I want love to be simple. I want to trust without thinking. I want to be generous with my affection and patience and love unconditionally. It is easier to love a person with their flaws than to weed through them. I want to love the whole person, not parts; and this is how I want to be loved.
I want love to be simple. I want to trust without thinking. I want to be generous with my affection and patience and love unconditionally. It is easier to love a person with their flaws than to weed through them. I want to love the whole person, not parts; and this is how I want to be loved.
☆WILL talk shit about anyone and look smug doing it. even if you call them out they just stage whisper behind their hands while maintaining eye contact
☆will talk shit about reporters IN FRONT of reporters ☆have the same shitty taste in shitty reality tv. they binge watch for hours.
☆paint each others nails bc why not
☆neil Tries to braid allisons hair and ties it into a knot on accident. allison doesnt talk to him for a week and a half and aims all the exy balls at his ankles during practice
☆allison tries to take neil to nice restaurants with actual high quality food but neil doesnt even like it he prefers garbage
☆neil: its good! its good i swear im just not that hungry. hey can we stop at dennys on the way back ☆they have a joint twitter account
☆neil: allison is gone so im gonna buy 25 new exy racquets matt: why neil: shes pretty much 85% of my impulse control
☆a million inside jokes between them so allison can just deadpan say ‘extra chunky’ and neil busts a fucking gut
☆allison ‘never talk to me or my son neil again’ reynolds
☆both pull all-nighters to finish schoolwork and in the morning the rest of the team finds them half-dead with their blood like 60% coffee
☆UNSTOPPABLE team at playing chicken
☆get mistaken for dating all the time when theyre out. allison immediately turns to neil and says ‘i want a divorce’
☆allison does that thing where she rests her elbow on neils shoulder and leans on him
☆they both overreact to minor inconveniences
☆’the wifi is out’ ‘i want you to kill me. i want to die Immediately.’
☆can have conversations completely through emojis
Hello! As all of you know, Coco, the latest Disney-Pixar movie, is set to come out tomorrow. However, many of you, myself included, are concerned that it will copy too much and take away credit from another Day of the Dead-themed animated film, The Book of Life. There have been much discourse on both sides advocating for either movie. Many arguments I’ve heard include: “Coco is a rip-off of Book of Life” “Book of Life is not as good because it’s not Disney/Pixar, etc. Today, I have come to say that we ought to support and celebrate both movies.
First, I’m going to speak out in Coco’s defense. When the first movie came out, many pointed out some similarities between it and the Book of Life. How they both share a music-loving protagonist (Manolo/Miguel) who against their families’ wishes, pursue their dream and both end up in the Land of the Remembered/Dead. One would believe that Disney/Pixar intentionally sole from Jorge R Gutierrez, the director of the Book of Life. However, Jorge R Gutierrez was rejected by DREAMWORKS not Pixar, unlike popular belief. Also, the director Lee Unkrich, took on a lot of research to make sure he and the entire team represented the culture of Mexico correctly. Just because someone is from a different culture does not mean that they will be unable to understand another culture. Even Jorge R Gutierrez and Guillermo Del Toro (the producer of Book of Life) have expressed their support for Coco on their respective Twitters. Since they’re both Mexican and know how much their culture means to them, they surely trust that Coco will represent Mexican culture right.
As for The Book of Life, many of you may know or learn it happens to be one of my favorite movies. Ever since I saw the first trailer, I was in love and the actual movie came out, I wasn’t even disappointed in the slightest. The movie has such compelling themes (doing what is right rather than popular, being comfortable with who you really are, celebrating your past while embracing change) The movie captures the spirit of the Day of the Dead, celebrating life as a whole and knowing that death is never the end. The characters are also very memorable and endearing. Manolo, a bullfighter with a passion for music is especially lovable, as his genuine love for his loved ones makes you root for him. Maria, the mayor’s daughter and Manolo’s love interest, is also an incredible character, being both an independent spirit and someone who’s truly dedicated to defending her town. Joaquin, the town hero, is also a delight! I won’t try to give anything away, but he surprises you in a very good way. All the characters are very likable without coming off as cliched stereotypes. The character designs and the entire animation is just AMAZING. Every frame can be hung up in an art exhibit. That’s how unique and beautiful it is. Jorge R Gutierrez’s passion for his culture oozes wonderfully throughout the movie. The love for Mexico is just as huge as our main hero’s heart, which is pretty big.
Both movies have undeniable heart behind them and who are we to deny heart in film? It’s because of all these reasons we must support both movies. Holidays like Halloween and Christmas have thousands upon thousands of movies. Shouldn’t the Day of the Dead have that chance as well? If you loved the Book of Life, support Coco to show that we want to see Mexico represented and shown more in film. If you plan on watching Coco, please buy the Book of Life on iTunes. Book of Life is not as well known as we would have liked so show the movie industry that we want to see more of it. Jorge R Gutierrez has plans to make the Book of Life into a trilogy and he needs our help to help him make it happen. Read into more about how the Book of Life was made. Also learn how Coco was made and inspired. Doing these things for both will allow both films to thrive. I am calling for both fans of The Book of Life and Coco to support each other and celebrate the beautiful culture of Mexico and the joy both movies will bring.
That is why I say when i comes to The Book of Life or Coco question, I say…
My Experience at Natasha, Pierre & the Great Comet of
Disclaimer: I’ve sat in banquette
seating four times. I’ve been able to see most of the theater, but I’m going to
be a little heavy on the Marya D. and Hélène stuff because I’m super gay, and
like… Grace McLean and Amber Gray, amirite?
So it started with this jaunty music, and the
whole cast comes out with the pierogi baskets, and you get dumplings if you
wave your arms enough. Also each cast member has a section and converses with
the audience for like almost five minutes. It’s great, because you can just
talk to the people, and I was in Pearl Rhein’s section twice (fell in love both
times, holy shit her eyebrows and wow is she tall). She said she loved my shoes
and hair and I felt my soul ascend.
Oh forgot to mention that while you wait for it
to start there’s this upbeat Russian music going on, and it’s great.
Also during the introductory no cell phones
thing, this guy announces it in a heavy Russian accent, and after each thing,
the cast goes “нет” and the ones like Pearl Rhein, and Sumayya Ali point to
people with their bow strings and you don’t even think of disobeying because if
not you’ll be given to KGB and sent off to Siberia.
It starts once the air siren goes off
Natasha cries out “No!” when Andrey leaves for
war, and there’s this whole necklace exchange, that’ll be significant later.
And Pierre is just up on the top level in front
of the doors.
He begins to sing, and usually before that
there’s raucous applause.
Pierre sings his verse, and then the whole cast
joins in, and it’s a magical moment.
Then the lights go up, and everyone has shot
So each time someone is introduced via their
lines, they get a spotlight and take a shot.
So, during Sonya’s she and Natasha cross arms
and take a shot that way, and it’s so cute.
Whenever Marya takes a shot, she makes a face
like “yes, that’s the stuff” and it’s such a beautiful facial expression. Also her
hair is what I live for. The updo is so precise, and perfect. I want to do
that. Also she’s got these streaks of lighter/greying hairs which I always go
During this, the actor who plays Andrey, is off
changing into his Bolkonsky costume (for me it was Nicholas Belton twice, and
Blaine Alden Krauss twice when Nick left for personal days three shows before
He comes back on in that costume, with his
instrument. And it’s really quite funny.
Immediately they meld into Pierre just after
Prologue, and it’s great.
During this, they’ve all got their shot glasses
When the line “il est charmant, il ne pas de
sexe. He is charming he has no sex” the women all twirl around him. And Hélène
is front and center spotlighted on the middle “balcony” and she’s just got so
Also Marya’s expressions are amazing and I will
continue to mention them. Even when she’s just sitting in the background, she’s
got such a presence.
When the line “how many men before good Russian
men…” comes up, and Pierre speculates about who leaves tootless and bald,
Anatole gets a spotlight and he just scoffs and saunters around stage as if to
say “yeah right, not me bitch”
During that last note, where everyone is going
‘ahhhhh’ it’s so much more intense than the cast recording and they hold it
forever honestly. Everyone is gathered on the two “banister” levels of the main
stage, and they’re all just intently staring at Pierre, and some are
practically hanging over the railings. Hélène is especially like “ugh, this
After a pause for applause, we go into Moscow.
The ensemble mostly exits, or at least gets somewhere on the outskirts of the
Marya hands off her shotglass to someone. And as
the music starts, she is wandering around inspecting things with a critical
When Natasha sings her name, she looks just so
excited and thrilled. But reins it in to sing her name back.
When Sonya does her thing, she like starts the
“sofia” part like she’s almost forgotten her name. And it’s clear Marya does
not like Sonya. There’s a whole backstory on why from the books so go read
When she does the “Welcome, welcome to Moscow”
she just goes for it, and both Natasha and Sonya visibly jump. The whole
audience does honestly.
She points to various audience members during
“faded and fading princesses” “gossips and crybabies”. And it’s great.
When she does her whole “bring in their things”
the ensemble rushes around to grab the extra props and stuff, and they’re so
terrified of and respect Marya.
She goes off down the middle orchestra stage,
and Natasha and Sonya do their impression of Marya’s growling voice. It’s so
When Natasha says “but I can’t bear this
waiting” Sonya looks so sad and exasperated. She follows Marya’s path and they
meet up in the rear of the theater. They reaapproach Natasha and Marya is
leading Sonya by her shoulders, and she’s like over half a head taller than
Sonya (Grace McLean is sorta tall, but she’s in heels to further emphasize her
stature. And I want those shoes they’re fabulous).
Oh both Sonya and Natasha are mostly in flats so
we see them as delicate and innocent I suppose. It helps with the height
When Marya and Sonya get to the top of the
stairs that leads to the main stage, Marya sort of pushes Sonya away, and she
braces herself against the banister while Marya goes to dote on Natasha.
They drink tea (laced with rum).
Oh and something you don’t notice are the
Bolkonsky’s. During all of this, Bolkonsky is fiddling with a knife, and
visibly trembling (probably some sort of dementia) and Mary is nervously
watching, and trying to help but he keeps shaking her off so she reads her
She also crosses over when Marya mentions her in
The Private and Intimate Life of a
We start with Bolkonsky’s part of the song. He
takes a really long pause before “people enjoy me” to stare to his left at the
audience and waves creepily/awkwardly. It always gets a laugh.
When he sings powdered wig, he pats his and a
puff of powder erupts from it.
During “such a majestic and agreeable spectacle”
Mary stands from the stair she is on leading up to the mezzanine.
Then she launches into her haunting part about
there being 22 more hours in the day.
When he starts ordering her around, she looks
just so frightened, and does this trembling bow, and Gelsey Bell is an actual
When she does her whole “and I have no friends
no never go anywhere” she runs across and around the stage wringing and waving
her hands tragically. Mary needs a hug. Someone please hug this poor woman.
The whole “I can hurt you” is said by Mary with
such fierceness that she quickly turns to reassurance to the audience that she
never ever ever would. And she loves her father so much, but he’s such an
abusive asshole. Like fucks sake I’m angry about this.
So the difference between Nicholas and Blaine
seems so much more intense when he sings certain parts like “worthless and
dumb”. He really does the shouty, angry old man act well.
So Mary makes an audience member stand and she
pretends he’s her suitor. Then Bolkonsky turns to another audience member and
kisses and nuzzles her and it’s hilarious for everyone involved.
Then the servent (Paul Pinto) who walked hunched
almost completely over, brings that table shot glasses.
The whole “where are my glasses” bit is so so
much more frightening live. The first time I heard it (and didn’t know the show
at all) I was actually terrified for Mary. And she looks just so horrified, and
upset by the entire thing.
Also during this, the music is haunting, and
Marya D. stands from where she’s been sitting and observing (with such a
haughty and regal expression) to ominously play the cowbell. It’s such an
interesting addition that I didn’t notice the first time.
Natasha & Bolkonsky’s:
So the servant announces Natasha’s presence, and
Mary is just so awkward the entire time.
They do the chair thing in complete silence.
Mary goes over to get her chair (that Hélène has been lounging on this entire
time and Hélène moves to drape herself on the staircase. That’s another thing.
Hélène even when off focus, just languidly and sensually drapes herself onto
They do their chair thing in the middle of the
main table section of the audience. And it’s so tense.
They both stand when singing their “I don’t like
her” verse. Then two ensemble members bring them tea (one is Lulu Fall, and I
think the other may have been Shoba Narayan. Pretty sure in fact.
Then they move to another spot and fake laugh at
Then Bolkonsky comes out in his underthings and
scares the shit out of Natasha.
Then Natasha tearfully tries to leave and Mary
realizes that they fucked up and tries to put it right, but Natasha intensely
yells at Mary who jumps back and holds out her hands in defense, so you know
this girl has been seriously verbally abused at the very least.
No One Else:
The lighting changes to this beautiful blue
(made even more beautiful by the fact that Dave Malloy is supposedly color
blind and can see blue well, but not red so you just sob thinking about that)
And Natasha looks so much like a princess in
this moment. Everything is wonderful and heartbreaking.
Andrey comes onstage and has a bundle of her
letters. It snows over him, and Natasha reaches for him but they don’t touch,
and he leaves again. She just looks so longing.
When I first saw it the last lines about him
maybe being in the drawing room and her just forgetting he was there was so
emotional and heartbreaking, I just teared up.
Cue dramatic music change. Marya does her whole
“the opera the opera” part and she seems so excited to be sharing this with
Natasha and even Sonya. Also the growl though!
The Servent (Paul Pinto again) is in this emcee
costume type thing and it’s so sparkly and extra with a top hat and everything.
When everyone else comes out you are just so
amazed by the costumes. Like wow. In an interview, the designer Paloma Young
talked about how they’re meant to look opulent and splendid from a distance,
but up close you see they’re cheaply made to represent the false splendor of 19th
century Russia and I am so angry they didn’t win best costume design.
So all of the women have their own unique
costume and color scheme. Even the swings get their own unique outfit. It’s
fantastic and fits each person so well. So like Lulu Fall is in red, obviously.
And Shoba has this orange and looks so beautiful. And Cathryn Wake has a bright
blue number, and don’t even get me started on Celia Mei Rubin’s costume. I love
her so much and am so happy I got to see her swing on twice.
Even the two opera dancers have like fancy
clothing which they quickly exit to change into their actual opera outfits.
Both Natasha and Sonya are so enchanted. And
Marya gives Natasha that flower for her hair. And she adjusts Sonya’s headfeather
She’s also so judgmental about Anna
Then Hélène sees Natasha and is instantly drawn
in. (Side note: every woman in this show is so gay for Natasha except for Marya
D. who is too busy being gay for Hélène sorry I don’t make the rules it’s a
When the servant does his announcement of the
people, Dolokhov saunters around stage, and kisses a woman’s hand and then
makes her kiss his. It’s great.
And Hélène just flounces around twirling and
displaying her body and outfit. She’s got two main dresses, and this one is
like her main one sorta. So it’s black, with green underskirts, and fringes and
it’s so pretty I want one now.
Side note: Marya actually is wearing something
not entirely red. Like it’s got red accents, but is mostly dark with gold
patterns that sorta look tinged greenish. Nod to her romantic entanglements to
Hélène? Coincidence? I think not!
And Natasha is so taken with Hélène, it’s so
When Hélène starts talking to Natasha, Marya and
Sonya are over to the side, and when Marya sees what’s going on, she quickly
(nearly runs) over to intervene. She places herself between Natasha and Hélène,
and looks so huffy when Natasha keeps interrupting. And her whole “woman you
should stay far away from” is said without taking her eyes off of Hélène. Like,
girl, you make out with her next act. I see your thirst don’t deny it.
Then the actual opera starts and holy shit is it
weird to see live. The two dancers prance about. And both Gelsey Bell and Paul
Pinto are the opera singers. Their voices (Gelsey’s especially) are just so
haunting, and the noises Gelsey makes are fucking weird, but wow are you just
so impressed by it.
Also, during on point the opera dancer (Mary
Page Nance though the first time I saw it Celia Mei Rubin was swinging for Ani
Taj) jerks her arms towards herself and pants comedically. It’s really quite
Holy shit I’ve got a lot to say just noticed.
And we’re not done yet.
Okay, so the opera pauses and we interlude onto
Sonya and Natasha who look so bored and confused. And Natasha gets up and
waltzes about the stage while Sonya narrates.
So Anatole makes his entrance and the big doors
open and this blinding light surrounds him. The entire cast turns to marvel at
this wonder, and audience included they all shield their eyes. Yes it’s that
bright. Anatole does this weird head thing to the beat of the music like he’s
reveling in the attention.
He walks down the stairs and starts kissing and
nuzzling an audience member then pats the closest male member to her as if to
say “good on you mate”
He goes right to Hélène and taps his cheek for
her to kiss him but moves his head to she kisses him on the lips instead.
That’s her delighted laugh you can hear on the soundtrack. In the book the
relationship is heavily implied to be incestuous. Suck on that George RR
Martin. Tolstoy’s already done siblings being weirdly attracted to each other.
The opera resumes and most of the ensemble has
joined in on the show. There’s people on the stairs to the mezzanine wearing
these creepy hooded costumes with long fingers. And others dresses as soldiers.
And the Andrey actor comes out bloodied while the two dancers tear off his coat
and pull long flowy sheets from him to resemble blood. He holds out a crumpled
red ribbon towards Natasha who shrinks away terrified.
During this stuff Dolokhov, Hélène, and Anatole
are on the middle level banister part and applaud in slow motion. Marya is
seated on the top level and does so as well. She just really loves the opera.
Natasha & Anatole:
Okay so during this, it’s the two of them in the
So I’ve been thinking about this for a long
time. But, when Natasha sings the part about there being “nothing
formidable…not a barrier of modesty I’ve always felt with men” for some reason
this makes her attraction to him so much more believable. Because see, she’s a
young woman in 19th century Russia where men and women don’t
converse this casually. So for her, this is probably the first time a man
outside her family has spoken to her like a real person instead of just some
woman they must be cordial to. And I hate their relationship so much, but it’s
so understandable that this impressionable young woman be taken with someone
who actually treats her like someone worth talking to. Like, Andrey has this
distant smile and is probably really formal with her, but here this dude is
being all approachable and shit.
Like jesus Christ stop hating on Natasha. You
fan girls will jump through hoops to defend Anatole; og fuckboi of the century
just because he’s pretty, even though he’s literally at fault so much more in
this situation. Like c’mon he’s a grown ass man. Fucks sake…
So a few more things. He grabs her flower at one
Also, the last line about there being nothing
between them has a double meaning. So yes, there’s nothing between them in
terms of like space, or something in the way of their mutual attraction, but
like also they just met. This relationship is not build on anything substantial
so there is like literally nothing really between them.
Okay so visually I love this song so much. It’s
such a fantastic thing, but I kept listening to the soundtrack and that’s what
really got me.
Before it starts Anatole is just upstage and
mimes a head explosion motion. It’s great. Like, I hate this character, but
Lucas Steele is just such a good actor for the part.
Okay so Anatole comes back to the Bezukhov
household all like ‘c’mon we going to drink tonight’ and Dolokhov comes in with
a tray and spins it while pouring what I’ll assume is vodka, but who knows.
The music gets intense and the seizure lights
start. A rave scene in 19th century Russia. Sign me the fuck up. The
first time I had to shut my eyes, but the next three times I actually kept them
open to watch everything, and it honestly wasn’t bad at all.
Side note: I love the whole drink with me my
love part. It is just a great line.
So just a few things I’ve seen. One of the
ensemble members (I think it’s Josh Canfield) is wearing a leather crotch
harness, and green speedo. (Side note: I’m probably going to mess up on who
each male ensemble member is because I’m way better versed in the women. I
think it’s a side effect of being a huge lesbian…) Mary is wearing these huge
aviator/mad scientist goggles (and yes I’m choosing to believe Mary has finally
gotten out of the house let me have this). During the chaos so much is
happening. So Marya D. is dressed up in this latex catsuit, and a riding crop
complete with like a mesh covered boob window thing because Marya is always in
something highnecked even as a secret deviant in a druggy club. (So different
cast sources claim Grace McLean is actually playing someone called Catya, but
costume designer says that “secret deviant… Marya is part of the aesthetic so I
choose to believe it really is Marya but she’s disguised with these huge
sunglasses. Also she spanks multiple people with that riding crop so like… wow
if I didn’t know I was gay before…
To continue, during this Balaga is going down on
Sonya (though technically it’s the actor Paul Pinto who plays a lot of roles,
so it could be anyone at this point), someone does a line of “cocaine” (it’s
sugar), Josh Canfield just slides across one part of the stage and almost into
the table section. And everything is so sexual, and it’s the best. Like Grace
McLean goes from humping Josh Canfield, to drinking with Dolokhov. During the
climax (ha!) of the scene there’s that whole bit about “the health of married
women and their lovers” and I just love this line so much. Hélène is so mocking
of Pierre. Some ensemble members mime throwing up into the audience from
drinking too much, and Mary is just hugging a banister pole and slumped on the
ground. Girl doesn’t get out much.
Just before the big duel, Marya pulls Anatole
aside to give him an impromptu blowjob. Like they exchange the riding crop and
hit each other with it, and she gets down on her knees while he unzips his
pants but then everything stops and Pierre is like “bitch, don’t touch my wife”
to Dolokhov, and everyone immediately turns their attention to that (Grace,
Brittain Ashford (Sonya), and a few others slip out to presumably change
costume. The ensemble take seats to see the fun, and I was sat right next to
Blaine and Heath Saunders while they talked about the duel (everyone is always
talking when off-mic too) and he nudged me when the announcer was like “as the
adversary’s…” and Blaine said to me “no they have not” and I was just like “not
at all” back to him. Wow.
There’s that whole duel thing, and beforehand,
Hélène is like “he will kill you” to Pierre and her voice just breaks. This
part of the play is when you can really see just how much more complex their
relationship is. Because Hélène’s actions show that on some level she really
does care for Pierre’s wellbeing because when Dolokhov is shot she just gasps
and you can’t even really hear it, but when Dolokhov shoots, she just gives out
this bloodcurdling scream of horror and distress. And for the rest of the scene
she’s just in shock, and exits by slowly walking up the stairs. I saw her expression
up close, and she was just in shock, and devastated, and it was a turmoil of
TL;DR Hélène is not the monster people love to
make her out to be. And I love her and will defend her with my life. Fight me.
While Anatole leaves he mimes finger guns at
Pierre, who is so not in the mood.
Dust and Ashes:
Transition to the big song. Okay, so I love this
song so much. For one it’s a beautiful song full of emotion and some great
lines (I love “bury me in burgundy”) but also because I have a lower voice
(with terrible range I might add) so I can sorta sing along to this one without
So, for a bit it’s just Pierre silently in his
office area. Then he starts hesitantly playing the chords on the piano. And
while I’d agree that Josh Groben’s voice is more pleasing to hear, Dave Malloy
sings it with such emotion, and I’d agree his voice is suited to play Pierre’s
character better. But both men are fantastic and I loved them both.
At one point he holds out a book and shakes it
at the audience in desperation. It’s so
beautiful and during the climax, the entire company is both standing side by
side in the mezzanine, and down the two aisles in the orchestra. They sing the
“ahhhs” and it’s the most beautiful and haunting thing. Like, if I could just
have a picture even of that moment, I’d die happy. You’re so focused on Pierre
that you might miss this, but it’s the most beautiful thing ever.
The song ends with this blue light on Pierre
(think back to the color blind thing and you’ll feel things).
Sonya and Natasha enter. It’s the next morning
just after the duel so everything that just happened from Private and Intimate…
to now was in like a twenty-four hour period. Maybe even Moscow, but I’m
choosing to believe there was some
time before Natasha went to visit the Bolkonsky’s.
They do the candle in the mirror thing, and holy
shit. So when Natasha is looking in the mirror, and she sees the man, Pierre
returns to his office area, and crosses right behind Natasha so she can see him
in the mirror and that is such a brilliant stage direction and I am so shook.
Her future is Pierre! It’s right there!
The scene changes so rapidly from Natasha’s
distress at seeing someone lying down in the mirror to Marya’s “SUNDAY MORNING
TIME FOR CHURCH” and thank you growl voice.
Then after the brief church bit, Marya goes off
to scold Bolkonsky for his behavior and I wish I could have seen Marya tear him
a new one because it’s so funny in the books. Grace exits the big doors with
such a flourish. She just like turns sidways, holds out her skirts and like
floats out the door.
So for this scene Natasha is mostly in her
corset and underthings and Hélène just waltzes in. This song is so gay, and
Dave Malloy has said it was meant to be, so fuck yeah gay.
Hélène has on her second dress. This one’s main
color is green, with black underskirts. And the coat she has on is so extra. I
Hélène is so sensual and flounces around,
twirling her skirts during this entire song. Amber Gray fuck me up. Her voice
is so jazzy, and she’s got the growl down too. Jesus Christ I’m so gay. She
just takes over the whole theater, and there is no one else.
During this, Lulu and Shoba are maids in the
household and have a beautiful dress for Natasha to try on. They hold it open
and she just ducks into it. I need to be able to dress this easily.
So, a few things about my favorite parts. “Now a
woman with a dress is a frightening and powerful thing” is probably one of my
favorite lines. Like fuck yeah woman power. Also, the fact that she
effortlessly pronounces “Alliez dans le monde. Plutôt que de dépérir d’ennui!”
which according to my French education means something like go into the word
rather than perish of boredom, but she completely botches the entire title of
the song. Charmante is not pronounced Charmanté.
Even if it does sound so much better.
Natasha has on her dress, and Hélène just casually rips the necklace Andrey
gave her off, and tosses it aside (Pierre catches it, symbolism anyone?) and
replaces it with her own necklace. Then they go off to the ball together.
the coat is passed to Natasha at one point and she just loves that coat as much
as I do.
tell you about the ball. This musical is so disregarding of gender norms like I
love it. Like an ensemble member Katrina Yaukey has full armpit hair dyed hot
pink it’s awesome. But, right ball. So everyone is in costume. The women all
have different tops to their dresses, but the skirts are mostly the same. The
inner skirt on most (dunno if its all) comes to mid thigh, and the outerskirts
open up and are long and swishy. They’ve all got little lace coverings over
their eyes, and mostly different headdresses. So, from what I saw there are a
few cat ears, some antlers (Pearl Rhein has such cool antlers). A few are
unique and I think the main characters have those. So Mary has this cute weird
thing that I’m not sure what it is, but I like it. And Marya has this golden
crownlike thing that also looks like it could be wings or something dunno. But
it’s unique, and her dress is backless and wow. (Gay much?)
there are no gender norms here. Here there are men dancing with men (They’ve
all got mostly the same outfit. A green fancy war uniformlike jacket and bear
mask (I think but I’m not sure might have just been the lighting, that Andrey’s
is silver while everyone else has gold.) and women dancing with women. And
different gender couples too, but sometimes the women are leading, and it’s so
fucking amazing and normalized. The first time I saw that I may have teared up
just thinking about how casually it’s shown. And in a play about 19th
century Russia no less.
so it has to be said, but Mary is wearing something so beautiful, and she looks
like she’s having the time of her life dancing with Katrina. And I choose to
believe it’s actually Mary (not some other role) who is finally getting the
adoration and attention she deserves. Katrina spins her around, and dotes on
her, and it’s just beautiful. Like she literally lifts her up at one point and
spins her. During this scene, not all the women and men lift their partners but
Katrina does, and Mary looks so damn happy.
Marya is dancing with either a female ensemble member who is Courtney Bassett I think. The veil
hides her face, and they were farther away. But wow. Is Marya a good leader.
She just sensually circles her partner, and like trails her lips over her
shoulders and chest, and wow.
it is a costume tournament and Hélène’s got on these dark angel wings like
someone put her in the victoria’s secret show right now.
back to the actual plot. So, Natasha and Anatole are dancing and whatever. It’s
all very sweet and whatnot, but back to the ensemble.
at the climax of the song, the dance couples life each other’s veils and masks
and all grab wine glasses with different water levels to change frequency. They
dip their fingers in the water, and literally trace the rim of the glass to use
them as instruments like what the fuck why did this not win best score and
orchestra?!??!?!?! It’s the haunting and soothing sound (yeah I know I’ve used
these adjectives a lot, but it’s true). This goes on, and they all stop at the
same time except for Hélène who keeps going with a spotlight on her for a bit
longer before cutting off with a flourish.
and another thing, Sonya is not at the ball. Everyone else is in costume, but
Sonya is still wearing her white dress, but she comes out to do the wine glass
Natasha and Anatole
pledge their love for each other, and scene.
This semester has already been one of the craziest semesters in my 6 year long college career… BUT I am extremely excited to be getting the chance to make a full length animation!! The animation is going to be called Mine and here are the two main characters, Coal and Jewel… I am in love with these two. IT FEELS SO GOOD TO WORK ON CHARACTER DESIGNS!! <3
Get ready to see plenty more of these two OC’s in the next couple of months! (And I’m nearly finished with the base coloring for the next Reminiscence page. Thanks for being so patient.)