from it very assuredly? After all, Mor was the one to say that "there is a reason that Elain is seeing these things" (acowar).

ALSO... I believe it's been pointed out already that the heartbeat through the stone that elain famously heard in acowar could have been a literal "beating, vibrant heart locked away far beneath"; i.e. the heart of the Dusk court (hofas). I find it all the more interesting, then, that Gwydion is described to have its light like a heartbeat (paraphrased from hofas, I dont remember the exact quote).

After all, it is looking away from Lucien, towards the windows, that she tells him--or rather, appears to be telling him:

“When I sleep,” she murmured, “I can hear your heart beating through the stone.” She angled her head, as if the city view held some answer. “Can you hear mine?” “He wasn’t sure if she truly meant to address him, but he said, “No, lady. I cannot.”

I repeat:

as if the CITY VIEW held some answer.

What if it did? And what if that answer is found in Gwydion's light and/or the Dusk court's beating heart?

In fact, what else do we know happens (or happened in acowar at least) when she sleeps? Visions, most likely: before she gained the understanding she needed to free herself from the murky-realm she was trapped in (thanks to my man Az), she was lost in a dream-like state. And those dreams often including the trashing sea...

"I can see so very far now. All the way to the sea." Indeed, the sea beyond the Sydra was a distant sparkle. (...) “I can hear your heartbeat—if I listen carefully. I can hear her heartbeat, too.” (who is her? is she hearing her sisters' literal heartbeats, or someone/something else's?)

“I can hear the sea. Even at night. Even in my dreams. The crashing sea—and the screams of a bird made of fire.”

These quotes have been dissected countless times already, but what I'd really like to add to the conversation is that there is something interesting from a passage from HOFAS I referenced earlier:

“And in that moment, the mountain—the island—spoke to her. Alone. It was so alone—it had been waiting all this time. Cold and adrift in this trashing grey sea. If she could reach out, if she could open her heart to it… it might sing again. Awaken. There was a beating, vibrant heart locked away, far beneath them. If she freed it, the land would rise from its slumber, and such wonders would spring again from its earth (…)”

I am about to make the mother of all reaches (call me delulu idc idc), but all this talk about Elain being “blooming spring” and “a promise of spring”… and here we have a slumbering, barren Island (not unlike the way she herself has been forgotten, has been lost in dreams) in the trashing sea (crashing sea, anyone?) which could spring anew.

Just to wrap this up, you cant tell me that this passage isn't extremely Elain "gentle-grower-of-life" Archeron coded:

Dusk, twilight—that’s what the island was in its long-buried heart, what her power bloom into, the lands rising with it. It was, as she said, as if the island had a soul that now blossomed under her care, nurtured by the court she built here.

-------

Voila :) Hopefully I didnt get things mixed up and this made at least a little bit of sense. Ok so done with my procrastination and now back to thermodynamics (send help)(please).

#hofas spoilers #elain archeron #pro elain #dusk court #hofas #truth teller #gwydion #acotar 5 #acotar theory #kinda messy but bear with me #i needed to brain dump #mor acotar #elriel

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disastergenius · 2 years

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Details from the Deaf West Spring Awakening pt1

Alright because apparently I’m falling back into my Deaf West Spring Awakening obsession again, here is my running list of favorite details that are in the most beautiful show I’ve ever seen. based on the Wallis version which is my favorite version i’ve seen (to be added to in future)

· Because ive only seen the bootleg, I hadn’t ever seen the dress/guitar pass at the beginning of the show until I watched rehearsal footage, but it’s so simple and good to establish the show.

· The enraptured way that all the cast signs/sings through Mama Who Bore Me with Wendla. Everyone else being allowed to move except for Moritz.

· While Wendla sings Mama Who Bore Me, her mother washes her hands and I don’t really know what this is meant to symbolize but it feels like it should have some deeper meaning about wanting to communicate and still being unable to

· The “her whole…heart” joke with Wendla’s mother beginning to sign ‘vagina’ and then moving it up to make ‘heart’

· I always forget Patrick Page is in this because he like, never talks about it and no one ever asks him about it when they go through past shows he’s been in. I guess he’s got a very long career with more iconic roles than Adult Men in DWSA but I’m sad he rarely gets to talk about it.

· This setting where the Voices are all relegated to sitting where you can barely see them is another very good establishing moment

· Melchior signing when the teacher isn’t looking so his deaf classmates can follow along in the conversation as well, even signing a bit behind his back

· What do you think they’re writing on the blackboards during All That’s Known?

· While Moritz and Melchior talk about his dreams, and they talk about their fellow classmates; Otto isn’t paying attention so he doesn’t notice, but Georg does and gives the best “wtf” face in the background

· The tapping the table for timing cues when Moritz starts Bitch of Living

· the JUMP off the desk! YES Alex Boniello!

· The lighting of this show is obviously extremely important in both a interpretive way to give meaning and as lighting cues for everyone to note, but I think Bitch of Living is where this becomes most apparent

· The minor inclusion of Sean being Bobby Mahler in his khakis

· Otto’s little roll under the table

· Ilse on the balcony during the start of My Junk is so sad. She can see them but can’t join them.

· Everything about the Desdemona scene is funnier, it’s so clever for them to literally give him a hand

· Otto and Ernst covering their eyes when Frau Grossenbussenhalster and Georg

· Ernst’s voice circling Hanschen on the bicycle despite him being surrounded by the girls previously, good foreshadowing

· Also the little spin he does with Ali Stroker is cool staging

· “It’s as if the whole world is obsessed with penis and vagina” what an ace mood (to be clear, Melchior is very much not ace but what a relatable sentiment)

· I loved listening to Alex and Daniel explain the way that jokes get lost in translation because of course they would, especially the timing, but it’s something that doesn’t really make sense until you see it and it’s very smart of them to figure out a way to make sure it plays every time they do it

· The cigarette pass between Moritz and his voice

· This isn’t technically show specific, but thankful for the Seth Meyers performance for being the closest thing we’re going to get to a proshot and they did it the correct way by not focusing on the singing actors but by focusing on the signing actors

· The circles being so personally drawn, then rubbed away in haste and embarrassment

· Oh the ship

· I really like that they put the 3 guitarists up on the overhead balcony for this part, you can’t see it really well but that’s a neat thing for staging

· Also cannot imagine having to carry the double bass around that stage all the time

· The pairs and symbolism has already been dissected but it’s beautiful every time

· Frankly one could write an essay on this musical and a whole separate one just on all that they put into Touch Me

· The tree is actually very cool to me in the way that it is constructed and the callback later in the graveyard where they are then individual trees, apart from each other

· the different places they put the sign for bruise on each other, such good symbolism

· Moritz not hugging Hanschen, good for him

· I love how they imply that one of the reasons Moritz is not passed even though they have the space is because of him being Deaf, especially with the Milan Conference decisions hanging over the school plotlines. They never have to say it and yet it is crystal clear just why the teachers don’t care

· The Dark I Know Well is another song you do a lot of analysis on. My personal interpretation has always been that the girls (+Ernst) are representing either experiences they have had or ones they are in danger of. Sort of in the way that 1/3 women experience sexual harassment/abuse, so literally everyone knows someone who has or has been a victim. The boys are both the perpetrators, reaching out and still appearing like a threat (circling the bed, grouped together with arms outstretched, not lovingly but grabbing). The adult man could be trying to stop them but he does the same movement, showing he is just as guilty (reminds me of the idea of, they know people who have done this but if they don’t speak out against them it doesn’t matter)

· The hand on the ankle is a signal for Marta to start her verse with Ilse but it ends up being slightly terrifying in this interpretation. Like she’s literally never free from this experience of someone touching her

· The beating scene is so weirdly fascinating in this version, I love the staging but it still plays weird to me

· The gun being the same gun moritz later uses is so so sad

· I love the decision to make Moritz’s father deaf as well because the communication theme ends up being about parents and children (the original). We don’t need Moritz’s father to be disappointed in him because he is deaf and failing, we already have that in the school. They have the same problems as everyone else in many ways

· Frau Gabor never once looks at Moritz during And Then There Were None. She looks towards him, she looks around him, she walks by him. She never looks at him. He is pleading with her, signing at her, begging her to notice him struggling

· Mirror Blue Night what a weird song: staging is gorgeous though, although I understand the confusion from a deaf audience who would have no idea what is happening, the good news is that the hearing audience also has no idea

· So very happy they didn’t go for the animal masks

· Oh the consent angle for this entire hayloft scene is so so interesting but I do not have the ability to discuss that without yelling

· The very obvious religious imagery they use with two of them dressed as alter boys swinging their lanterns is a good costuming choice

This got very long so part 2 incoming

#deaf west spring awakening #dwsa #spring awakening #deaf west #spring awakening revival

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jgroffdaily · 8 months

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A new interview at the New York Times with Jonathan, Daniel and Lindsay has been released. Gift article at the link, and excerpts below:

3 Actors, 1 Unshakable Bond

Jonathan Groff, Lindsay Mendez and Daniel Radcliffe are the heart of the tear-streaked “Merrily We Roll Along” Broadway revival.

What propels the highs and lows of “Merrily We Roll Along,” the 1981 Stephen Sondheim-George Furth musical that begins performances this month at the Hudson Theater, is friendship. But for the stars of this first Broadway revival — Jonathan Groff, Lindsay Mendez and Daniel Radcliffe — embodying the implosion of that friendship may well be more emotionally charged, rewarding and wrenching than anything they’ve done before.

As often happens with actors portraying intimacy, the sentiments they evoke in performance have bled into real life — or the good feelings anyway, when their characters are still fresh, hopeful and unconditionally smitten with one another. These well-seasoned pros may be in their 30s or early 40s, but when they describe their relationship — offstage, I mean, although the line becomes blurry — they’re as effusive and dewy as Romeo and Juliet before the going got tough.

“It’s such a special show in that way,” said Groff, 38, who received his first Tony nomination at 22 for playing a sexually addled adolescent in the musical “Spring Awakening.” “Often I feel you get that with the people you play romantic interests with. But the love story in this show is the friends. So there’s this intensity in a friendship that I’ve never experienced with a play before.”

Groff made those observations last fall when “Merrily,” the American directorial debut of the British actress (and frequent Sondheim interpreter) Maria Friedman, had just started previews in its Off Broadway incarnation at New York Theater Workshop. That its transfer to Broadway seemed guaranteed once it opened had much to do with the aching, loving sincerity with which its cast suffused it.

When the Workshop production ended its limited, sold-out run in January, Groff said he and his co-stars were “a wreck, even knowing we were going to Broadway, to say goodbye to an experience that meant so much.”

Nonetheless, Groff, Mendez and Radcliffe agreed to think as little as possible about “Merrily” for the next seven months. And while they continued to keep in close touch (they all attended “Sweeney Todd” together), they avoided discussing it.

And so the shadows of Frank, Mary and Charlie were banished, and life, being life, continued — in some cases, momentously. Mendez and Groff both worked on television projects (which they could not discuss because of the actors’ strike). Mendez moved back to Manhattan from California with her 2-year-old daughter.

Groff saw Beyoncé’s Renaissance tour four times, officiated at a friend’s wedding in Portugal and attended a 10-day silent meditation retreat in Utah. (Two of his last calls, before he surrendered his phone, were to Mendez and Radcliffe, to let them know where he’d be.) And, yes, he and Mendez both saw “Barbie.”

The bond among the stars felt, if anything, tighter than when I spoke to them last December. They were aware of it from the moment they met. “When the three of us first walked into the room,” Groff said, “there was a natural — —”

“It was a heart connection,” Mendez said.

Groff continued: “It’s a vibe. It’s chemistry. You have it on dates sometimes. And then going night after night after night and digging into the energy that was between us and the show deepening it. The three of us have — it’s such a gift — a meant-to-be alignment of personality and energy.”

What they share, among other things, is a bone-deep love of that currently beleaguered art form, the theater. Groff and Mendez, who turned 40 this year, arrived in Manhattan in their late teens from Pennsylvania and California to “pound the pavements,” as they said, sounding like the hoofers in a Busby Berkeley musical.

(“That’s so Dan, that his first role would be ‘Equus,’” Groff said.)

So would [Radcliffe] describe himself as a member of that New York-centric cult that makes a religion of the Broadway musical? “They’re the high priests,” he said, pointing to the others. “I’m like an altar boy.” He said that hearing a perfectly normal phrase “like ‘How do you do?’” will trigger his co-stars to start performing a lyric with just that phrase.

Sure enough, when a few moments later I mentioned that I grew up in Winston-Salem, N.C., Groff and Mendez responded immediately and simultaneously in swooping falsetto and soprano. “Winstooon-Saaalemm,” they sang, quoting a number I had almost forgotten from the musical “The Light in the Piazza.”

When they discussed their lyrics and dialogue from “Merrily,” they often seemed tremulous with the excitement of discovery. With an exactitude and passion that was unexpected at the end of a long rehearsal day, they parsed several scenes and musical numbers for me, especially moments when their characters just miss the chance to repair what’s gone wrong in their relationship.

Groff and Mendez started crying during several such descriptions, as if they had only just fully realized the extent of the destruction being done.

Groff, who grew up in Lancaster, Pa., said, “I know when I was a kid, theater was like an escape for me, as a closeted teenager. And I think I really relate to when Frank says, ‘Music is my life, without music, I would die.’ Musical theater at that age was, like, lifesaving. And so to be now, at 38, doing a musical as a more fully realized version of who I am … I always went to theater to escape and to express and get out of my life completely. And it’s like this show — and maybe this is what makes it so unique and what brought me to this experience — this show is both the escape and bringing me into my own life at the same time.”

When Groff, whom she knew casually, called her to say that a casting agent had said she would be perfect for the part of Mary, she had become a mother and was newly divorced. “I was like, I don’t live in New York anymore, and I don’t know who I really am right now. I feel really lost. How am I going to do this?” Mendez said.

“But somehow, magically, it all just worked. And when I got back here, the first day I walked in with them, it was just like, Oh my God, I’m home. And I know who I am and what I’m made to do. Of course I ended up here. There was no other place to end up.”

#jonathan groff #daniel radcliffe #lindsay mendez #merrily we roll along #merrily promo #interview

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arqueete · 18 days

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Spring Awakening Broadway: Where Are They Now? (Part 1)

It's been 18 years since Spring Awakening first opened on Broadway and 15 years since the original production closed. I decided to do some digging on what everyone who performed in that production is doing these days.

Part 1 covers the original cast, while part 2 will cover replacements.

Jonathan Groff Melchior

Went on to several prominent roles on TV shows like Glee, movies like Frozen, and musicals like Hamilton (pictured.) He is currently in Merrily We Roll Along on Broadway.

Lea Michele Wendla

Notably starred in the TV show Glee and has released several albums. She was recently seen in Funny Girl on Broadway (pictured.)

John Gallagher, Jr. Moritz

Went on to star in several other Broadway shows including American Idiot. He has released an album under the name Johnny Gallagher. Recently appeared in Swept Away (pictured), a musical based on the music of The Avett Brothers.

Lauren Pritchard Ilse

Has a music career under the name LOLO and was notably featured on the Panic! At the Disco song "Miss Jackson" in 2013.

Jonathan B Wright Hanschen

Had a few acting credits on TV shows like Gossip Girl (pictured), now seems to be pursuing voice over work.

Gideon Glick Ernst

Has appeared in several other Broadway shows and was nominated for a Tony Award for Best Featured Actor in a Play for his role in To Kill a Mockingbird in 2019 (pictured.) Some recent credits include the movie Maestro and a recurring role on the TV show The Marvelous Mrs. Maisel.

Skylar Astin Georg

Has had a variety of screen roles with musical elements, like the movie Pitch Perfect and the TV shows Crazy Ex-Girlfriend and Zoey's Extraordinatory Playlist. He currently stars in the TV show So Help Me Todd (pictured.)

Brian Charles Johnson Otto (u/s Moritz)

Appeared on Broadway again in the ensemble of American Idiot (pictured.) Was recently on tour singing backup for Allen Stone.

Lilli Cooper Martha

Has been in several other Broadway shows including SpongeBob SquarePants and Tootsie (pictured) for which she and was nominated for a Best Featured Actress in a Musical Tony in 2019. She most recently provided voice acting for the TV series Hazbin Hotel.

Remy Zaken Thea

Has appeared in several off-Broadway shows, most notably Freckleface Strawberry The Musical (pictured.) Now owns a professional tutoring company in New York called Andersen Education.

Phoebe Strole Anna (u/s Wendla, Ilse)

Has appeared in several off-Broadway shows, most recently Kung Fu (pictured.) She is doing a lot of audiobook narration.

Christine Estabrook Adult Women

Continues to do a lot of TV work, most recently on the show Penny Dreadful: City of Angels (pictured.)

Stephen Spinella Adult Men

Continues to work in theater, film, and TV including a return to Broadway in The Velocity of Autumn and currently in Harry Potter and the Cursed Child (pictured.)

Frances Mercanti-Anthony (u/s Adult Women)

Went on to appear in Broadway plays including Jerusalem. Now doing theater education work for organizations like Paper Mill Playhouse, Rutgers University, and New England Music Camp.

Rob Devaney (u/s Adult Men)

Appears to have moved away from acting around 2009 and now has a career in UX design.

Krysta Rodriguez Ensemble (u/s Wendla, Ilse, Anna, Martha, Thea)

Has performed in several other Broadway shows including The Addams Family and the revival of Spring Awakening. She was most recently touring in Into the Woods (pictured) and will appear in the Kennedy Center production of Bye Bye Birdie this summer.

Jennifer Damiano Ensemble (u/s Ilse, Anna, Martha, Thea)

Has performed in several other Broadway shows including American Psycho (pictured) and Next to Normal, for which she was nominated for Best Actress in a Featured Role in a Musical Tony in 2009. Most recently appeared in Black No More off-Broadway.

Robert Hager Ensemble (u/s Melchior, Hanschen, Ernst, Otto, Georg)

Went on to join the 1st national tour of Spring Awakening as Hanschen. Has since appeared in several other Broadway shows and the national tour of Fun Home (pictured.) He is also writing his own musicals. Siluetas, for which he wrote music and lyrics, will be premiering at Power Street Theatre in Philadelphia this summer.

Gerard Canonico Moritz (replacement), Ensemble (u/s Moritz, Hanschen, Ernst, Otto, Georg)

Was in the show until it closed, by which time he was playing Moritz. Has appeared in many other Broadway and off-Broadway shows including Groundhog Day and Be More Chill (pictured), and is currently on Broadway in Almost Famous.

#spring awakening

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jinghengology · 6 months

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Cloudcry Songbook x Jingheng Comparison:

“Sitting bored on my bed one dusk, half the beaded curtain peeled back. In no mood to awaken yet no mood to sleep,”

“clothes half-worn and eyes half-slack.”

“A sudden gust of wind pushes forth the boat, in dreams a war with the borisin we wage. Knife in hand, black and red horses leap on, Alongside my husband's warship, in fight I engage.”

“Two twittering orioles land on their branch,”

(note: remember that the branch is the support system of the tree)

“with karma past doth this life's grief cast. Ten times reborn, with all its love and hate,”

“how hard can one take of a husband lost.”

“Gazing up I now see daylight through that verdigris,”

“those past loves and past lives seen only in reveries.”

“When the dragon turns red, then the green pines shall shed.”

Red: Likely a reference to the blood of those that died as a result of the sedition

Green pines: a reference to the “rebirth” cycle of pine trees- needles falling signify the tree’s “death”, but it will revive come spring.

“Cast by the wind of a cold morning, Feeling the weight of your suffering.”

“Spinning our glory through time and space, When will I next come to see your face?”

“Wantonly drinking the silver moon, How many times must we be entombed?”

“Pass like a dream out of sight and mind, six hundred years in this mortal bind.”

#jing yuan #dan heng #hsr jing yuan #hsr dan heng #jingheng #hengjing #danyuan #honkai star rail #hsr #hsr analysis

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awfulsweetbutterflies · 3 months

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Spring Awakening Fandom Tag

(By @winter-asleepening )

1. how were you introduced to the show?

my aunt's close friends with jon, so i got to meet him for my bday and see merrily after! i was in LOVE with his performance and ended up listening to the spring awakening album and fell in love with it!!

2. Seen a production live?

no, i wish. my aunt's theatre is doing a production of it but i may or may not be able to see it :(

3. Dream role/character you relate to most

my dream role would be wendla, and i relate to moritz and melchior (not the r-pe part of him) the most.

4. Favorite male character

probably melchior in the musical. melchior in the 1891 play is literally satan

5. Favorite female character

ilse, martha, and wendla!

6. Deaf West Revival or Original Broadway Cast?

i haven't seen the deaf west end yet but i'm planning to! i love the obc though

7. Favorite song

i need to make a list omg ... the bitch of living, word of your body, and then there were none, don't do sadness/blue wind, touch me, totally fucked, LEFT BEHIND, mama who bore me, mama who bore me (reprise), the list goes on ...

8. Least favorite song

....... there once was a pirate 😬

9. Favorite quote/line

"people -- love when they -- kiss! melchior, don't, don't!"

10. Favorite TV performance

do the tonys count?

11. Favorite cast member(s)

jonathan groff and john gallagher jr

12. Favorite cast member moment

when jon interviewed people 😭

13. Do you write fan fiction?

nah but i'm writing an adaptation of frank wedekind's spring awakening!

14. Do you make fan art?

sigh no but i like to doodle wendla, moritz, and melchior from time to time

15. Do you cosplay?

no but that'd be so fun omg

16. Don’t do Sadness or Blue Wind?

don't do sadness 100%

17. Word of your body or the Reprise?

og word of your body imo, nothing beats lea and jon's stage presence there

18. Touch Me or My Junk?

my junk!!

19. Explain the song of purple summer

i like to see it as the happy ending, how everything went wrong but they all pulled it together somehow

20. Explain the song of purple summer (wrong answers only)

gay

#spring awakening #spring awakening tag

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