kerrigan lowdermilk

i unravel until i remember
sitting on the roof of your beat-up car
and i was your  o r b i t
and you were my star

go tonight (unbiasedly one of the most beautiful songs written for the stage in years), the mad ones- previously the unauthorized autobiography of samantha brown- @ 59e59, starring krystina alabado and emma hunton

So, on my Instagram, I posted about the Tuck Everlasting musical and asked my followers what books should be turned into musicals. Brilliant user thegreatcometfandom suggested The Fault in Our Stars.

So. Just imagine: The Fault in Our Stars by Kerrigan-Lowdermilk, starring Olivia Puckett as Hazel and Ben Tyler Cook as Augustus.

Okay, that’s it. Continue with your day!!

Oh! And feel free to comment/reblog/inbox with any books you’d like to see as musicals! Attaching a creative team + casting is optional.

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I NEEDED THIS HOLY COW.

Real talk, I’ve been listening to “Run Away With Me” for nearly a decade out of context. I love how seeing it finally staged gives it new life, and it makes me remember why I fell in love with it in the first place ❤️

(“Run Away With Me” starts around 7:20 but the first song, “Go Tonight” is also stellar and 100% worth the build up)

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This one is even better

Two Strangers, written by Kait Kerrigan and Brian Lowdermilk, performed by Morgan Karr with Jay Johnson and Matt Doyle

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we’ve come too far, we’ll drive ‘til we hit nashville!

freedom, the mad ones (previously the unauthorized autobiography of samantha brown) @ 59e59, starring krystina alabado & emma hunton

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let’s get ready, lets go, anywhere

emma hunton singing run away with me from the mad ones at the philadelphia theater company

GO TONIGHT - lyrics
  • THE MAD ONES is a memory play about Sam grappling with the death of her best friend Kelly and trying to overcome the inertia of her grief. This is the song where she finally faces it down.
  • KELLY: IF WE'RE GONNA GO, WE GOTTA GO TONIGHT. GO TONIGHT. GO TONIGHT. IF WE'RE GONNA GO, WE GOTTA GO TONIGHT. GO TONIGHT. GO-OH TONIGHT.
  • SAM: SHE WAS - SHE WAS - SITTING ON THE ROOF OF HER BEAT-UP CAR, HALF-SINGING, HALF-LAUGHING, HALF-GOING TOO FAR. THE MUSIC PLAYED OVER, WITH NOTHING TO COME IN A REMIX OF MEM'RY, THE LOOP OF THE - DRUM, OR BASS LINE... OR WAS IT...
  • KELLY: IF WE'RE GONNA GO, WE GOTTA GO TONIGHT. GO TONIGHT. GO TONIGHT. IF WE'RE GONNA GO, WE GOTTA GO TONIGHT. GO TONIGHT. GO-OH TONIGHT.
  • SAM: SHE WAS - SHE WAS - EVERYTHING I'M NOT, MY WHOLE UNIVERSE. AND I WAS A FOOTNOTE, A SLIM SECOND VERSE. BUT SHE WAS THE CHORUS, THE HOOK AND THE GROOVE AND WITHOUT HER THERE PUSHING SOMEHOW I CAN'T - MOVE. SO I SIT IN THE CAR THAT SHE LEFT BEHIND, SINKING DOWN IN THIS VOID LIKE A CRATER. GETTING LOST IN A WORLD THAT I CAN'T REWIND. IT'S TOO LATE AND IT'S JUST GETTING LATER.
  • KELLY: IF WE'RE GONNA GO, WE GOTTA GO TONIGHT. GO TONIGHT.
  • SAM: WHY DID I SAY NO?
  • KELLY: IF WE'RE GONNA GONNA GO, WE GOTTA GO TONIGHT.
  • SAM: WE HAD MILES TO GO.
  • KELLY: GO -
  • SAM: YOU WERE MAD TO REACH, MAD TO DRIVE. MAD, MAD AND SO ALIVE. THE SPACE YOU LEFT, THE EMPTY AIR. I REACH, REACH BUT YOU'RE NOT THERE. AND TIME EXPANDS. THE BEAT GOES ON. YOU WERE MAD, MAD AND NOW YOU'RE -
  • Beat.
  • SAM: SHE WAS - SHE WAS -
  • BOTH: OH.
  • KELLY: GO-OH
  • SAM: OVER AND OVER YOUR WORDS TO ME ECHO.
  • KELLY: GO TONIGHT.
  • SAM: GO TONIGHT.
  • KELLY: GO.
  • SAM: OVER AND OVER AS I TRY TO LET GO...
  • THERE'S A BLACK HOLE, A VACUUM, IN DEEP OUTER SPACE, THAT SWALLOWS ALL MATTER WITHOUT ANY TRACE, WHERE LIFE IS SUSPENDED IN PHYSICS AND TIME. EVERY WORD YOU SAID HANGS LIKE AN UNFINISHED - RHYME.
  • Beat. Then -
  • SAM: SO I SIT IN THE VACUUM YOU LEFT BEHIND AND I SIFT THROUGH EACH PHRASE FOR AN EMBER - FOR A SPARK THAT WILL LIGHT 'CAUSE I CAN'T REWIND. I UNRAVEL UNTIL I REMEMBER
  • SITTING ON THE ROOF OF YOUR BEAT-UP CAR, WHEN I WAS YOUR ORBIT AND YOU WERE MY STAR. BUT NOW YOU'RE A BLACK HOLE AND I AM LEFT NUMB FROM THE LOOP OF THESE MEM'RIES, THE LOOP OF THE - THE LOOP OF THE - THE LOOP OF THE -
  • The club beat continues.
  • It stops.
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It’s nowhere near perfect, but here’s me playing along with something I’m working on in singing class. (at Rose Bruford College)

Made with Instagram
Anyway
Kerrigan-Lowdermilk

I’ve been on a Kerrigan-Lowdermilk kick lately, so here’s me singing “Anyway”, a perrenial favorite of mine.

Please forgive any timing issues as my only accompaniment on this song thus far has been a variety of shower heads. Shout out to the very polite hotel patrons who didn’t yell at me when I would sing this very early in the morning on business trips.

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“kelly manning doesn’t just do what everyone else does, she doesn’t follow the same rules! she’s  o t h e r w o r l d l y! she’s one of the mad ones!”

“…you’re drunk.”

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IF YOU HAVEN’T SEEN THIS YET WATCH IT NOW!!! YOU WON’T REGRET IT!

justonetheatregirl  asked:

What do you find to be the hardest part of writing theatre?

You sent this question early last week and I’ve been thinking about it for a few days. If I’m really honest, the thing that’s hardest about writing theater is theater. It’s taken us a long time to realize that as hard as we’ve tried to, we’ve not actually succeeded in making a lot of theater. Instead, we’ve writtena  lot of unproduced shows that are malingering in development hell and made a lot of work for the internet. We didn’t mean to be internet artists. We meant to be theater artists but we’ve found our home here. 

We’re trying to embrace that more. That’s actually one of the reasons I joined tumblr. I wanted to go where our fans are and make more things for you. In 2018, we are dedicated to making more stories, more songs, more everything for the internet. 

Don’t get me wrong. We love theater. But theater has gotten increasingly narrow in its focus. There’s a lot of focus on naturalism in downtown theater and there’s a lot of focus on remakes of movies and juke box musicals on Broadway. There’s not a lot of interest in female-driven stories (though they do very well when they get the chance to break through). 

We have many theater projects coming up but it took The Mad Ones - a tiny musical with basically no budget with a built-in audience - almost 10 years to make it to the NYC stage. We’re tired of waiting. We’ll keep writing for theater, but in the meantime, we’re going to embrace what we’ve actually achieved without really meaning to. 

We started putting our work on the internet out of desperation - just to get it out there. But what if we don’t do it as a last resort? What if we make this a priority? When we’re honest with ourselves, our favorite part of writing for theater has been you. What happens if we admit it. We don’t care about Broadway. You are all that matter to us.