music workshops

Washington On Your Side
  • Washington On Your Side
  • Workshop Cast
  • Hamilton Presentation - May 2014

Alright, so I just recently listened to this and holy shit, I cannot believe that this was not posted anywhere else??? God this is a work of art and here’s why:

  • “This bitch is askin’ for someone to bring him to task, Somebody gimme some dirt on this asshole so we can at last unmask him”  Damn TJeffs!!!! I just love how angry this dude gets!!!!
  • “He likes taxes so much, can we enact an asshole tax?” Okay, straight up, JMads whole verse is incredible. He starts of talking about how A.Ham and him started off as colleagues and worked together for the same issues, however, after working with him for a while, he realizes that A.Ham is wildly dangerous and seems to get his way most of the time, hence the title of the song. This is why I low-key always thought that JMads hates A.Ham slightly more than TJeffs.
  • “Let’s lower his stack in the eyes of the nation. With misinformation, first we diminish him, then we finish him!”  Honestly, one of the great parts of the song. The rumors they spread! WHAT A DAMN MESS!!!!!
  • “I HEAR HE’S GEORGE WASHINGTON’S ILLEGITIMATE SON!” My damn senior quote!!!!!!!!! I literally shouted the first time I heard this, OMG!!! HOW WAS THIS NOT PART OF THE PLAY HOLY SHIT
  • “He wants to abolish slavery.” “That one’s actually true.”  “NO”
  • I especially love how it is mostly a TJeffs and JMads song. Like no one else is it, but our favorite Southern Mother-Fucking Democratic-Republicans!  This such a great song and I seriously think this is one of the greatest songs ever produced in the entire musical.

I have listened to the workshop so many goddamn times and it wasn’t until now that I really listened to the end of Hurricane.

Me previously: Hey cool they brought Let It Go back but why do they have a guy singing it tho? Kinda sounds like Anthony? Is Philip telling his dad to chill?

What I missed:

Voice: Or you could let it go….

Hamilton: The friend who’d tell me not to do it is in the ground.

Voice: LET IT GO.

Hamilton: The enemies I’ve made won’t have anything on me now.

Voice: LET IT GO.

That’s not Philip.

That’s Laurens

Is his darkest time, Laurens is there telling him to stop, showing that Laurens was his only self restraint and his voice of reason.

I had a theory a while back that why Act 2 goes to shit is because Laurens dies (Hamilton drowns himself in work to cope, working nonstop = not good things) and this honestly just confirms that.

Lin called Laurens’ death history’s biggest what-if, and I mean, even apart of the amazing things it would’ve done for slavery, what if he lived and was there to help calm Hamilton, stop the duel….

Ten Things One Thing & The World Was Wide Enough
  • Ten Things One Thing & The World Was Wide Enough
  • "Hamilton" Workshops

“God- I can’t wait to see her again”

(I’m not crying, you’re crying)


Here our very short film, made in one week, with @chiaroushka and @bleucalire in animated painting.

🐚(I miss summer, the beach and the sea…)🐟

The next film will be in animated sand !


What The Future Sounded Like : A cool documentary about electronic music pioneers Tristram Cary, Peter Zinovieff, David Cockerell and the EMS synth.

why i will never forgive LMM for cutting “Let it Go”
  • Alex’s opening tirade, “Don’t you know that Burr is going to run against your father to humiliate me and try to bring us down? I will not let our family be embarrassed like this…” is so Vintage Hamilton™. like this guy was a genius but he also had an incredibly short temper when it came to his honor and tbh i cant fault for being hypersensitive because he literally went from being a bastard, whore’s son on a tiny island in the Caribbean to being in charge of an entire nation’s finances. 
  • Like yeah we see his temper in Adams Admin but this is so much more natural than SIT DOWN JOHN, YOU FAT MOTHERFUCKER. This is so much more colloquial than that. This really showcases the short-sighted, short-tempered side of Alex that Chernow thinks makes him a lil unsuited to be Commander-in-Chief
  • ELIZA. 
  • what a perfect human being
  • “You could let it go. [you overdramatic baby]. Stay alive for me.” 
  • “People will always be critical, they’ll make the personal political, they’ll try to knock you off your pedestal, your pinnacle. Let other people be cynical” 
  • This provides such a perfect foil to Alex’s abrasive impulsivity. It really shows how Eliza is level-headed where Alex is temperamental, wide-gazing where Alex has tunnel vision. 
  • “You’re smiling, because you know I’m right!” “HA!” 
  • Honestly in the rest of the musical, excepting Burn, Eliza is never really shown to have meaningful impact on Alex’s action like Angelica’s letters do in Take a Break. Leaving this in would have given so MUCH more depth to their relationship. 
  • lmao this definitely stands by itself. 
  • “You don’t have to take a gun to a knife fight. It’s not a case of your money or your life, right?” In other words, CHILL THE FUCK OUT, ALEXANDER “I TRIED TO FIGHT AN ENTIRE CROWD ONE BY ONE” HAMILTON. TAKE A CHILL PILL, MY DUDE. 
  • “You know you really oughta listen to your wife, right?” “I know…” TRUER WORDS HAVE NEVER BEEN SPOKEN.

In conclusion: Eliza rules, Alex drools. 

Last weekend, I went to see the off-Broadway production of “Hadestown”, a 1920s-esque folk opera retelling of Orpheus and Eurydice. That’s a lot of elements for one show, but yes, really.  And it works. It’s based on a 2010 album by Anaïs Mitchell, which you can listen to here, but which is fairly different from the show as it exists now.

It is the best thing I have seen/heard/read in ages, and I want everyone I know to see it immediately so that I can talk about it with more people. Which I realize is a problem, because a) most of you don’t live in NYC, and b) it’s only running until the end of the month. So! Let me tell you about it.

The Orpheus/Eurydice plot plays out fairly close to how it does in the myth: we see them meet, fall in love through Orpheus’s music, Eurydice descends to the Underworld, Orpheus chases after her, they convince Hades and Persephone to let them leave – with, of course, the caveat that they only escape if Orpheus doesn’t look back – and then the tragic ending. The biggest change is in how important the Hades/Persephone relationship and myth is to this play; they become at least co-leads, if not the central figures.

The setting does a lot of work, though it’s more in feel and symbolism than plot points. Orpheus is the great musician, still – but he’s also a penniless romantic that is not particularly concerned with figuring out how to support himself and his new wife, which is a problem in the Depression-esque “Hard Times” of this story. His eventual look back that loses Eurydice – I don’t want to spoil too much, but whew, the show has no sympathy for him. It’s absolutely savage. In the first act, he’s strongly paralleled to Persephone. She seems to be the same sort of feckless dreamer as Orpheus, and Amber Gray, her actress, plays Persephone as a drunken flapper girl who treats summer like an unending party with her as the star. Here’s a photo.

Hades, on the other hand, is the god of work and railroads and industry and factories; “Who makes work for idle hands?” he sings at one point, and yes, he is also much more of a Devil figure here than in the original Greek myth. His underworld is a place where dead souls endlessly build a wall – there’s no particular need for a wall, you see, it’s work simply for the sake of work.

We build the wall to keep out of the enemy, Hades tells his followers, in a catechism-like song, and then asks, “What do we have that they should want?”

The response is:
“We have a wall to work upon!
We have work and they have none
And our work is never done
My children, my children
And the war is never won
The enemy is poverty
And the wall keeps out the enemy
And we build the wall to keep us free.”

(YES I KNOW. But this song was written in 2010 and is not actually about the Trump campaign, despite any and all horrifying similarities.) Here’s a link to the show’s version of this song, which everyone should absolutely listen to.

In this version of the story, Eurydice does not so much die as sell her soul to escape hunger and cold – that’s her belting out the final verse of Why We Build the Wall, zealous in her temporary seduction by the underworld’s affluence. She and Persephone are both quite explicitly creatures kept in gilded cages, trading freedom for luxury. And they are both, in different ways, furious about the world that took away their choices. They both feel lied to by the men they’re in a relationship with (this show really has no sympathy for men in general, it’s amazing). The difference between them is that Eurydice still has hope for Orpheus, while Persephone hates Hades in the way that only comes from love that’s died.

However, Persephone is after all a goddess and vastly more powerful, and when Eurydice and Orpheus’s story has ended, hers still goes on, repeating its summer/winter cycle forever. It’s ambiguous as to how complicit she is in the humans’ fates; there’s more than a tinge of A Midsummer Night’s Dream here, the supernatural creatures playing out their own cold war through the proxy of hapless mortals. Persephone loudly announces her hatred for the underworld and Hades throughout the show, but her constant use and pushing of alcohol called to my mind the tempting forgetfulness of Styx. In one song she sings to a nameless soul, half-promising and half-mocking:

“Come here, brother, let me guess
It’s the little things you miss
Spring flowers, autumn leaves
Ask me, brother, and you shall receive.
Or maybe these just ain’t enough
Maybe you’re looking for some stronger stuff
I got a sight for the sorest eye
When’s the last time you saw the sky?”

After all, what stops you from escaping more than a little false relief?

The casting is diverse – both Eurydice and Persephone are mixed race black women, in another parallel – and all of the acting was amazing. Nabiyah Be (Eurydice) does so much with tiny facial expressions that felt like they shouldn’t carry out to the whole theater, but she was absolutely magnetizing. And I haven’t even had a chance to mention Hermes (Chris Sullivan)! He, along with the three Fates, works as narrator and storyteller and Greek (ha) chorus, and is also fantastic. Everyone was! I desperately want more people to see this, mainly for selfish reasons including but not limited to: they will write interesting meta for me to read, they will produce a cast album, they will make this the next big theater fandom.

I know it’s a bit pointless for me to recommend this, since again most of you probably won’t be able to see it, but I can’t help it but do so. It’s just so good! If you have an chance, absolutely check it out.

That feel when

♪How do you document real life
When real life’s getting more like fiction each day?
Headlines, bread-lines blow my mind
And now this deadline, eviction or pay rent♪

Was originally written in 1994 as 

♪If I threw my body out the window
 brain all splattered guts all steaming in the snow
I wouldn’t have to finish shooting films that
no one wants to show


Best of 2016 Countdown #5 :: Fra Fee brought impossibly more joy. [ 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15  ]

Fra had a typically well-rounded and radiant year, finishing in As You Like It at the National before performing the lead in The Fix, working with the Barricade Boys, leading musical theatre workshops and other classes in Northern Ireland, performing in holiday concerts, and of course joining the cast of the new Wind in the Willows tour as finally the actual charming woodland creature he so often seems. He also won this year’s award for best dealing with children and animals, and being the life of every possible party.