Never forget that when Patti LuPone was fired from Sunset Boulevard, she sued Andrew Lloyd Webber for a million dollars, which she used to get a pool, which she calls “The Andrew Lloyd Webber Memorial Pool”
We should all aspire to this level of shade.
Things from musicals that are so perfect they are borderline erotic
When Jonathan Groff first comes in in The Bitch of Living. The third and fourth “burn"s in Burn and Phillipa Soo’s voice all the time. Shoutout to the final “mine” too; that’s gorgeous. Pia Douwes’s voice, and how it is somehow simultaneously smooth and pure and beautifully rough. The harmonies at the end of Make Up Your Mind/Catch Me I’m Falling. The “or"s at the end of lines in Pretty Women. “Would you think so badly of me” in Sonya and Natasha. The dissidence of "trees” in Darkness and Trees. How Phillipa Soo’s voice blends perfectly with the violins in Natasha Lost. “I wish I could fly” from Superboy and the Invisible Girl. That thing in The Bitch of Living when they are all jumping around chaotically and then suddenly are frozen singing “do they think we want this?” (Start at 2:40 for the full effect.) That thing Karen David does in like every song in Galavant where her voice changes pitch slightly and damn. The way “sadness” is sung in Don’t Do Sadness. Also the strings. The piano in Hurricane. The thing they do in Stop the World with the turntable and the chairs and everyone singing in a really lovely harmony with just the perfect amount of dissidence and sweet damn I love everything about it. The harmonies in Boote in Der Nacht. JD’s part in Our Love is God. Absolutely everything about how Philippa Soo sings Times Are Hard for Dreamers. (Her voice is 15% of this list and that’s me holding back help it’s so beautiful.) Magaldi’s verse in On This Night of a Thousand Stars. Renée Elise Goldsberry rapping. And singing. Both “nothing, it was nothing, I didn’t lead him on at all” and “back in the theatre full of light” in Natasha Lost. Jenn Colella singing her phone call in Phoning Home. Jenn Colella everywhere else let’s be real. When Eva starts singing in High Flying Adored. The instrumental part at the beginning of Wen Ich Tanzen Will. And the way they say “tanzen” it is amazing. How syrupy and rich Jasmine Cephas Jones’ voice is in Say No to This. That part of Seventeen when JD and Veronica are singing “seventeen” together and he’s singing higher than her. The end of My Eyes. Vocally, and the choreography. “Sing a song of forge-e-e-ting” from the song of that name. Everything about Sophie McShera’s voice, especially when she’s singing her parts of A Happy Ending for Us. The slight roughness in John Gallagher Jr.’s voice. How drowsy and sexy Idina Menzel’s voice is in As Long As You’re Mine. Also when she sings “it well may be” in For Good. (It’s nice for different reasons of course.) Chris Jackson’s voice in One Last Time. And in every other song.
in the eye of the hurricane- the last song in a musical before everything goes to shit
hurricane - hamilton // telephone wire - fun home // some things are meant to be - little women: the musical // promise - bare: a pop opera // i don’t care much - cabaret // that face - dogfight // prom climax - carrie // something isn’t right here - bring it on // yo girl - heathers: the musical // waltz for eva and che - evita // not while i’m around - sweeney todd // any moment / moments in the wood - into the woods // talk show - jon & jen // contact - rent // don’t do sadness / blue wind - spring awakening // on the willows - godspell // the long grift - hedwig and the angry inch // bare - bare: a pop opera //
Mezzo-sopranos, being in the most common vocal register for women, come in a wide variety of types. They can be a wide range of ages, although female characters over fifty tend to be altos more often than mezzos. The majority of mezzo singing, especially nowadays, is belting and as such mezzos are especially common in pop- or rock-oriented musicals. Just as the leads in most operas are sopranos, the secondary female characters - commonly referred to as “witches, bitches and britches (cross-dressing roles)” - are generally mezzos; this is not uncommon in modern musicals, where frequently the soprano will be the main love interest and the mezzo her best friend or rival. Also referred to in many productions as a “belt” voice, for someone who can strongly sing passages in the middle and high register in her chest voice (rather than the soprano’s lighter head voice).