“"oh dear evan hansen’s lighting and set design is so simple omg!1!!!”“ like?? bitch where ?? the lighting and set design of dear evan hansen is one of the most complicated, intricate, and innovative that has ever been on broadway.
Things from musicals that are so perfect they are borderline erotic
When Jonathan Groff first comes in in The Bitch of Living. The third and fourth “burn"s in Burn and Phillipa Soo’s voice all the time. Shoutout to the final “mine” too; that’s gorgeous. Pia Douwes’s voice, and how it is somehow simultaneously smooth and pure and beautifully rough. The harmonies at the end of Make Up Your Mind/Catch Me I’m Falling. The “or"s at the end of lines in Pretty Women. “Would you think so badly of me” in Sonya and Natasha. Rudolf’s "dann"s in Wenn Ich Dein Speigel Wär. And the "Nein! Ich möchte leben!” in Elisabeth, Mach Auf Mein Engel. The dissidence of “trees” in Darkness and Trees. How Phillipa Soo’s voice blends perfectly with the violins in Natasha Lost. “I wish I could fly” from Superboy and the Invisible Girl. That thing in The Bitch of Living when they are all jumping around chaotically and then suddenly are frozen singing “do they think we want this?” (Start at 2:40 for the full effect.) That thing Karen David does in like every song in Galavant where her voice changes pitch slightly and damn. The way “sadness” is sung in Don’t Do Sadness. Also the strings. The piano in Hurricane. The thing they do in Stop the World with the turntable and the chairs and everyone singing in a really lovely harmony with just the perfect amount of dissidence and sweet damn I love everything about it. Absolutely everything about how Philippa Soo sings Times Are Hard for Dreamers. (Her voice is 15% of this list and that’s me holding back help it’s so beautiful.) Both “nothing, it was nothing, I didn’t lead him on at all” and “back in the theatre full of light” in Natasha Lost. Jenn Colella singing her phone call in 28 Hours/Wherever We Are. Jenn Colella everywhere else let’s be real. When Eva starts singing in High Flying Adored. How syrupy and rich Jasmine Cephas Jones’ voice is in Say No to This. That part of Seventeen when JD and Veronica are singing “seventeen” together and he’s singing higher than her. Also when Boote in Der Nacht and Wenn Ich Tanzen Will end the same way. Everything about Gwyndolyn’s voice, especially when she’s singing her parts of A Happy Ending for Us. The slight roughness in John Gallagher Jr.’s voice. How drowsy and sexy Idina Menzel’s voice is in As Long As You’re Mine. Also when she sings “it well may be” in For Good. (It’s nice for different reasons of course.) Chris Jackson’s voice in One Last Time. And in every other song.