tbh i think one of the reasons falsettos is so heartbreaking is because you can’t ignore the reality of it. most of the time, when you see a sad musical/movie/whatever, you can just say “it’s okay, it’s not real” and move on. but you can’t do that with falsettos because the aids crisis is a real thing that happened to real people. and real people went through all the things you just saw. and that’s also what makes it so moving and so important.
So this theory may have already been talked about but being in my Falsettos obsessed state, I’m clinging to this one.
In What Would I Do? it originally seemed to me like Marvin was having this encounter with Whizzer internally only. Battling with his feelings by himself. But what if this was Marvin and Whizzer’s last conversation as Whizzer is dying? As Whizzer lays on his death bed, they tell each other how much they love each other and how this relationship has changed their lives.
Whizzer isn’t in scrubs or laying in a hospital bed because they’re having their last exchange as a duo, the original Marvin and Whizzer we recognize. Not plagued by illness or denial. Just Marvin and Whizzer.
Instead of Marvin and Whizzer wrestling with these thoughts themselves as Whizzer dies, they are actually together. Saying their goodbyes and expressing their love.
Maybe this is denial for the thought that Whizzer died tragically, but thinking that he died with Marvin holding his hand with all their thoughts and emotions laid out to each other, eases the pain.
I believe in giving people bootlegs they really want, even if they have nothing to trade, because the whole point of bootlegs is making sure that people who were not able to see their favourite musical for whatever reason get to experience the parts of the show they don’t get from the soundtrack. Bootlegs expand the musical theatre audience to those who live far from New York, or don’t have the money to pay for tickets; people who just want to see their favourite actors or their favourite shows however they can. It is cruel to keep that from someone who so passionately loves musical theatre.
Broadway is all about inclusivity so include those people who are not privileged enough to go to Broadway!
Can I travel to New York every time I think a show looks interesting, spending hundreds in travel and ticket fare? No. Can I go to the movies for a few hours? Yes. Please keep up this trend. Broadway deserves to be accessible.
the build up to and the final “seeaasonsoFLOOOOOOVE” in “I’ll Cover You (Reprise)” while jesse l martin fucking belTS
the “nATALIE nATALIE nATALIE-"s the company sings along w anatole in "Letters”
natasha richardson’s voice in general BUT ESPECIALLY the instrumental leading up to the second “everybody… they love a WINNER” in “Maybe This Time”
when gavin creel sings the final “TELL ME WHYY” and the tribe goes “FREEDOM” in “Where Do I Go?”
when (any) mimi pitches her voice up while singing “goodbye love- hello, disease” during “Goodbye Love” because?????
the entirety of when andrew rannells and christian borle r singing together in “What Would I Do” but really when they do the “one hour moore-/ one hour more-” and then come together for "one hour-one hour- moOOORE“
when (any) trina sings "they sometimes love but not enough-” and then hits that note on “my hEArt will beat at will, but stiiilll…” in “Trina’s Song”
“maybe he’ll come back today, maybe he came already, and he’s sitting in the drawing room… and I simply forgot.”
when the entire company softly choruses “tiiiiiiiiiime / will they tell your story?” in “Who Lives, Who Dies, Who Tells Your Story”
claudia’s “paciencia yfEEEEEEEEE” while the americans sing “you better clean this mess / you better learn ingLES" in "Paciencia y Fe” (and really the entire fucking song end my life olga merediz)
when (any) wendla reprises “i beliiive” while (any) moritz is singing “another dream / another love you’ll hold” during “Those You’ve Known”
i know there’s more im not thinking of right now ADD MORE