main and broadway

the one thing i love about in the heights, probably my favorite thing aside from the love letter to carribean culture (and latino culture in general but my family is from pr so that’s what i notice), is how it deals with women. it’s one of the few broadway shows i’ve been exposed to where women allowed to have both love interests and stories outside of them. yes, vanessa and usnavi’s relationship is a huge part of the show but is her big “i want” song about how much she loves him? no, it’s about her desires to leave for bigger and better things. the show doesn’t end with usnavi and vanessa getting together, though it’s implied. it’s not even what ultimately keeps usnavi in nyc, nor does it keep vanessa from achieving her dream.

and nina rosario. how do i even begin with nina rosario? she’s allowed to infinitely complex and even though she and benny have a bunch of really cute duets, all her solo songs have nothing to do with that. instead, she gets her own plot line that drives a significant part of the show and she’s got emotions, that while tied into her relationship in part, exist on their own as well.

there’s a bunch of other really great female characters as well but these two get me every time. 

Do you know how Broadway Stars are always like “I grew up listening to Into the woods and West side story” “I was obsessed with Patti Lupone” “Bernadette Peters was my idol” “My parents will always put Les mis in the car”

Well, in a few years, Broadway stars will say things like “I grew up listening to Hamilton and Spring Awakening” “I was obsessed with Jonathan Groff and Aaron Tveit” “Idina Menzel and Laura Benanti were my idols” “My parents will always put Hairspray in the car”

We are the new generation, the girl who sits next to you in choir could become the main character in the next Broadway hit, that boy who does really nice covers on Youtube may be the next tony winner. Hell, the person reading this can become the next Broadway stars and inspiration for thousands of children from all over the world. 

Have you ever actually thought about this?

I feel so proud that Oak is going to be playing Pierre in the Great Comet, like I don’t know the man but he is going to be playing a main role on Broadway and I feel so proud of him I just wanna go give him a hug and congratulate him. 

                 HEADCANON – – – **** right after the visit at the museum  &&  shortly before battle city, Anzu started to construct a photo album of herself  &&  her friends –– some of them being of her friends only ( without their awareness/consent  ) as they dueled or did some random thing, including Jounouchi doing the victory dance, Honda posing on his motorbike, Yami doing human things, Yugi signing autographs ( while blushing of course )  &&  of the three or two interacting together. the album also includes photos of  &&  ( selfies ) with Mai, Shizuka, Ryou,  Otogi  &&  Mokuba –– including of Seto whenever he was distracted or wasn’t looking at her direction as she captured the moment. she proclaimed the album finished after graduation, taking it with her to new york, eyeing it once in a while. even being oversees, her friends are still unaware of the album.

[…] Among other titles in the Tony races, Bette Midler megaseller “Hello, Dolly!” ($1,905,569) held onto its No. 2 spot in the Top 10 behind “Hamilton” ($2,823,183), while new-musical rivals “Dear Evan Hansen” ($1,281,329) and “Come From Away” ($1,127,850) remained robust and “Natasha, Pierre and the Great Comet of 1812” ($1,177,329) returned to the millionaires’ club after star Josh Groban returned from his vacation. Two shows mostly left out of the Tony derby, “Charlie and the Chocolate Factory” ($1,157,981) and “Anastasia” ($1,089,680), also held strong.


Among the season’s new plays, “Oslo” ($661,485) remained the highest grosser. “Sweat” ($355,923) and “A Doll’s House, Part 2” ($303,665) were on the rise and “Indecent” ($255,289) stayed steady, but all three could use some more momentum to prop up sales.


Overall Broadway cume climbed by about $1 million for $33.9 million for 36 shows on the boards. Attendance upticked slightly to 298,703, or about 86% of the Main Stem’s overall capacity.

5

It. Happened. I saw Bette Midler, one of my lifelong idols and main Diva, on Broadway. I did not, however, see her exit the theater. Instead I got to see David Hyde Pierce and (potential future husband) Gavin Creel. 

Anyway, if you get a chance to score some tickets, don’t hesitate to go. Everything she does–dance, sing, eat, react–is show-stopping. There are few performers like her left and it would be a shame to miss. She’s simply divine.

2

Yayyyyy finally doing the Tally Hoe Introduce-Your-Self(ie) challenge ~~~

I was tagged by @danstevensgrowl when she first created this awesome challenge ( I’m doing it now because I’m slow and late for everything lol)

My favorite song from Beauty and the Beast is Beauty and the Beast but a close second is definitely Evermore. I also love The Mob Song and Gaston and GAH THEY’RE ALL SO GOOD DAMMIT

One random fact about my boring self is that I really really love musical theater. My main blog is literally just Broadway (lol) I love Rent and Hamilton so much. !!

Idk I tag any Tally Hoe who hasn’t done this and wants to do it !!

anonymous asked:

Quick question - How do we know what is a bootleg and what is official? I love seeing clips of the show that have been released through legit means but I don’t want to support bootlegs

Unfortunately, there’s not a good quick answer to this. Basically, there’s a contingent of Ham fans who’ve been around since fall/winter 2015, and we eagerly awaited and memorized and giffed each new bit of officially released material as it came out. So we can tell from memory when a high quality video or gif is not from legally filmed and released footage. Poor quality and the video being filmed from above (like from the mezzanine) can be tip-offs, but are not foolproof. Apparently one boot appears to have been filmed from center orchestra, and some footage is surprisingly high quality.

I would like to take this opportunity to sound off on bootleg clips being impossible to avoid for some time now on youtube. They have been flooding my home page recommendations, and probably those of most other Hamilton fans. As most of them are coming from a few main channels that specialize in that kind of thing, I really don’t understand why the production hasn’t gotten most of them removed. I suppose these things are legally complicated but from the outside it looks like it should be fairly simple as those who are providing clips widely and indiscriminately are high profile, centralized sources. (I even bitched to Hamilton producer Jeffrey Sellers about it on twitter *shruggie*.) Also mad because it’s just extra disrespectful to be so open about bootlegs.

I’ve even had an edit of a bootleg clip with the Schuyler Georges #Ham4Ham recommended to me, which is just so… again, disrespectful. It’s a longstanding fandom tradition to share bootlegs among those without access to Broadway on the downlow, and seeing that unspoken rule so blatantly violated in such a large public forum by channels for theatre fans is… it just sucks.

To get back to answering your question, the legal clips are from things like montages released by Broadway.com and the Public Theater (where Hamilton began off-Broadway), a WSJ feature on youtube, clips shown during features on 60 Minutes and CBS Sunday Morning and I think PBS Newshour. There’s like a main Off-Broadway montage and a main Broadway montage. A little more footage was released in the 60 Minutes special that aired just before the Tonys. Some of these videos are in my youtube playlist “Hamilton Orientation”. There’s a thing called the “B-roll,” I think basically that’s the full video that all these clips came from? And a full video of Burn was released officially? I think? at one point. Both have since been removed from youtube (but I still personally consider them fair game). Yet more new footage of the OBC is included in the Hamildoc (officially, “Hamilton’s America,” a feature-length documentary by Alex Horowitz about the making of the show and its relationship to American history) which will air on PBS on October 21.

I don’t have the time, but if someone(s) is able and willing to compile a list of links to all the officially released videos for new folks to be able to familiarize themselves with them (and enjoy them!), that would be awesome. Anyone up for it? I’d love to reblog.

A roundup of posts about Lin on theatre bootlegs and bootlegs of his work online:

The Homeless Man’s Situation

My tattered shoes were drenched from the inside out. It was impossible to take more than a few steps without having to walk through puddles. It’s been pouring rain for days. I’ve been homeless for almost 5 years now and I’ve never encountered a storm as relentless as this. I need to find shelter. Someone’s shed or a garage that wasn’t attached to their house. I’ve sneaked in to a few before during blizzards, and never got caught. It’s got to be past midnight now and most of the houses I’m passing have their lights off, but not one of them had a shed or detached garage.

Finally, after stumbling through sheets of pelting rain for what felt like an hour, I found a good place. The house lights were off, so I hopped the fence and entered the side door of the garage. It was so dark I couldn’t see a thing, but I managed to find a latter that lead up to a loft. Perfect. I climbed up and carefully felt around to make sure the floor was strong enough to support me. It was sturdy enough, so I laid down and tried to get some much needed sleep. But my attempt at slumber was short lived.

I heard the garage door open and the lights flicked on. I could hear a man talking. “He’s a bit heavier than he looks.” There was a tiny little crack in the floor right next to me, I was just able to see through it. The man, who I assume to be the owner of the property, was dragging another man’s lifeless body in through the door. I watched in horror as he lifted the corpse up and layed it down on a metal table in the middle of the garage. The man continued to talk to himself as though he was the main character in a Broadway play preforming a solo narration. “We’ll avoid the chainsaw this time, I learned my lesson with the last guy! We can’t have blood and skin fragments spraying all over the place again!” He walked over to a tool box and pulled a large hunting knife out of it. He paced back over to the body. “First, it’s off with his head!” He let out a sinister laugh and started sawing through the man’s neck. My stomach began to turn. It was all I could do not to violently vomit across the entire loft. I held it in. I couldn’t make a sound. If I did, I would be on that table next. By now he had cut through the neck all the way to the spine. “Now this part’s a lot easier than one might think!” He put the knife aside and slid the body down so that the the head hung over the table. He picked up the tool box and lifted it high in the air. He smashed it down onto the head and it came clean off. It made a horrid sound like a branch being snapped off a tree. He then placed the head into a large carrier bag with a zipper on it. “Now for the arm’s!” He bellowed out as though a large audience was applauding him on a stage. “Luckily I sharpened my knife this morning, so cutting through the tendons and muscle tissue shouldn’t be too difficult!” He slowly sliced his way through both of the man’s shoulders, as though he was savoring the moment and basking in it. When he finally had both arm’s off, he placed them in the same bag as the head. “Now for the hardest part, the legs! I shall cut them off at the knees to avoid the hip bone! It is much easier to break knee caps than hip bones!” He reached in his tool box and pulled out a heavy duty hammer. He started smashing away at the knees until he was satisfied. “Now that the knee caps are broken, it will be much easier to cut through!” He gashed his way through both knees, again savoring each moment. He placed both legs in the bag along with the torso.

Finally, he was done. I couldn’t take anymore of this. I’d never seen anything so disturbing in my life. This psychotic animal of a man will forever haunt my dreams. As soon as he leaves, I’m running to the police station. The man started whistling a happy tune as he zipped the bag closed. Then he walked over to the corner of the garage and grabbed a lawn chair. He unfolded it and placed it next to the table. Still whistling like the insane person he is, he picked up his knife and sat down in the chair. What was he doing? Why isn’t he leaving? He finally stopped whistling when he sat down and he spoke again. “Now I wait!” He said as he slapped the knife against his palm menacingly. I felt a fear like no other creep up my spine as he slowly turned his gaze upward and looked directly at the same crack in the ceiling I was looking down through. “I haven’t been talking to myself this whole time ya know….”


Written by: Sage
short-horror-hits

Sebastian Stan Request

Hello love!! 💕 Could you please write another imagine where the reader is Sebastian Stan’s wife and an actress and she wins a Tony for her performance (as the main character) in a Broadway musical??? Love your blog!!! 💕💕

AN: Y/C/N= your characters name      P/N= plays name


You tapped your foot rapidly in the car. “Babe, chill out,” Sebastian chuckled and put a hand on your thigh trying to get your foot to stop.

“I’m just nervous! This is my first Tony Awards and my first time being nominated for one. I’m freaking out babe.”

“You’ll do great. It’s just like any other awards we’ve been to. And think of it this way, even if you don’t win the award, which I think you will, you’ve been nominated for Best Performance by a Leading Actress in your first Broadway show. That’s an incredible accomplishment and I’m so proud of you.”

“Thanks, Seb.” You felt the car come to a halt. “Ok, are you ready to do this?”

“I’m ready to show you off,” he smiled and hopped out of the car, raising his hand up to help you out of the SUV.

Sebastian walked with his hand around your waist down the red carpet. He kept conversation with you making you laugh and less nervous and took every chance he got he’d talk you up to reporters and interviewers. As you got to the end of the red carpet you took Seb’s hand and walked to your seats.

You felt him put a hand back on your knee, “You’re tapping again.”

“It’s my nervous tick.”

“I’ll be right here,” he rubbed your knee then took your hand in his. Several categories passed and now yours was up.

“And the winner for Best Performance by a Leading Actress goes to,” the announcer opened the envelope and smiled, “Y/N Y/L/N Stan in her role as Y/C/N in P/N.”

You felt your cheeks heat up and water fill your eyes. Sebastian shot up before you and helped you up. “I’m so proud of you,” he smiled and hugged you.

“I don’t know what to do,” you chuckled and whispered as he hugged you.

“Go accept your award, goof,” you gave him another quick kiss and slowly let go of his hand as you walked to the stage. You smiled as you accepted the award and walked to the mic.

“Oh, gosh, I don’t know what to say,” you laughed into the mic. “I want to thank all the people who went into making this play happen, all the cast and crew and directors and producers. I want to think of all the people that went and saw the show and helped it really take off. And I want to think my wonderful husband who has supported me and has seen the show about 15 times and who has kept me calm throughout tonight. I love you.”

9

The Schuyler Sisters’ Costumes, from the Public to Broadway

(L- Public, R- Broadway)

The biggest difference other than color scheme from the Public to Broadway for all three sisters is that they get entirely new gowns for the Winter’s Ball scene rather than just the zone front jackets as an add on (and I’m not sure Peggy got a costume change at all other than the addition of a little fichu) I think the underlayer is the same taffeta as their main Broadway costumes but the top layer is a darker/bolder color and the easiest way to tell that it’s an entirely different costume is to look at the seam differences down centerfront, Angelica’s has buttons and Eliza’s is no longer asymmetrical. The Peggy picture isn’t the greatest but you get the idea of what changed in that costume and she may be the only one whose costume got ‘simplified’ even if it’s just from a patterned taffeta to a plain yellow one.

Smaller differences in their main costumes are just more defined design elements like the swiss dot in Angelica’s bodice and lace around the Eliza neckline.

anonymous asked:

hi! the previous anon talked about the musical wicked and the thing with nessarose, and it gets a little bit grosser than that. in the original book, nessarose isnt in a wheelchair, she was born without arms and uneven legs so its hard for her to keep her balance. in the book, the shoes werent supposed to make her suddenly abled, they were enchanted for her to be able to keep her balance and walk around without falling over, so basically a magical mobility aid. not to mention (1/2)

(2/2) whitewashing of the main love interest on broadway (in the book he and his family were black, but there have been a total of 4 black actors to play him onstage total, which is horrible considering this show opened in 2003 and is on broadway, chicago, california, germany, the netherlands, france, brazil, japan, korea and mexico). and in the book the main character, elphaba was intersex and bisexual, and that wasn’t even mentioned in the musical. the music isnt bad but if u look at it YIKES

Oh my god y i k e s that’s so gross