My favorite thing is theater critics attempting to describe Lucas Steele as Anatole
“Enter the peacocking rogue Anatole (Lucas Steele, a platinum-blond knife-blade who looks like he could have kept One Direction together singlehandedly).”
-Leah Greenblatt, Entertainment Weekly
“Anatole (Lucas Steele, so wickedly sexy he should be arrested) is a preening peacock with a platinum-blond faux-hawk, given a flashy rock-star entrance”
-David Rooney, The Hollywood Reporter
“Steele is charismatic as the cocky hedonist, haughtily tearing through scenes like a Disney prince off his meds.”
-Robert Kahn, NBC 4
"Anatole — portrayed by Lucas Steele with irrepressible rock-star vanity and the hair of a platinum woodpecker.”
-Linda Winer, Newsday
"Lucas Steele, for instance, is ideal as the Anatole conceived here: a rock star in skintight pants and a cantilevered pompadour.”
-Jesse Green, Vulture
"Lucas Steele performs the devilishly handsome Anatole with a cocky swagger that is just as effective on this recording as it is in person at the Imperial Theatre. Steele’s sex-infused instrument uses sublime delicacy to woo Natasha and listeners alike, allowing audiences to understand how he could sweep the young girl away.”
-David Clarke, Broadway World
"Steele’s Anatole Kuragin, the androgynous Casanova with a platinum pompadour who sweeps onto the stage with a David Bowie swagger and an introductory line in the opening song that tells the audience almost everything we need to know about him: “Anatole is hot. He spends his money on women and wine.”
-Dana Schwartz, The Observer
"Steele comes across as a Disney prince who plunged into New York City in an Enchanted-like scenario”
-Dana Schwartz, The Observer
"Lucas Steele plays Anatole as a Disney villain—sky-high pompadour, skin-tight pants, slinkily thrust hips, and a singing voice that soars and swoops”
-Jil Picariello, ZEALnyc
"Anatole’s played by Lucas Steele, who reminds me a bit of a young Val Kilmer (Think Top Secret, not Top Gun)”
We have wanted to write a musical theater style tribute to Critical Role for quite some time. ‘willing’ is based on the 44th episode, ‘The Sunken Tomb’, which was, without a doubt, one of the most powerful and plot-rocking moments in the whole show.
@anodesu (twitter) created this GORGEOUS artwork of Lord and Lady Briarwood for our show by accident, but we had to share. It’s not part of the Chroma Conclave arc, so we can’t use it in the show, but how amazing is this? Our volunteer critter artists are so generous, creative, and talented!
And this is only a sampling of what we already have locked away in our production vault. We can’t wait to show you the rest of it! We’ve gotten custom art from some incredible artists, including @firelystash, Joma Cueto, and frickin’ @tessfowler, just to name drop a few! And there are plenty more amazing artistic critters joining us that we are so proud and humbled to get to share their incredible art with you!
Stay tuned for more updates on the progress of “VOX MACHINA: An Exandrian Musical”!
Literally puts Burr in the role of other people who fucked over Hamilton to make him more antagonistic, inaccurately portrays him as prejudiced against immigrants, makes it so he ran against Hamilton's father in law while they were still 'friends', has him 'betray' both Hamilton and Jefferson for no reason leaving out the abuse he endured from both of them beforehand, acts like Burr shot Hamilton because Hamilton prevented him from being a power-hungry dick and once again leaves out the years of libel and defamation, has Burr shoot Hamilton after he clearly forfeit the duel (this did not happen), asserts that Burr only got through university because his dad had been the president there and not because he's actually smart
Erases the fact that Hamilton owned slaves and handled slave transactions for Angelica and her family, oversimplifies the Reynolds affair and leaves out the sheer extent to which Maria was at a disadvantage, completely leaves out all the times Hamilton purposefully defamed and humiliated Burr, portrays Hamilton as in love with Betsey (Eliza) and remorseful over the Reynolds affair to a much greater extent than he was in real life, disses Hamilton's enemies for owning slaves while completely leaving out the fact that many of his friends and colleagues did as well because we can't have Hamilton associating with slave owners amirite
Man I'm so glad this musical portrays both Hamilton and Burr as complex flawed human beings and totally doesn't force them into heroic/villainous roles
‘Hell and Back’ is based on Critical Role’s episode 72, ‘The Elephant in the Room.’ This episode features a pivotal moment for Vex'ahlia, as she reflects on her struggles with self worth, her resolution towards forgiveness, and the recent loss and resurrection of Percy.
It’s an amazing moment, and we hoped to capture some of the tension and character growth with a little musical theater flair!
Vex. Oh, Vex. I have so many feelings right now. Scanlan literally giving her wings, turning her into a red goddamn dragon so she could fuel her rise with the power of the monster that killed her mother and emerge from it as something new. Percy downing as many of her pursuers as he could so she could fly free. Everyone pouring their hearts out about how much they love her and why. Pike threatening the gods themselves if they mess with her. Of course Percy with that goddamn mic drop. And Vex walking straight into all of this and earning the favor of a god because she is just that awesome.
MY HEART, YOU GUYS
(eta: and of course the whole dash was aided by those infamous boots of haste. Thanks, Vax. ;)