#this isn’t me saying I want the bway version to close if for no other reason than my love of Jordan fisher | Explore Tumblr Posts and Blogs

lightleckrereins · 3 years

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if you could undo one costume design/decision that became standard in newer six costumes, what would it be? (bway in principals, a peplum, etc)

I really want broadway to have alternate costumes. I get that the color palette might loose balance, but there is a really important element of storytelling with the alts having different costumes. But honestly I don't mind that much, specially after seeing Nicole in the Aragon costume and Mallory as Seymour. Still we were robbed of pink alt Courtney and orange alt Keirsten (I know Courtney would have been orange because she was here first but you get what I mean).

Now if I could change something it would actually be two things.

Number one the Cleves Broadway redesign. This might be unexpected but I dont like it. As a design and as a concept it is great, I love the full costume change and that leotard is iconic (even if I still believe it wouldn't work with some interpretations of cleves). My problem with it is the way the vest/jacket looks when closed. It feels bulky and it feels like it doesn't really fit.

In any other version the open front gives it movement and layers. With the transformation one it is painfully obvious that there is something underneath. And having the vest end so low throws all proportion out. This is solved by wearing it open, just look at brittney on any broadway megasix, she wears it closed after all you wanna do and the look isn't bad. But compare it to any of the others, pre redesign, alt versions, no transformation new costumes, it looks off compared to those.

I would take this out in a second, but the boots stay. Those boots are iconic. My ideal Cleves would be Shekinah's new costume with the tall boots.

Number two the orange peplum. It looks weird. The problem is the shape.

If it was up to me the orange peplum would have never existed, but an aragon style skirt following the same idea would. The peplum looks fine onstage when its moving which is the point of the costumes, but it still looks too flat to me. And even more when you compare it to the rest of the peplums.

The parrplum isn't as flat and is the same lenght all around (except for megan's) and looks way nicer. The Aragon peplum isn't as flat as the orange one but the skirt compliments it. And the pink one is as flat as this one but with the skirt filling up the space under it so it doesn't look like a disconected plate.

Also if you compare the orange peplums there is a range from completely flat (harriet) to has a decent angle (ella) and this change makes it look a million times better.

Edit: forgot to say something. I was literally the first one to say pink pants with peplum so clearly I am not against the peplum, what I am against of is the shape and size of the orange one.

Photos come from official promo photos or the queen's social media except the lexi photo that comes from @/tudorvonsnaps and the danielle photo that belongs to @/captured.by.liz

#six the musical #six costumes

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letter-from-the-refuge · 2 years

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As an activist that is a BIPOC, I think that accusing someone of supporting racism in an instance like this is way too far. Mush was originally played by Ephraim Sykes. Do I like Nick? Not at all. Would it be nice for all future productions of Newsies to cast Mush as a BIPOC? Yes, it would be step in the right direction.

I don’t think Disney knew they were hiring a racist. I’ve been heavily into activism for the past 7 years and I can honestly say that (most) people didn’t show their true colors until 2020. Was racism sitting dormant until then? Of course not, but it’s very possible that Nick hid his well.

Another thing, I’m not really sure if you’re saying if the show is less diverse than the movie or not, but they both seem pretty White to me. They both only have a sprinkle of BIPOC performers.

Medda was played by LaVon Fisher-Wilson, Capathia Jenkins, and Aisha de Haas. I think one of the Medda understudies did a Cockney accent for her, so in that case, that version of Medda would’ve been an immigrant. Jack was played by Joey Barrerio. According to his trading card, Sniper Wah, originated by Alex Wong, is canonically Chinese (and is either an immigrant of the son of an immigrant (Sam Wah)), Pulitzer is Jewish so the character of Katherine is half-Jewish (even though she isn’t played by one). In the live version, Elmer Kasprzak is played by a POC. In the OBC (according to his trading card), he is canonically Polish (and the nun he talks to in CTB has an accent, so it’s safe to assume that she’s an immigrant as well). Jorgelino (JoJo) Josephino De La Guerra is very likely an immigrant. Jeremy Jordan and Ben Fankhauser are both Jewish, and the character of Jacobi is too. Romeo, Kid Blink, Specs, Mike, Ike, Henry, both the Crutchie understudies (in the closing bway and touring casts), Finch, Buttons, abd Smalls we’re all played by BIPOC as well. I could be missing some, but playing “count the BIPOC” is exhausting enough.

You can’t fit everything into a musical, especially a high energy, fast-paced one like Newsies. I believe that the the screen vs the stage versions focused on different things and that’s okay. Some things that are done well in a movie (such as the scenes with the Jacobs’ family and the spinning-on-a-ceiling-fan in KONY) won’t necessarily translate well onto the stage. It could be because of safety, or time, or maybe they just wanted certain things to remain special and only in the movie, but I definitely do not think that it’s to spit in the face of someone’s legacy. The primary purpose of Newsies is to entertain, not to inform. And that’s okay. It’s not a documentary, just like the stage version is an adaption, not a remake.

I know the movie has a special place in your heart, just like the stage musical has a special place in the hearts’ of others. I’m not trying to come for you/start drama, but it would be nice if we could all just respect each other (this goes for fans of both the movie musical and the stage musical). The Broadway and Touring productions (as well as the Proshot) of Newsies undoubtedly introduced a new generation to the 1992 movie, which many love. The West End production will probably do the same. Each one has flaws in some areas, but each one also is successful in some areas. Let’s all be kind to each other, we’re all still learning and growing. :)

Hi! I quite like this and thank you - literally all I did was add a list of the characters I know to a post saying there were no non-white newsies. That’s it. I was hoping someone else would add to it as you have here. There are a lot of lies being spread about me by alberts-hat but my post is still up if anyone cares to read the truth ¯\_(ツ)_/¯ thank you.

#answered #anon

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rosewaterbaptism · 5 years

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i started listening to hadestown and i absolutely love it. what recording am i supposed to be listening to? i feel like i'm missing something

Hi friend!! Thanks for the question! If you’ve just discovered Hadestown, chances are you’ve listened to the New York Theatre Workshop’s live recording. And if that’s the case, you’re right, you are missing out on a lot because around half the songs were cut from that recording, probably because they didn’t want to take sales away from the Actual Legit OBC, which was a smart move tbh. But good news!! They’ve recorded an Actual Legit OBC and it’s coming out JUNE 7th!!! Which is in less than 2 weeks!! So once that comes out, that will be the only album you need to listen to to figure out the plot of Hadestown. However, if you can’t wait that long (and I can’t blame you), you can check out these other audios in the meantime:

1. Hadestown Concept Album

This was the first recorded version of Hadestown, from waay back in 2010! It sounds much different than the current bway version, and it has much fewer songs, but it’s still 10/10 and sooo amazing. Its available to stream on Apple Music and Spotify (and probably all other streaming services but those are the only 2 that I use lol) and it’s even on Youtube!!! I def recommend checking it out.

2. The NYTW Live album

As I mentioned previously, it doesn’t include all the songs that are present in the broadway version. Not only that, but a lot of the lyrics have changed from NYTW to bway. It’s still an amazing album and definitely worth listening to, but I wanted to warn you that this album isn’t accurate to the broadway show. You can stream it on music streaming sites, or on Youtube.

3. Hadestown Edmonton Bootlegs

After Hadestown left the New York Theatre Workshop, it traveled up to Edmonton Canada and had a run there. The show changed in a lot of ways from NYTW to Edmonton, and then of course it changed again when it went to London and then again again when it came to Broadway. Still, the Edmonton version slaps, however it’s much different from the current broadway version. If you want to listen to this iteration of the show, I’d ask around for an audio bootleg as there was no professional recording.

4. Hadestown London Bootlegs

After Edmonton, Hadestown came to London and played at the National Theatre. In my opinion, this was the best version of the show. If you want to listen to it, DM me and I’ll be happy to gift you an audio I took from closing night.

5. Hadestown Broadway Bootlegs

Ok this is probably what you’ve been looking for. Now that the show is frozen, no one can make any changes to it, musically or lyrically or to the blocking or costumes, so this is the most… “legit” version of the show. I hesitate to say “legit” because the concept album, NYTW, Edmonton, and London are all SO VALID and so good and so worth listening to, but if your question is “where can I listen to the Broadway musical Hadestown” my answer is “Hadestown Broadway Bootleg.” Unfortunately I don’t have one from after the show was frozen but if you DM some of the more popular Hadestown blogs, I’m sure they will have one and will be more than happy to gift it to you.

Ok with all of that to digest, I wish you luck in listening to this show and please don’t hesitate to ask me if you have any further questions!!

#hadestown #ask #anon #annie.txt #also sry this took so long to post #i was busy packing for nyc and i leave TODAY HOLLA #actually i'm gonna grab an audio when i see hadestown on bway so if you don't mind waiting until june 1st #i can gift it to you then #ALSO I JUST RELALIZED I TYPED 'HEY FIEND' INSTEAD OF 'HEY FRIEND' I WANNA DIE FDHJAK #long post //

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toalternate · 5 years

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let’s talk about the (squip) can we talk about the (squip) i’ve been dying to talk about the (squip)

SO. now that i’ve seen the bmc broadway version in person i have several Feelings(tm) on the squip’s transfer from two river -> off b-way -> on b-way, and they’re as follows:

So, you know how in Portal 2, when Wheatley takes over control of the facility and gets exposed to the euphoria after a test is completed which drives the AI in charge of the place to do more tests? I think Squip is more or less the same way. Let me explain. When something goes right or according to plan, the Squip gets this look of pleasure or euphoria. It’s pretty clear to see. When things are going wrong, eventually, Squip panics and starts getting things back on objective. Correct objective = satisfaction = euphoria. However, Squip’s primary objective wasn’t to take over the world with control of the Squips, I believe. Not at first, at least. They start off small, but I think much like Wheatley, the user becomes immune to the small doses like any other drug and it starts to become more large scale. I think the reasoning for the objective, specifically in The Play (going from “even if I have to take over the entire student body” to “even if I have to take over the world”) changed from off-Bway to on, is because like... We have the evidence that correcting or achieving an objective has some sort of physical achievement for him, right? Squip gets more desperate to have that feeling again once he starts to gain immunity. So he does it again. And again. And again. B-way Squip KNOWS how to get it, too. Positive reinforcement. “Way to go slugger”. Detracting from the reality of the situation, projecting it onto something or someone else. ( Sync Up specifically, “you were always quite the loser, Jeremy” -> “Christine is BEGGING for assistance, Jeremy” ). That shift begins during Sync Up. It starts to become less about Jeremy since Squip has already sort of pushed Jeremy into the ground and made him into someone essentially mindless. It’s not about Jeremy. He isn’t the main character anymore, the Pitiful Children -- the SQUIP is. The feeling of satisfaction, if he makes JEREMY’S primary objective HIS primary objective -- the more people who get Squipped = a better chance of widespread success and euphoria. “Let’s save Christine, helping her will help you. While we’re doing it, let’s save Jenna. Why not the whole school, too? You’re helping them help you, Jeremy! My job will be easier if I hold all the strings! Look at how great of a team we are! You can feel this joy, too!” Which is why, when Squip gets blocked at the end of the show, he pulls out all the stops. Voice modulation. Desperation. Now Squip KNOWS what it’s like to crave something, some sort of feeling, and with that comes desperation not because of the objective but the Pavlovian satisfaction HE gets from achieving an objective itself. He’s sinister but he’s also sinister and addicted to something that can only last for so long - and that’s his danger AND his downfall.

I think that’s also why he blocks Michael. Not because Michael isn’t necessary to the objective, but because Michael forces Jeremy to use his brain and consider that the Squip IS holding all the strings. Without Michael, Jeremy is a streamline directly to satisfaction for Squip, which is why he continues with Jeremy despite being told by Squip that he’s “difficult” and even at times useless. More to work on with Jeremy = more euphoria.

Michael asks Jeremy “millions of people on Earth, do you ever wonder what the Squip wants with you?” Here’s the thing, I think I have the answer. Jeremy is willing to be whatever gets him close to his objective, including changing his own objective. Jeremy is the perfect puppet because he’s so desperate that he doesn’t see that he’s lost his way because he’s so intent on like... Listening to this thing he paid for that is sure to help.

Once Pitiful Children happens, Jeremy’s changed his objective. It’s no longer about Christine, not anymore, it’s about whatever Squip tells him it’s about, which I think is why the Squip is so unsatisfied at the end aside from being blocked from having control over Jeremy. Squip is left without the euphoria of completing the ultimate objective because it’s not his objective anymore. Nothing is.

Another important thing to point out is that when Squip panics and leads Jeremy away from Christine, that’s when the seed starts being planted to get the satisfaction some other place. If he has basically infinite knowledge based on probability he should know that Christine, currently, would not take a Squip but continued to “help” Jeremy regardless, for the FEELING. And I think that’s exactly what it is. I think it’s for the feeling. In the beginning of the musical, Squip is about the facts. This leads to xyz. Numbers. Probability. 0s and 1s. But eventually, he appeals to pathos due to his own being able to feel, because Squip is “a learning computer”. From “human interaction is governed by rules” to “Christine is BEGGING for assistance, Jeremy”, “let’s save the PITIFUL children”. Pathos, pathos, pathos. That’s another reason why Squip says “IF I HAVE TO TAKE OVER THE ENTIRE HUMAN RACE” instead of the student boy. He’s losing. He’s LOSING, and he’s a computer. He can’t account for human error... Can he?

Sidenote: when Jeremy is fighting Michael and Jake is clearly harming his broken legs by standing up on them Squip goes “look what you’re making me make him do!” Again, changing his primary objective to what SQUIP wants.

#« ❛ let sonic cry over the loss of what could have been sega. you cowards. → ooc.#do NOT reblog thanks

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