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#Our Love Written in the Stars
incorrectmidc · 2 years
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“Thank God I found you.”
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lucyw260 · 2 years
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No one could ever fathom and understand how much I love this event. Not a day has gone by that I haven’t thought about it and just thinking about it makes me cry. It’s so special to me, I’m excited to read it live again but I know I’ll be a sobbing mess😭😭
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jaquemes · 2 months
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writer-room · 11 months
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You ever just see people talk about the Percy Jackson books and know somewhere, deep in your heart, that none of these people have understood that this is a series made for middle schoolers. And that fandom will very frequently lie to them like, all the time. No, that character probably isn’t ooc, you’re just thinking of what the fandom turned them into. No, this book isn’t a horrible stain next to the others before it, literally all of them were like this. It’s Percy Jackson. It’s cheesy and occasionally makes a very questionable writing decision.
You gotta be in this for the long haul or jump ship my guys. Be cringe and free or be gone
#percy jackson#tsats#solangelo book#rick riordan#percy jackon and the olympians#pjo#the sun and the star#text post#yall are astounding me in ways i didnt know was possible god bless#also this was mostly written by mark not rick. like yes he signed off on it but still this is mostly mark#but its still Fine??? its fine?????? besties a book abt our favorite gays not being perfect is not the end of the world#did i cringe? hell yes. but was i free? tremendously. and i had a lot of fun i think#'bianca is in elysium but she was reincarnated??' yeah thats odd. anyway that scene was cute wasnt it#'everything is so on the nose' yeah its for middle schoolers and percy jackson isnt known for subtlety. its very rare#'will was ooc' weve literally barely gotten anything on him and no povs until now this IS establishing his character#'the puffs remove nicos whole trauma' no it doesnt. its a fantasy way to sort of explain that nicos trauma is now open instead of repressed#do i wish it wasnt sometimes explained as 'now the trauma is gone'? yes. but i think its moreso meant to be a way of nico dealing with them#he still HAS that trauma fellas. hes still going to be living with it. its just gonna be easier now. thats part of healing besties#also we dont know how these puffs are gonna act in the future so like. hush. shhhhhhhhhh. shut. it was literally never going to be perfect#its pjo. i love this series to death but. its pjo. it is. in fact. sometimes badly written. as it has been many times before in books before#and what else??????? it may not be written the greatest but its MY series that isnt written the greatest square up
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sukunasun · 1 year
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hi do you write dark content? is it possible we get stalker!geto pls!
sigh sigh...
its the competency for me...the amount of research he’s done, can't really be a stalker if you get caught, or if you don’t at least have a basic understanding of surveillance tech...it’s not difficult sure, where’s the challenge really when no one is safe, when information is so easily accessible, but he shouldn’t complain. after all what has years of experience given him? that he doesn’t go after every type of woman but the ones that happen to just have that little bit of resistance. enough to suspect, to be wary, but not enough that they wouldn’t fall for him. and maybe he genuinely likes you too, but only as someone to own and keep, i’d do anything to tap into that violent and psychotic level of devotion and love he’s so capable of. 
the layers will start to unravel eventually and he comes off a little bit on edge, unhinged too, so creepy how he has zero self awareness, that people are put off by him, "you can't keep threatening to kill the waiter," you say, a little worried at his violent outbursts, and how he's able to just revert back to being the sweetheart you fell for. calm and collected. the emotional whiplash is strong.—"you're right sweetie, i should have just killed him on the spot, that way i wouldn't have to waste my breath..."
the way he’s sending you random packages of the most specific items, how did he know the exact brand of perfume you use, or your bra size. the flowers he sends to your workplace are nice, but the messages are a little much though, there's only so many ‘i love you’s written on every square inch of scallop trimmed card a girl can handle, but still...nice nonetheless, beautiful even.
so expensive too, how could you say no, how could you return the boots you’ve been eyeing for months, your name left on a waiting list for the longest time and he’s managed to get them shipped to you in a matter of days. you wear the boots, the earrings, all these things he’s gifted you and he’ll take it as a sign of your approval, which is why he doesn’t think you’ll turn them down...not the drawings he’s made of the two of you entwined, holding hands or having him atop you, he’s even got the colour of your hair and eyes in the right shade. what an artist, and a writer too, or at least the ten-page fanfic he’s written will be a testament to his skill, pictorial the way he describes how exactly he jerks off to you, how he’d like to see the fear flash across your eyes for that split second he presses a knife to your skin, against fleshy thighs, should he carve his name there?— “i was just being poetic you know, i won’t actually do that stuff...” he laughs it off.  
and he loves listening in on your conversations, searching up every contact in your phone, everything he does leads up to this, to hear you say "oh i love him, we're soulmates, i hope we'll stay together forever,” and he can't help but smile. beauty is in the eye of the beholder and what he sees in you stems less from physical attraction but that you’d be willing prey, he’ll be patient, doesn’t care how long it’ll take because of the satisfaction he gets when it all comes together.
you’ll be so happy with him, caresses the photos he’s taken from dark corners, on a rooftop, some he’s stolen straight off your job website. pinned to his wall alongside maps spread open, coordinates he’s scribbled on a piece of scrap paper, bank statements and text messages, your blood test results and medical records, all the people who've wronged you framed in passport sized thumbnails, arranged in a neat, uniformed line, red crosses over the ones he's already taken care of...suddenly that annoying co worker who makes you work overtime has disappeared, and your ex-boyfriend hasn’t posted anything in awhile...but geto's a professional of course, never leaves a trail, whether by bullet or knife or his bare hands, he loves you enough to not get you in trouble, he wouldn't want that for you...
your eyes rake over them, it finally clicks—"you killed them,” you whisper, shocked. breaths puffing out hurriedly, your heart begins to hammer, pounding so loud you miss his thumping footsteps coming closer.  "i had to,” geto replies standing before his handiwork, the attention to detail, a whole masterpiece. 
he’s sympathetic, hates seeing you so upset, fingers coming up to graze over the picture of your ex-boyfriend, “he wronged you,” geto explains, then drags his hands to the next photo, fingers pointing to your colleagues, “and they were such a nuisance weren’t they? i didn’t like that they made you work so hard…i waited all night for you to come home,” his shoulders rise and fall as he lets out another sigh, one that carries memories of sitting by his multitude of screens displaying live footage from cameras he’s no doubt set up, wired microphones in every corner of your apartment. 
"i know you best, i’ve seen everything,” ; taking a nap at 2, then work on a dissertation at 4, his eyes never leaving you for a second. casually watching you while sipping on tea, eyes taking in your form lounging in a bed, plush pillows resting under your chin, against your hip as you tap away at your computer and knows just exactly what you're doing; he knows you’re catching feelings, that you have notes written out of date ideas and long, long letters you'll never send to him, 'bday gifts' and 'children's names' in a bullet point list, all the cute new outfits waiting in a cart, and there’s the porn...just that little thing he rewards himself with—indulges in the fact that somehow your tastes are very specific, why are tall men with long hair the only thing you search for, that you’re more inclined to, or that you specifically like listening to the audios with melodic voices, whiny men who get right up to the mic and beg. and sometimes it’s the other way around...how dark and depraved you are to like what he does to you, “we belong together, i can make you happy, aren't you tired of being alone?” he says then, after he’s wound the rope around your wrists and it starts to cut into the skin, he pleads, he cries, “i couldn’t live without you...we’re meant to be...don't you want to be loved?" knowing you waited so long to hear it.
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(inspired by a few lil messages from a discord chat with @sandsorghum ! )
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ivalice-tifalucis · 7 months
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My take that he is a force ghost who comes to help Ahsoka. Right away the Vader/Anakin reminds me of this concept art for The Force Awakens. Of couse we all know it never ended up used.
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As a Reylo fan I have headcannons running in my head right now 😶
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imgoingtocrash · 2 years
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So, now that I've watched the first three episodes of Andor...
Everybody Lives!AU Cassian takes Jyn and/or Rogue One in general to meet Maarva fic, right?
Maarva tells embarrassing kid/teen stories about Cassian and she sees how much Rogue One has changed him fic, right?!
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insomniac-dot-ink · 1 year
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Why does modern queer fiction discriminate against me, a petty hater of mysticism? Yes, astrology is fake and it’s probably fine. It’s fine. People are having fun. But please, if you’re writing a Sapphic contemporary romance, think of me. An astrology-hater. Writing against Divine Feminine nonsense won’t make you popular but I will think you are so, so sexy.
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d-jscar · 6 months
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Rules: List 8 tv shows for your followers to get to know you!
Thank you for the tag @sygoflyy 😊
I have so much favorite shows so I'm just gonna list some of them! 😁
- Buffy the vampire slayer
- The OA
- Stargate
- Abbott Elementary
- New Girl
- Star Trek (Voyager and Deep Space 9, especially)
- Dark Angel (obsessed by this show when I was younger, so sad it only got two seasons 🥲)
- Doctor Who
@cobrafantasies @questinwitchface @imomnba-x07 @thejaguarback if you're up for it 😊
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P!nk and Dan Smith performing 'Just Give Me a Reason' (Brit Awards, 2019)
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blazingstarship · 1 year
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It’s always a good start of the day with a little love from you☀️
S: “Good morning, my love❤️”
Y: “Morning, Starshine💖”
S: “What’s wrong?”
Y: “Nothing.”
S: “Did you put another all nighter? You look tired.”
Y: “Im not tired.”
S: “But you have sneaked out of bed at two a.m and havent come back since.”
Y: *sighs* “I didnt want to wake you up.”
S: “Yusei please. I heard you breathing heavily and tumbling. I heard your stocking breath and mumble about get your rest I come back but when you left…you never came back and instead I woke up alone. Babe…are those nightmares hunting you again? You know you can tell me anything, I wanna be there for you.”
Y: “…”
S: “I care about you and your well being. If you are ready to share your burden with me, I am here for you.”
Y: “Thank you.”
S: “Always.”
Y: “Should I make you coffee or tea? A little breakfast? Anything you want.”
S: “Well, I would like something. But its not breakfast.”
Y: “What’s that?”
S: “Come on Yus…you know.”
Y: “….”
S: “A little love…lip on lip.”
Y: “A kiss?”
S: “Yea.”
Y: “Close your eyes.”
chu❤️
Y: “How was that?”
S: “Like a spring day💖”
*keeps smiling*
Y: *chuckles* “What?”
S: “You look cute with the hat.”
Y: “Not as cute as these apple cheeks of yours.” *rubs and squeeze cheeks*
S: “Shush you❤️” chu❤️ what about I made us french toast?
Y: Sounds delicious. I will make us a cup of coffee.
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incorrectmidc · 2 years
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“I won against fate, meeting you again. It’s the best feeling ever.”
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danis707 · 2 years
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🥺🥲❤️
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unproduciblesmackdown · 8 months
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more info, via a couple of reviews:
"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?
It certainly could be.
The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.
The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.
We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.
How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.
And how do they make it through two performances on some days? Amazing.
Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.
So, yes, the dancing is phenomenal. But there’s more to the show than that.
This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)
The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.
Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.
As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.
Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.
Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.
Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.
Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.
The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.
I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]
(hooray for most directly explaining gloria's overall arc)
and the next review:
"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.
Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.
Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.
Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 
Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."
Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.
As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.
Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.
In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]
(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)
(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")
#summer stock#dearth of peak relevant info for our purposes otherwise lol but hey#pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's#which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow#also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy#further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it#(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not#go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the#material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here#and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more#herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also#meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still#finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines#rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this#and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol#hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours#but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life#(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///
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homosociallyyours · 11 months
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do you ever just...look at HL's birth charts and kinda want to barf at how BIG some things are?
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as-dreamers-do · 5 months
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y'all i'm getting back into netgalley a little (it's going slowly since the last time i tried years ago i didn't end up leaving a lot of reviews so my stats probably look really bad to publishers xD) and i just got my second approval this time round and it's. it's the. it's the new katherine arden novel AAAAAAAAAAAAAAAAAAAAAAA
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