female ensemble


The Americans (2013 – ∞ )

If you want to actually experience life, then you’ve got to stop being so reasonable all the time, you’ve got to stop hoping things are just gonna get better, and you’ve got to accept what you’ve got.

So, I hear you liked TURN.

Apres the Season 4 finale, I know there’s going to be a lot of crying, and hand-wringing, and rewatching, and these are all good and proper things to do in the wake of a TV show you’ve enjoyed.

But after the smoke clears from all of that, you’re maybe going to go looking for your next 18th century fix, just something in between rewatches or while you’re trying to flesh out your next story idea. (Hey, now that we have our canon, go hog-wild on story ideas, guys, seriously.) 

So I’ve saved you some trouble and made you all a helpful list.

Obviously there are a lot of movies and TV shows out there - this is just a selection that I wish more people knew about.

Note: Everyone enjoys a show or movie for different reasons. These shows are on this list because of the time period they depict, not because of the quality of their writing, the accuracy of their history or the political nature of their content. Where I’m able to, I’ve mentioned if a book is available if you’d like to read more.

Before we get to the rest of the list, there are three excellent shows that are either currently on television or about to be very soon:

Poldark (BBC/PBS) is based on a series of books by an author named Winston Graham. It was made into a PBS series in the 70s starring Robin Ellis as the handsome Captain Poldark, who returns from the American Revolution to find his family farm in tatters and his long-time love interest married to his cousin. Drama ensues. The 70s series is worth your time, and the recent remake with Aidan Turner in the title role is also definitely worth a go. (If you like leading men who make terrible life decisions and the women who put up with them, this is totally your show.)

Harlots (Hulu) - If you really loved the TURN ladies, thought Lola and Philomena deserved more than they got, or are just interested to learn more about what life might have been like for the lower classes in London in the 1750s, have we got a deal for you. Harlots follows the lives of 18th century sex workers in this new drama, which was just recently renewed for a totally deserved second season. Female-lead ensemble drama. A little violent at points and deals with some pretty heavy-duty topics like rape, murder, and bastardy, but in a humane and understanding way. Totally bingeable.

Outlander (Starz) - Based on the wildly popular series of books by Diana Gabaldon, this time traveling drama jumps between a couple of different centuries and follows the story of Jamie and Claire, two very strong personalities trying to literally find their place in history. (Hewlett talks about the blade his grandfather picked up at Culloden; that battle forms a critical part of this show’s storyline.) It’s a real pretty show with very high production values.

And, without further ado, the rest of the list!

John Adams:  If you haven’t watched this already, do yourself a favor and go pick it up from the library. Starring Paul Giametti in the title role, this HBO miniseries follows John Adams’ role in the formation of America, through his early days in Congress up through his own presidency. As with any biographical show, characters that we know and love from other media (Rufus Sewell’s Hamilton comes to mind, but see what you think of David Morse’s Washington, too) are presented in a slightly different light and provide some food for thought about how history can be selective in how it remembers us. The costuming is great, the sets are fantastic, and the acting is first-rate.

The Patriot: An oldie but a goodie. Mel Gibson plays a highly fictionalized version of Francis Marion, the Swamp Fox while Jason Isaacs turns in a really stellar hottie we love to hate in Colonel Tavington. A little heavy-handed at times, this is a good movie to laugh over with friends.

Sons of Liberty: I’ll be really honest - for a show from the History Channel, the history on this show is pretty awful. But the cast is pretty. This one’s up to you, really. It fills a hole.

Garrow’s Law: William Garrow was a barrister and a pioneering legal mind in the 18th century, and this show (which ran for 3 seasons) is based on real Old Bailey cases and Garrow’s defenses, while also working in his fraught social life. Were you interested in learning a little more about Abe Woodhull’s erstwhile legal training? This is the show for you.

City of Vice: A miniseries that explains the origins and work of the Bow Street Runners, one of London’s first police forces.  Does a great job of opening up some of the early 18th century underside of London including a smidge of 18th century gay culture.

A Harlot’s Progress: William Hogarth was an 18th century artist, printmaker and social commentator whose “A Harlot’s Progress” famously depicts the downfall of a woman who goes into prostitution. This 2006 series explores the relationship that inspired the ‘Harlot’ piece.

The Incredible Journey of Mary Bryant: At around the same time America was busy trying to figure itself out, halfway around the world another one of Britain’s colonial possessions - Australia - was just getting started. Hundreds of convicts found themselves stuffed in ships and sent to the other side of the world - a sentence deemed almost more humane. This 2005 series with Romala Garai follows a very famous convict, Mary Bryant, and her experiences.

Banished: Another take on penal colonies in Australia. Currently available on Hulu.

Black Sails: A more recent offering from Starz, this show explores the backstory of the pirates in Robert Louis Stevenson’s Treasure Island. Lots of great representation issues, a whole lot of ‘how does your story get told’ - and there’s a real big community on Tumblr who loves it and very actively produces all kinds of fic.

Clarissa - Simcoe fans, this one is totally for you. Based on the epistolary novel by Samuel Richardson, Clarissa follows a girl of the same name as the infamous rake Lovelace tries to seduce her. Another look at what how women can be corrupted. Also, for you fandom nerds in the crowd, Lovelace was one of the first characters to inspire fix-it fic. Yes, really! Fix-it fic in the late 1700s. Lovelace is one of the original men for whom the ‘No, really, I can reform him’ trope was created. (Richardson, his creator, was so horrified by this reaction by his fans that he actually revised the book several times to try and make Lovelace even more villainous and irredeemable, with little success. Then as now, women apparently love the idea of a bad boy.)

Amazing Grace - The history of slavery in England and its colonies is complicated and nuanced; this story deals with one of the more famous names from that story, William Wilberforce, and his contribution.

Belle - Based on the true story of Dido Elizabeth Belle, the mixed race daughter of a Royal Navy Admiral. Another look at racial politics in England.

The Aristocrats - One of my all-time favorite TV miniseries and based on the nonfiction book by Stella Tilyard, this show follows the (actual, nonfictional) Lennox sisters, daughters of the Duke of Richmond as they grow up, marry, and adjust to rapid social change from the early 1700s into the 1790s.

The Duchess  - About the same time the Lennox sisters were out in society, so was Georgiana, the Duchess of Devonshire. This is based on (I’m not sure how closely) Amanda Foreman’s biography of Georgiana, one of the leading ladies of her day.

Dangerous Liasons - Another story about corruptible young women, this one has 3 very well deserved Oscars to its name and an absolutely stunning Glenn Close.

Barry Lyndon - a very evocative, sumptuous film by Stanley Kubrick. Short on action, but very, very Aesthetic, as only Kubrick can do.

The Scarlet Pimpernel - Based on the book by Baroness Orczy, The Scarlet Pimpernel is largely considered to be one of the world’s first ‘superhero with a secret identity’ stories. Sir Percy Blakeney uses his identity as a dim-witted fop to provide cover for his activities rescuing French aristocrats from the guillotine during the French Revolution. The 1982 version with Anthony Andrews and the 1999 version with Richard Grant are both a lot of fun.

Speaking of the French, where would we be without them? Our small domestic dust-up with Britain has far-reaching international consequences, setting in motion so many other social movements in Europe. The French, for instance, will have their own revolution several years after ours, which, of course, will lead to a total political shakeup ending with an artillery officer named Napoleon Bonaparte on the throne as Emperor. (You may have heard of him. He goes on to have his own series of large wars and, you know, completely changes the geo-political landscape of Europe. Like you do.)

La Revolution Francaise, filmed for the 200th anniversary of the Revolution, is available on YouTube in it’s entirety with English subtitles! Starts in 1774 and goes through the 1800s. C’est merveilleux.

Marie Antoinette - Sofia Coppola’s wild, modern romp through the life of one of the 18th century’s most notorious women. It may not be great history, but darn me if it isn’t fun to watch.

Farewell, My Queen - Another story about Marie Antoinette - this one is in French.

Nicolas Le Floch: An 18th century crime procedural set at the court of Louis XVI. The whole show is in French, so watch with subtitles, but the costumes are a lot of fun and it gives an interesting picture of the life a character like Lafayette would have left behind when he came to America. (He gets name dropped a few times, actually, though he never actually appears.)

Ekaterina: A 2014 miniseries from Russia discussing the rise of Catherine the Great, the Empress of Russia from 1762 to 1796, contemporaneous to the Revolution. The 18th century is a fascinating time in Russian history and Catherine is a really, really interesting lady. Totally go and read about her.

Anno 1790: A Swedish crime procedural set in 1790s Sweden and following Johann Däadh, a doctor recently roped into the police force. Däadh is a bit of a reformer, interested in the rights of man and giving everyone a chance to be heard. Costumes are fun, and there’s a really great slow-burn romance between two of the characters, one of whom is (gasp) married. This show only ran for one season, but it was a really, really good season.

If you’re still jonesing for period dramas after the rest of this list, here’s a lot of shows and tv series set during the Napoleonic Wars that are also totally worth your time - the Richard Sharpe miniseries, the Horatio Hornblower miniseries, the BBC’s War and Peace, Master and Commander, and then, of course, anything based on a Jane Austen novel.

Have fun!

Okay as promised, here is the (probably in)Complete List!

Compiled with the help of the amazing Aly @aquamarineoblivion

We saw the show on Wednesday, July 12th. We sat in the right hand box seats, with the 39 dollar rush tickets. Here is our (long!!!!!) review!

-At the beginning an ensemble member with an incredibly intimidating Russian accent said “Anyone with their phones out will be found by the KGB. Repeat offenders will be sent to Siberia!”
-During “Moscow” Marya SHOVES Sonya out of the way to go touch Natasha on the cheek and Sonya looks,,, a little offended
-During “The Private and Intimate Life of the House” both Mary and Bolkonsky pull audience members onstage
-Also I was really surprised but a lot of people found the line “They are there upon his head” really funny? Guys… it’s not that funny…
-Anatole’s Incredibly Dramatic Entrance™ in The Opera which he flung his head from side to side and walked in through the door in a way that, yes, would have been amusing had he not been s o g o o d l o o k i n g
-In “The Opera”, when they say “and took his place in the front row next to Dolokhov,” Anatole and Dolokhov do this elaborate bro-hug-handshake (think The Parent Trap with Lindsay Lohan) 
-Oh god in “Natasha and Anatole” whenever Anatole looks away from Natasha for like a second, Natasha would wrench open her locket and gaze into it like “don’t cheat, don’t cheat, don’t cheat”
-Then in “Charming”, Helene just… straight up rips the locket off Natasha’s neck and replaces it with pearls
-Literally everything about The Duel
-For the first like 2 minutes Anatole was just… lying in Dolokhov’s lap
-The Intense Strobe Lights
-The dancers got glow sticks and bracelets like it was a rave
-Halfway through a lady with glow sticks dripping off of her lay down on our staircase and asked us if we were enjoying the strobe lights as much as she was, then proclaimed, “I love glow sticks… Okay I’m sleepy I’m just going to lie here now”
-I didn’t see this but @aquamarineoblivion tells me that there was a guy on Stage Right wearing just chain link pants and humping the ground????
-Okay people talk about the people in BDSM gear but it’s not just like a guy with handcuffs, it’s (I think) Marya(!!!) in full-on leather straps with a whip and 2 (female) ensemble members in jet black bras and lingerie like, acting it all out kind of graphically almost?
-In “The Duel” Pierre walks towards Dolokhov after shooting him and then when Anatole says “Pierre STAND BACK!” he just stands there with his arms out like a target looking so hopeless which would have been heart-wrenching had I not thought of that “reverts into a T pose” thing because that was EXACTLY what he did
-As “The Duel” is transitioning into “Dust and Ashes,” when you can physically feel Pierre’s existential crisis, the two ensemble members in BDSM gear push past Pierre and Anatole (standing on the stage left stairs), almost knocking Anatole down 
-”Dust and Ashes” was… incredible and Oak sings it SO WELL oh my god
-In “Sunday Morning", Anatole positions himself at the side of the stage so that Natasha sees him in her mirror
-”Charming” is even gayer in person
-Oh god “The Ball” was a trip and a half
-EVERYONE except Natasha and Anatole were wearing elegant 19th century fursuits (the guys wore bear and wolf masks, the ladies wore either cat ears and tails or wings)
-After they danced the ecossaise, guys started dancing with guys and girls with girls
-During “Letters” when Dolokhov goes “a letter which I composed!”, Anatole looks at him exasperatedly like “BOI”
-I didn’t notice much of “Preparations” because it’s hard to pay attention to a song when an Incredibly Hot Lady with a violin wearing just a black bra and short skirt is twerking on the staircase near your box
-Although I did notice what might have been The Funniest little detail in the show- Anatole says “lend me fifty rubles,” and then when Pierre takes out his wallet and removes the 50 rubles, Anatole takes his wallet instead like GET FUCKIN PLAYED PIERRE and he (Pierre) is just like standing there like “that bad man just took my wallet”
-Balaga is incredible. Just. Incredible.
-Sonya is dancing in Balaga? Like? Why is you here sister
-Anatole and Dolokhov kiss in Balaga!
-Marya and Helene kiss in The Abduction!
-It’s two totally different dynamics though- Anatole and Dolokhov aren’t really making a big deal about it, it’s almost like “oh hey everyone’s focusing on Balaga, we should have a goodbye kiss”. However, Marya and Helene just like stand there for a minute and a half sucking face and then come apart looking so… shell-shocked and just kinda hold hands and stare into the middle distance for the rest of the song
-If you think Lucas Steele is hot, let me assure you that Lucas Steele with a violin is… also hot
-”The Abduction” was the Best song but I won’t say too much about it because of the Tonies performance
-In “Pierre and Anatole” when Pierre says “besides your pleasure” he motions towards Anatole’s crotch (and not subtly, either)
-Also Anatole looked so scared when Pierre was threatening him with the paperweight that you kinda almost felt bad for him?
-Oh god the saddest moment in the show wasn’t Dust and Ashes, it was in Pierre and Andrey. At the end, Mary runs towards Andrey to hug him, and Andrey pushes her away, and walks away just like his father. ;_;
-Of course after the show in case you were too sad everyone comes back on and dances in a circle to the “whoa-oh” melody (from The Duel + Balaga) 
-Dolokhov was wearing eyeliner (I know nothing about makeup, but according to Aly, it was on point)
-Just… the whole thing was such an INCREDIBLE EXPERIENCE???????????????????????????
-Oh yeah and then at stagedoor, everyone’s sharpies were kind of dying except for Lucas and Oak (of course.)
-Oh yeah and Natasha was played by Shoba Narayan who was SO SO SO GOOD? I was a little sad at first but she filled the Natasha role PERFECTLY???
-All in all: a life-changing experience. I would rate it 1812/10. Made me appreciate the plot, soundtrack, cast, and crew so much more.

Y'all I saw the Great Comet of 1812 this afternoon

Great comet 

• ok so to get to our seats we had to walk up some stairs to backstage where I saw a Chandelier from another show it was real cool
• also we entered onto the stage through the giant doors at the back of the stage…you know the dramatic entrance doors
Act one:
• the full cast was there
• I cried during the prologue
• so much was happening omg
• Oak fucking owning his accordion
• Natasha’s ‘spot’ was to the right of me so she was standing like right in front of me
• Lucas was to the left and was fucking gorgeous
• fucking Helene’s dress is even prettier up close like omg
• Dolokhov has better eyeliner then me
• the cast when sitting on stage is like right there like they are in your face and it’s beautiful
• also the mezzanine is fucking beautiful
• everyone in the room had such being smiles on their face during prologue
• then BAM it’s Pierre
• I also cried during Pierre
• fucking Oak owning the piano
• it was just really overwhelmed
• BAM time for Moscow
• it’s gets really quiet and Denee is standing in her spot again right next to me
• then all of a sudden Marya is yelling
• literally everyone jumps is funny as hell
• every once in a while either Marya, Natasha or Sonya would just come stand in front of our seating thing and smile
• it was so pure
• Also during the private and intimate life of the house the prince (too lazy to spell his name) literally was just whispering ‘not in my house, not my house’ over and over when Natasha entered
• ok nothing to exciting happened until no one else
• guess who cried
• the lights all go blue and Natasha is right in front of us and she just spins and in the very moment I swear to god a true princess was in front of me
• I cried when the fake snow starting falling like it was fucking gorgeous
• so the Opera
• honestly wtf
• so the guy who plays Balaga literally plays like 12 different roles and it’s really funny
• the Opera was still weird as fuck
• I got a piece of confetti from it so that was cool
• Natasha face during when the ights come up was funny as hell
• Anatoles dramatic entrance was great
•Also during the Opera Lucas got in some women’s face and she kissed him twice and Lucas just started laughing it was real cute
• literally Helene and Anatole during the Opera was literally sex wtf
• Lucas is also a really small person like he looks tiny
• then Oak looks like a giant like his hands are huge omg
• ok so the fucking Duel
• I still had no idea wtf was going on because intense strobe lights
• but at one point my mom fucking JABS me in the side so I turn to look at her and what to I see
• *heavy breathing*
• like he came down into the little seating thing we were in and shit
• so I’m freaking out and then I notice
• this boy be holding a whip
• there’s also a female ensemble member in the little seating area too
• this fucker WHIPS this girls ass
• like real Kinky
• Jesus Christ
• then all the lights came on and it was the duel like Jesus
• the actual duel part was pretty great
• ok so the lighting is all dramatic and it’s really pretty
• then Oak starts singing and it was like angels came down from heaven
• like Dust and Ashes does not make me sad like I can listen to that song and be perfectly fine
• but I was just a mess like I was tearing up
• if you look at the mezzanine there’s the entire cast minus oak just standing in a straight line singing and the lights are dimmed over them and they look like literal angels and I was tearing up at the point of the song but then my dad pointed out the mezzanine and I fucking lost it. It was truly magical
• everyone was crying during that song
• I actually cried the foundation around my eyes off my face
• I was a mess
• ok so after that emotional mess we GO TO CHURCH
• literally Sunday morning is so funny to me
• like it’s all dramatic with Natasha and Sonya talking about the future and shit them Marya just runs down the stairs screaming ITS TIME TO GO TO CHURCH
• it’s funny as hell
• literally Marya and Sonya sit on one of the stair cases and pray for the rest of the song
• it’s great
• Charming is amazing
• Natasha is literally so fucking happy during this song like awwww
• Helene has a different dress on and its somehow even prettier then the first one
• like I need Helene to style my wardrobe
• the song is beautiful
• Amber Gray is a true angel like god bless
• to prove my point during the Ball Helene walks out with a pair of black and gold wings on
• literal angel
• the Ball was magical
• like Lucas was so hot omg
• and Denee was so pretty
• they started dancing and I started crying
• I got hit with a dress like 5 times by one of the ensemble girls but that’s okay because the dress was really soft and like I appreciated it                                     • the very end of the Ball like the part we’re Natasha is like ‘I will love you Anatole’ that entire part is my favorite part of the entire show like it’s so beautiful and the notes just hit me hard

• I cried during that part 

~ intermission ~

Act two:
• still not recovered from act one
• letters was intense
• there were people everywhere
• a bunch of guys came and sat with us and handed out letters
• I did not get one
• I am sad
• but still it was great
• also Natasha and Anatole did the just say yes thing right In front of me and Lucas’ facial expressions were amazing
• I love Sonya and Natasha….the song that is
• the hurt on Sonya’s face was insane like Ingrid is such a good Sonya god bless
• Natasha got really fucking pissed when saying I hate you
• Sonya alone made me cry
• it made my dad cry
• it made everyone cry
• hell it even made Sonya herself cry
• so much fucking emotion coming from her it was amazing
• during preparations Anatole was just walking around with shaving cream on his face
• it was pretty great
• fucking Balaga
• we did not get shakers
• that didn’t fucking stop me from bouncing and fucking smacking the table in beat to the song
• everyone was having so much fun omg
• like the audience went fucking insane with the shakers
• good times
• Balaga did this thing were he slid across the stage and was right in front of us
• it was really funny
• holy fuck the abduction
• one of the ensemble members came down into our seating thing again and was like raise a glass…raise something literally anything just put something in the air
• it was fun
• during the part where Anatole is like ‘everyone raise a glass’ he held out the woah part really long and it was impressive
• also during that part Marya got really excited and was bouncing up and down and honestly it was so pure
• she’s so cute
• during the Abduction Marya and Helene make the Fuck out for like 3 minutes like amber gray had lipstick all over her face
• it was literally fucking insane during that song
• the second Lucas grabbed that violin I like yelped
• I was not ready for the green coat and violin
• so attractive
• during the ‘first we have to sit down’ part you could hear Lucas asking the girl in the row to move over a bit for him to sit and it was really cute
• “can you just move over a little bit. Just a little. Thank you so much.”
• pure
• the girl like laughed or something then Lucas started laughing and his laugh is so cute
• even more pure
• also during that song one ensemble member came down into our section, handed his guitar to the lady sitting behind me and said “ hi can you please hold my guitar just for a minute. I have to go dance. Thank you very much” it was really funny
• in my house was amazing
• like I love Grace McLean
• her voice is stunning
• she was standing really close to us for most of it and the hurt expression on her face omg
• Marya was very sad
• a call to Pierre was great
• during Pierre’s what’s oak kept getting like mad and it was really funny because during the last one is like balled his fists and like looked the Hulk
• the incredible Oak
• find Anatole wasn’t too exciting except for Helene’s costume change which now was literally just a corset and really short shorts and a long ass silk robe
• she still looked like a queen
• Pierre and Anatole is probably one of my favorite songs
• so much agression omg
• literally Oak just fucking slams Lucas down like five times
• It was quite amusing
• also Lucas’ hair got really messy during this song and it was really cute
• I fucking melted during the high note
• like shivers went down my spine
• it was beautiful
• Natasha very ill was really upsetting because it’s every character besides Anatole on stage just sitting down crying while Sonya sings
• like Helene was sitting by us and was just crying
• it was sad man
• Andrey is a prick
• not much about Andrey and Pierre except for at one point Andrey like pushes Pierre back and it looks so intense
• Pierre and Natasha
• I cried again
• Denee still looks like a princess even while in pajamas with messy hair and no shoes
• Natasha like sobs during this song and omg it was upsetting
• like Pierre is so gentle with her and Natasha just looks so fragile
• during the speaking part I just cried like omg
• the last song
• I fucking sobbed
• like Oak was so fucking good and the 'comet’ was so pretty up close
• generally the lighting for that song was beautiful
• so all in all I cried like a baby
• a lot
~ Stage door ~
• holy shit
• ok so they were filming for something with Ingrid so that was pretty cool
• I got to met Oak
• fucking kill me
• he’s so nice
• omg
• I love him
• also I met Ingrid
• she’s so pretty
• I met the girl who played Mary
• and the guy who played Andrey
• and Dolokhov
• and a bunch of ensemble
• it was great
• so after a while we were walking around and my mom was like look across the street
• the guys who play Andrey and Dolokhov were just walking down the street it was great
• also I saw Anthony Médina and he was taking pictures with fans and he was really cute omg I regret not getting a picture

EDIT: Okay so I write this when I was half asleep so that’s why it’s such a mess. Also I should point out that this was my second time seeing the show so this was a lot of little details that I noticed the second time round. Also I was sitting on stage at those little table sections to the left and right of Pierre’s parlor (that middle section on stage with the piano)

I know I’m repeating myself. I know I’ve made almost this exact post before, but it would have been completely possible to include Sarah in the stage version of newsies without adding more than one minute of stage time, or hiring an extra actor.

Step one: You know how Les mentions his mom to Jack? One more line: “We’ve got a sister too!” Cue Davey looking exasperated that Les still hasn’t noticed the whole family thing is a sensitive topic. Les comes off as even more cute and funny.

Step Two: Let one of the female ensemble, who don’t get enough to do, come on as Sarah during Once and For All. Davey introduces her after Katherine introduces Darcy and Bill. She helps print the Newsies Banner alongside them.

Step Three: Give her a few lines about how she believes in the cause.

First Dance, LMM/Reader

Prompt: Lin and Reader meet early on in their careers.

Words: 1008

Author’s Note: Another Lin fic! I know…I’m so predictable. I’m working on the Lin/Reader/Pippa one next! Send in some requests if you’d like to see something other than Lin! We’ve also hit over 600 followers! You guys are amazing!

Warnings: None!

Askbox | Masterlist

You were lucky to get anything, you reminded yourself as the day-long rehearsal came to it’s beginning.

Dressed head to toe in the most comfortable workout clothes you could throw together, you stood in line with the other female ensemble members. You glanced at the other side of the room, where the men were lined up.

Keep reading

great comet on broadway

i saw great comet on december 28 and my life has never been the same, this is a summary of my experience 

buckle up this is gonna be a long post

Keep reading

important information from the heathers musical UK workshop

-for starters it was utterly phenomenal
-Veronica’s vocal range was amazing and she was incredibly compelling as an actress
-JD was quite possibly the creepiest JD I’ve ever seen it was amazing. Meant to be Yours blew me away
-Martha was the cutest thing in this world and has the most brilliant voice and Kindergarten Boyfriend made me cry
-Heather McNamara was both tiny and adorable so there’s that continuity from the off-Broadway production right there. She played her as a bit of a follower when the Heathers were doing their mean stuff and less into it than the others (e.g. she was the last to turn away from Veronica at the party, only after everyone else had and Heather Chandler had looked at her)
-When Mac spat the pills out of her mouth it was a lot funnier to see up close, mainly because they just kept coming. She literally spent ten seconds just spitting pills out of her mouth
-Heather Chandler was the bitchy high school goddess of my dreams. She was incredible and even with the script looked like she was on top of everything. Unfortunately as the stage was like 2 metres wide there wasn’t enough room for Candy Store choreography but I have no doubt she would have been fierce
-There was definitely room for Drunk White Dancing in Big Fun though and it was hilarious
-Heather Duke really looked like someone I went to school with and she wasn’t given a head mic which is unfortunate because her voice was very strong. She slayed the hell out of Shine A Light Reprise
-Kurt and Ram in this version are the definitive Kurt and Ram for me, as much as I adore the originals. They were so incredibly funny and were in character every second you could see them, even when they were in the background
-Ms Fleming and Kurt and Ram’s dad’s got huge rounds of applause for their numbers and deservedly so
-The two female ensemble members (Emo Girl and Weed Girl) are my new otp they spent most of the time in the chorus songs chilling with each other, singing to each other, hugging each other etc. I love them.
-They replaced Blue with You’re Welcome so it depends on your opinion of those two songs if you think that’s a good or bad thing I guess
-Instead of a pig piñata they used a stuffed toy of George from Peppa Pig
-There was a new verse in My Dead Gay Son about gay penguins so I think we should embrace that
-Andy Fickman’s narration made the show honestly

Potential new additions to Heathers canon? (I can’t remember if they were mentioned in previous productions so here they are):
-Veronica was put in an advanced school/program at age 12 for six months and utterly hated it. By the time she came back to her old school all her old friends had grown apart from her - except Martha
-Heather Mac’s mum is implied to be an alcoholic
-I also think we should include Weed Girl and Emo Girl as part of the canon of Heathers because they were so good and are probably girlfriends

Good (Enough) For You - Jasmine Cephas Jones x Reader

A/N: Okay holy shit this has been in the works for the longest time and there have been so many versions of this fic. I’m not sure how I feel about the ending but here it is, in all its (unedited) glory. Just something to note, let’s pretend that Dear Evan Hansen has already opened on Broadway in this timeline because the song “Good For You” was the inspiration for this. (And if you haven’t listened to Dear Evan Hansen please love yourself and do so immediately)

Word Count: 7,570 (I’m sorry but I also cut almost 600 words from this like an hour ago so this is nothing)


The first time you saw Jasmine, you knew you were in love.

Actually, that was a lie. You didn’t believe in love at first sight, or love in general, if you were being honest.

That didn’t mean that your heart wasn’t doing flips when she met your gaze and smiled warmly.

You had been cast as a female ensemble member in Hamilton, and were also the understudy for Peggy Schuyler and Maria Reynolds. It was exciting, to say the least.

You made your way over to where she was sitting and took your seat next to her.

“Hi, I’m Y/N,” you introduced yourself.

“Jasmine. You can call me Jazzy though,” she smiled brightly.

Keep reading


who would you replace her with

picture: i have defeated kathleen kennedy in single combat. proposal of protagonists who are white brunettes with blue eyes is punishable by death. everyone is gay. aliens play a major role in all ensemble casts. female and POC characters receive the majority of merchandising. dark disciple is no longer canon. there’s an obi-wan movie. the Mirialans get multiple standalone novels, while Padme and her handmaidens get a series. the han solo standalone centers around his and Lando’s attempts over a period of ten years to finalize a divorce after accidentally getting married while blackout drunk on florrum. we are at peace.

Diversity Works, and Broadway's Groundhog Day is Proof!
I feel like all we (Actors of Color) ever do is bitch about the lack of diversity on the Great White Way. Key word white. Obviously, we should bitch and ...

I feel like all we (Actors of Color) ever do is bitch about the lack of diversity on the Great White Way. Key word white. Obviously, we should bitch and continue to do so till change happens. #ChangeTheStage.

Although as much as I love a good bitch fest, I think it is important to note and applaud shows that are inclusive. We need to talk about shows that do promote diversity, and that are breaking down barriers for actors of color. Shows like Groundhog Day - which is up for seven Tony Nominations and winner of the 2017 Olivier Award for Best Musical. Diversity works, bitches!

Six actors of color from Groundhog Day took the time to discuss the audition process for this show, and what needs to be done to make shows that include diversity the norm.

Camden Gonzales - Dance Captain/Swing

Raymond Lee - Ralph

Vishal Vaidya - Larry

Barrett Doss - Rita Hanson

Taylor Iman Jones - Lady Storm Catcher

Rheaume Crenshaw - Doris

Diversity and Inclusion have become a very “in” thing right now. Yet, less than half of Broadway shows have barely any people of color, and one person of color does not count. Groundhog Day is currently one of the rare few that can boast a diverse cast. With that being said, can you discuss the audition process? On the breakdown for the role you currently are playing, did it specify casting was seeking diverse actors of color?

Camden - I can’t recall the breakdown listing any specific ethnicities or racial qualifications. But I think it is worth noting that as one of the female swings in the show, a big part of my job is covering everyone in the female ensemble, regardless of their race or mine. And it’s exciting (though not surprising) that the team didn’t seem to bat an eyelash at that reality.

Raymond - This creative team ROCKS when it comes to Diversity. I have to give them a friggin’ shoutout because they cast Groundhog Day right, when it comes to diversity on Broadway. When I first auditioned for the show I got the breakdown for either Gus or Ralph and it stated “all ethnicities.” There was no specific ethnic requirement involved for my character, and I believe there weren’t any specific ethnic requirements for any of the characters. All they asked was to pick which role, prepare them, and come in. In fact, when I first went to the dance call and saw Vishal there, I immediately assumed we were going in for the same track but lo and behold, we were going in for different roles!  They were truly trying to find the right people for the right roles.  After the initial singing call, I went in for a few rounds of dance auditions, and then found out a few months later I’d be getting an offer to play Ralph in Groundhog Day.

Vishal - I am always aware of how diverse a theatrical space is, whether it’s an audition, a cast of a show, or if I’m in an audience. I distinctly remember my first audition for this show because of the diversity of the people auditioning. Every type of person seemed to be reading for every type of role, and that was the case throughout the audition process. I remember Ray Lee being surprised that we were auditioning for different roles because, as Asian-American actors, we’re accustomed to vie for one token role. The only other guy I knew was reading for Larry was a tall, thin white guy, which was very cool. Race and body type didn’t (as it shouldn’t) matter.

Barrett - When I first auditioned for this show, I went in for the part of Nancy Taylor (the sexy, but much misunderstood conquest of Phil’s, who gets a song to open Act 2 that really fills out the character).  There was no specification for either role of a race, but when I got called back for Rita, I was totally thrilled. I saw a few other people at callbacks of all races, so I knew they were open to the idea of a non-white Rita, but I assumed that this would go as it typically does: they would call back a group that included more than just white women, but then would inevitably cast one of the white woman. I’m so glad they didn’t.

Taylor - I was one of the last people to be cast in the show. They were specifically looking for a cover for Barrett and one more ensemble member. So, I went in once to sing, once to dance, and then one more time and danced all by myself with the Associate Choreographer for two hours. I can’t remember if it said anything about certain types in the breakdown, but when I got my offer I was told I’d be covering two roles. When I found out who I’d be covering I was very excited to see one was someone who looked similar to me, and one who looked I nothing like me (white and blonde)! I felt very much seen for who I am rather than what I look like.

Rheaume - I attended both an open Equity singers call and dancer call. The casting breakdown stated that the production was seeking all ethnicities but more specifically “seeking great character actors with a strong pop/rock sound and good movement skills.”

One thing I loved so much about Groundhog Day is that the aspect of race was not brought into the dramaturgy. You were just “normal” people (God forbid). Do you feel this is a rarity in most theatrical presentations? And how can we make Groundhog Day the norm for theatre being produced?

Camden - It’s hard to say, I think the theater community more and more are striving for that to be the norm. Striving to normalize any person playing any role if they’re the best person for the job. I can only hope with all optimism that as new works continue to be produced that a show like ours does become the standard. But I also think a huge part of creating work for all ethnicities is producing work created by people of diverse backgrounds. We need to continue to give voice to diverse playwrights, composers, directors, and choreographers too.

Raymond -  I totally feel this is a rarity! None of us ever have our ethnicities mentioned in our characters or our lines. We just get to be regular Americans without having our skin color mentioned or the butt of a joke. It’s been an amazing experience and a liberating one because it makes me feel like they cast me for me and not just for my skin tone.  I hope this casting becomes a norm. I think so many people thought Hamilton solved all of Broadway’s diversity problems but it was just a step in the right direction, just like Groundhog Day is. There’s so much more work to do and we are getting there, but the more people come to see the Hamiltons and Groundhog Days, the better cases we can make for diversity everywhere. Look at what happened with the Who’s Afraid of Virginia Woolf casting scandal in Portland, or the constant whitewashing of Asian-American roles on film. There’s still so much work to do!

Vishal - Riz Ahmed wrote an amazing piece for The Guardian where he called this type of casting “The Promised Land”, when race isn’t linked to the character at all. It’s a rarity for sure but there are amazing examples of this on Broadway right now. School of Rockand Natasha, Pierre and the Great Comet of 1812 are coming to mind specifically because they are the other shows with actors of South Asian descent (Hey Shoba Narayan, Nick Choksi, and Nehal Joshi!). It could be a new norm of diversity or it could be a fad. To make this the norm,  I’d hope to see more diversity behind the table, from casting to direction to management and producers. If racial diversity is rare onstage, it’s even rarer offstage.

Barrett - I think this rarely happens, unfortunately.  But actually, I’m so happy to see that there are several shows doing this, this season, like Natasha, Pierre, etc., A Dolls House, Part 2.  And then of course, there are the shows that are deliberately cast with actors of color (i.e. Hamilton, or the “black version” of some revived play).  It’s so often that people of color in theater are stuck doing the same shows in rep all over the country, or alternately, want to stay with one show for a long time for fear of being out of work because there simply aren’t enough opportunities. Casting directors, directors, playwrights and producers all have to be open to the idea of “colorblind” casting if we want to see people of color truly “normalized” onstage, instead of being, for lack of a better term, used for their (or the stereotypes of their) color.  I would like to add that this goes for size diversity as well.  Additionally, I say “colorblind” in quotations because I don’t believe that colorblindness exists. People of color bring their life experiences into their preparation for a role - I certainly do - and if we draw from our life experiences, some of our characters’ qualities that the “powers that be” are witnessing in the audition room will have been determined by our race. We know what color we are, even if they pretend not to. Much of Rita’s strength comes from the fact that she is not only smart and capable, but she’s also a 36 year old black woman!

Taylor - I can easily say that at least half (if not more) of the auditions I go to specifically ask for an African-American or mixed-race girl. Even when there is no commentary on that persons race in the show and it’s an attempt to make the show more diverse, but then I know I’m only being considered for the role they decided should be black. When I know I’m capable of playing other parts, but probably won’t be considered for them. I do believe theater is beginning to open its mind more, but there is still a long way to go. It should start at initial castings, but the openness should continue as they replace actors too. I’ve known shows to not see actors because they’re trying to stick the original cast types, when there really is no reason for it.

Rheaume - I do feel it is a rarity. Make them the norm by financially supporting them.

As working actors of color do you feel it is your responsibility to further the cause of Diversity and Inclusion on stage? It has been said that just by showing up to an audition is a form of protest as a POC, do you agree?

Camden - Unfortunately as an actor, I feel we don’t always have much power in the way of forcing inclusion onstage. I think our responsibility to ourselves and the community is to show up for the audition, even if it feels like role they wouldn’t cast “ethnic”, and do our best. Do I think of it as a protest? Not really. All I can do is bring my best version of that role and hopefully change some minds about what she’s “supposed” to look like in the process. What is in our control as actors and members of the community though, is supporting diverse theater and entertainment. If we can prove that the audience is there for people of all races, genders, shapes, and sizes, the work will continue to get made and that would be a real victory.

Raymond - I totally feel it is my responsibility to further diversity wherever I can: on stage, on screen, in everyday life. When I first moved here I made sure I went to as many EPAs [Equity Principal Audtions] and ECCs [Equity Chrous Calls] as I could. Sometimes I was the only Asian-American face there. Sometimes I was one of many. It depended on the day and the project but I made sure to be seen and to show people in that audition room that Asian-American actors were out there and ready to play parts. I felt like creative teams needed to know that there were fully capable Asian-American actors ready to work and create. One of the most rewarding things that anyone can say to me via social media or at the stage door, is that it meant so much to see an Asian face on that stage being a regular American. I’ve had several Asian-Americans say that to me at the stage door and it means the absolute world to me. It means our show is doing something right and inspiring the next generation of Actors of Color and Artists of Color out there.

Vishal - It’s absolutely necessary to further the cause of Diversity and Inclusion. Awareness is key, and I feel it’s my duty to point out when there’s a lack of diversity, racial or otherwise. Showing up is the most important way to further the cause. As an actor, that means auditioning, advocating for myself, and most importantly, continuing my training and education.

Barrett - Yes, I do. I’m so glad this interview is happening! I’d hoped that more people would credit our show with the diversity that our cast has been so excited about since we started rehearsals. But we also need to see more shows like ours. Like actually go buy tickets. Be in the audience. That’s the best way to normalize the experience for the audience too.  Diversity within audiences and onstage is what we should be aiming for! And supporting writers and directors of color, because they are often in the same boat as we are as actors- and frankly I think it may be even harder for them to break through and be seen by this industry.

Taylor - I can easily say that at least half (if not more) of the auditions I go to specifically ask for an African-American or mixed-race girl. Even when there is no commentary on that persons race in the show and it’s an attempt to make the show more diverse, but then I know I’m only being considered for the role they decided should be black. When I know I’m capable of playing other parts, but probably won’t be considered for them. I do believe theater is beginning to open its mind more, but there is still a long way to go. It should start at initial castings, but the openness should continue as they replace actors too. I’ve known shows to not see actors because they’re trying to stick the original cast types, when there really is no reason for it.

Rheaume - Yes. And I do agree.

Do you have any future projects lined up?

Raymond Lee - Right now my full time job is Daddy to my beautiful 3 year old daughter. Besides Disney dance parties and marker board coloring sessions, I’ll also be playing a small town drunk 8 times a week at the August Wilson as my other full time job. I would LOVE to do more television in the future, in addition to working on stage.

Vishal - Nothing right now, but every October I do Rifftober, a month long Instagram singing series that is foolish and joyous. If you’re interested you can find me at @vishgram or #Rifftober.

Barrett - Not yet…

Taylor - Right now I’m in rehearsal for a new musical called Independence, and after that I’ll be doing another workshop for a new musical called Intermission! I couldn’t be more excited and feel so lucky to get to be a part of these families, perform, and create in New York.

Rheaume - There maybe something in the works… But right now I’m thoroughly enjoying being a part of Groundhog Day!

One of the easiest ways you can help make diversity the norm on Broadway, is by going to see shows that include a diverse cast. Go see Groundhog Day. Support the arts and the actors of color that are making theatre so freaking awesome.

Secret Santa Setup

A/N: I’m finally on Christmas break, and I’ve rewritten this fic once already and ready to move on. Ending is literal crap. I’m so sorry. Requests will be opened soon! Like, tomorrow!

Word Count: 4896 ((you don’t even need to read it it’s so long just leave a like for my suffering))

TW: Swearing, food mention

Pairing: LMM x Reader

Y/N liked Lin.

Lin liked Y/N.

Everyone in the Hamilton knew these facts, except the two people it was concerning:

Lin-Manuel Miranda and Y/N L/N.

The holidays were edging closer with each and every show day that passed. The entire cast and crew of Hamilton: An American Musical couldn’t take the constant longing looks cast across the room and purposeful avoidance of one another. So they decided on the only thing they could:

A secret santa gift exchange.

Keep reading

King Kong Female-Led TV Series In Works At MarVista Entertainment & IM Global TV
By Nellie Andreeva

Written by Jonathan Penner and Stacy Title (The Bye Bye Man), the series is based on Merian C. Cooper’s King Kong and DeVito ArtWorks’ Skull Island. King Kong Skull Island is a serialized, contemporary continuation of the classic with a female-led, multicultural ensemble that delves into the wonders and horrors of Skull Island and its origins.


This is the first of a couple of posts on the new cast of Phantom of the Opera.

Cast List:
Phantom: Ben Lewis*
Christine: Kelly Mathieson*
-Alternate: Amy Manford*
Raoul: Jeremy Taylor*
Carlotta: Lara Martins
Piangi: Paul Ettore Tabone
Monsieur Firmin: Siôn Lloyd
Monsieur Andre: Mark Oxtoby
Madame Giry: Jacinta Mulcahy
Meg: Georgia Ware

Standby phantom: Scott Davies

Male Ensemble:
Matt Bateman* (understudy Piangi)
Hadrian Delacey (understudy Monsieur Firmin)
Philip Griffiths (understudy Monsieur Andre)
Richard Kent (understudy Monsieur Andre)
Leo Miles (understudy Raoul)
Tim Morgan (understudy Monsieur Firmin)
Jordan Simon Pollard* (understudy Raoul)
Tom Sterling (understudy Piangi)

Female Ensemble:
Bridget Costello (understudy Christine)
Hannah Grace* (understudy Carlotta)
Ellen Jackson
Una Reynolds* (understudy Carlotta/unconfirmed)
Rachel Spurrell* (understudy Madame Giry /unconfirmed)
Victoria Ward (understudy Madame Giry)

James Roxby Brown
Morven Douglas
Grace Horne (understudy Meg/swing)
Lily Howes (understudy Meg)
Andrei Teodor Iliescu*
Fiona Morley
Danielle Pullum
Emily Smith* (i don’t think this is the right picture/person)
Claire Tilling

Jade Davies*
Hettie Hobbs
Adam Robert Lewis
Luke McCall (understudy Phantom)
John Stacey*

*signifies new cast members


queer film meme ‖ [2/5] things that i want to see more - ladies in suits

“they were dressed, not strangely, but somehow distinctly. they wore skirts - but the kind of skirts a tailor might design if he were set, for a dare, to sew a bustle for a gent. many seemed clad in walking-suits or riding-habits. many wore pince-nez, or carried monocles on ribbons. there were one or two rather startling coiffures; and there were more neckties than i had ever seen brought together at any exclusively female ensemble.”- tipping the velvet.

in order of appearing: tipping the velvet; bye bye blondie; a perfect ending; gigola; the night watch;

17 Badass Women You Probably Didn’t Hear About In 2016
Badass women alert.
By Rossalyn Warren

A few highlights:

Las Hijas de Violencia, a group of women in Mexico who fight street harassment by firing confetti guns at the harassers and singing punk music.

Balkissa Chaibou, who risked her life by saying no to being married off to her cousin when she was 16 years old. She’s now a campaigner taking a stand against forced marriage for girls.

The three judges who made history by convicting a commander for rapes committed by his troops during a conflict.

Negin Khpalwak, the 19-year-old who leads an Afghan all-female orchestra who risk their lives by playing music. It is the first ever all-female ensemble in the country’s history.

Reshma Qureshi, the woman who survived an acid attack and went on to walk in a show at New York Fashion Week.