I’m looking for bootlegs! I was wondering if anyone has any bootlegs of the following shows with the following casts. There are so many shows with casts I want to see but sadly never got the chance to. I’d love if anyone has any! All bootlegs must be on drive or youtube since that’s how I like to watch them.
Sweeney Todd
-Aaron Tveit as Sweeney Todd, Sutton Foster as Mrs. Lovett, and Joe Locke as Tobias
-Jeanne De Waal as Mrs. Lovett
Moulin Rouge
-Derek Klena as Christian and Jojo as Satine
-Very unlikely but Aaron Tveit as Christian and Jojo as Satine at that one performance in July 2023?
-Casey Cott as Christian and Courtney Reed as Satine
-Derek Klena as Christian and Courtney Reed as Satine
Hadestown
-Original Broadway Cast
-Lola Tung as Eurydice and Jordan Fisher as Orpheus
Jagged Little Pill
-First national tour original cast
Dear Evan Hansen
-Gaten Matarazzo as Jared
Mean Girls
-Original Broadway cast
-Reneé Rapp as Regina George
Frozen
-Ryan McCartan as Hans
The Great Gatsby
-2023 Paper Mill Playhouse with Jeremy Jordan and Eva Noblezada
i have a hatchetfield oc who i dont talk about ever but hes the pushover resident stage manager of the starlight theatre. his real legal christian name is 'fable' but everyone calls him able instead. he looks like hes about to pass out at any given time.
Step into a week of unforgettable experiences with the Alanis Morissette Jagged Little Pill Tour 2024 and immerse yourself in the vibrancy of diverse cultural events! From captivating musical journeys to the richness of film and art, this guide has everything you need. Don’t miss out on making your February 2024 extraordinary. Dive into the details now! #AlanisMorissetteJaggedLittlePillTour2024 #CulturalEvents #MusicAndArts
• The Music Man (with Sutton Foster and Hugh Jackman)
• The Grey House (with Tatiana Maslany)
• Kimberly Akimbo
• Flower Drum Song (with Lea Salonga)
• God of Carnage
• The Thanksgiving Play (with D’arcy Carden)
• Camelot Revival
• Here Lies Love (with Lea Salonga)
If anyone can point me to the right direction, pleaaaaaaaaaaase do so. I’m accepting gifts ofc but I don’t mind paying a bit for my favorites, especially anything Jessie Mueller, Sara Bareilles, and Jodie Comer.
— Tamino for Hercules Universal, Spring/Summer 2019 (x)
Instant radiation
Photography Daniel Riera
Fashion editor Brais Vialasó
Tamino in conversation with Miguel Figueroa
Troubled loves, codependency, confessions, toxic relationships and the universal freedom that comes from admitting your repressed emotions and feelings are some of the most beautifully painstaking prevalent themes in Tamino’s repertoire. The 22-year-old Belgian-Egyptian songwriter music [sic] flowing in his blood - his grandfather was a well known musician in Egypt and from and [sic] early age his mother introduced him to the world of sound. Out of all the days of the year, Tamino and I chatted on Valentine’s Day. At the end of the day, love is what it’s all about.
MIGUEL: Many songwriters say their work is mostly autobiographical and it is a way for listeners to get to know their personal life. While others imagine stories or take from their friends or stranger’s experiences. Where do your songs stand in all of this?
TAMINO: Songwriting for me comes way easier when I have lived a little. And with that I mean real life. Being on a bus or plane all the time isn’t inspiring. Touring for me is routine work and has nothing to do with being creative. That being said, I don’t necessarily have to feel fully inspired to write songs. I love to start working on something even if I don’t feel like it. But in order to do that properly I need privacy, space, and preferably something to say.
M: Who were your first musical influences? Do you feel blessed to have a musical background through your grandfather? If you could talk to him now, what would you like to hear from him?
T: When I was a kid I was singing along to everything I heard around me. Mainly being: my mom’s record collection. She has such a varied taste that I think it has definitely been of big influence on how I perceive music. I just want something to touch me. I don’t care which genre it is or what the backstory is. If it touches me, I will probably love it. Of course we listened to my grandfather’s music (amongst other Arabic music) as well and that was very inspiring too. Unfortunately he passed away when I was five years old so I didn’t get the chance to know him very well, but I’m very happy to have his records and to be able to hear his beautiful voice and his extraordinary performances.
M: Do you remember the first concert you attended? The first CD/Album you purchased?
T: First concert: Children’s version of Mozart’s opera: ‘The Magic Flute’ (Where my mom got my name from when she was pregnant with me). First album: Lord Of The Rings Soundtrack for sure.
M: I don’t know if you know this but Thom Yorke was 25 when Radiohead released Pablo Honey, Lauryn Hill was 23 when [sic] and Alanis Morissette was 21 when their records, The Miseducation of Lauryn Hill and Jagged Little Pill came out. These were all extremely personal works. How does it feel to have such acclaim so quickly in your career? Do you feel some sort of pressure or are you just taking it day by day?
T: Sometimes I get the feeling that one is expected to be some sort of machine when practicing this profession. That’s as far as pressure from outside goes for me I guess. Creatively I don’t feel obliged to do anything and the only pressure I feel there is from within me. A big pressure though, because I can be quite the control freak.
M: Men are notorious for not sharing their emotions. Would you consider yourself a healing voice for men and people in general to be able to tap into these dark emotions of troubled loves, co-dependency, toxic relationships and deep introspection as a way to find solace and peace?
T: I don’t consider myself anything but a creator/performer. Each has their own reason to listen to my work. Music can of course be healing. I think some of the main reasons people listen to music are: for healing, to hear their pain reflected in someone else’s pain, for dancing, for celebrating, for company, etc. Music is a sacred thing and I feel small next to it. So I wouldn’t dare say I’m the cause of healing. The music is, and I’m merely a vessel trying to get it across.
M: What brings you joy?
T: Music, love, and silence.
M: How do you like not only being the darling of the music scene but also the fashion world? Do you think it balances you from the depth of you [sic] music career?
T: [Laughs] I’m very flattered by your question. I love fashion and am very happy to get to know its world a little better too. Clothing for me is another way of expressing myself. I see it as an extension of my work and being. I like to dress according to how I’m feeling and dressing wup will also help me to get into the right mindset for a day of writing songs or a concert. I’ve never seen fashion as a counter-balance for my career in music. I’ve honestly never thought about doing fashion shoots or being linked to amazing fashion houses I love before I got asked for those things. They’re great experiences and I’m very grateful for them. Doing a photo shoot is something entirely different than doing music but still the best way to balance out my musical activities is being at home with loved ones and a good book to read.
The Resurgence of CDs: the "forgotten format" remembered by me
I know what you're thinking. There is no rebirth of CDs, Isha.
The facts tell us that they have been dying a slow death since their peak in the 2000s, suffering a 97% drop in sales revenue back in 2020. It fails to be a viable commercial format due to performing terribly in sales' data, with only a 1.1% increase in the US during 2021. No one is buying CDs, and those who are, well they just don't matter in the grand scheme of things for a few reasons. There are various sources of media that say otherwise, yet Damon Krukowski boldly states that one of the reasons why journalists have been penning articles regarding "the resurgence of CDs" is because there is a sense of false consciousness attached: it is an attempt by the industry to substitute the interests of the rich for one's own; to distract music consumers from facing the deeper problems within music distribution, such as a supposed booming economy in the music industry despite there being a great income inequality. To which I say, true, but un(?)fortunately, our minds do not resort to that aspect of the resurgence of CDs immediately. I mean, really, when I came across a sticker-peeled, used copy of Alanis Morissette's Jagged Little Pill in the snug CD section of my temporary hometown's Oxfam (I was in Bath during my second year of university), I was hardly thinking of the effects of CD sales in the music industry. What I was thinking about was the excitement I felt in the pit of my stomach to be eight years old again, sat on my bedroom floor, wanting to scream the lyrics to Ironic whilst dancing around my stereo. If there is a resurgence of CDs, it is thanks to my generation: Gen-Z.
Perhaps one of Krukowski's faults is that he is building his conclusions based on CD sales from corporate stores, not independent stores that sell pre-owned copies. An hour ago, I was stood in a place named Record Collector in Sheffield, a whole store dedicated to collecting CDs along with artist memorabilia, such as tour posters and band autobiographies. There are also places such as Oxfam and Truck Store in Oxford where pre-owned copies of various CDs are sold at cheap prices ranging from 99p to £5. These stores are where the heart of CD-love lies. It's the accessibility with personal ownership that is comforting, along with the affordable pricing in contrast with vinyl prices. This reason for CD appreciation has always been evident, yet the introduction of MP3 files and the quick accessibility to downloads back in the 2000s is one of the murderers of the CD craze. Once there was a rise in MP3 players being sold, CD sales nearly halved between 2000 and 2007. Despite this, various artists and music fans remain defending CDs against MP3 players due to MP3 files becoming compressed when downloaded, affecting the audio quality of the song. With CDs, the audio is never compressed nor tweaked in any way. Yes, you could also just encode your MP3 files at a higher bit rate, but that leads me to my next favourite thing about CDs.
THE CREATIVITY IS UNMATCHED. I have always been a visual learner of some sort, falling in love with aesthetics that are carefully crafted in front of me for my own enjoyment. It's why I adore films over books, possess a keen eye and attention to detail when it comes to their direction and fashion, and it is also why I love CDs in the way that I do. I mean, I have a whole Instagram page dedicated to the craftsmanship that artists have demonstrated through their CDs. I own a growing collection, ranging from artists like Hole and Radiohead, along with Avril Lavigne and Alanis Morissette. All CDs I own are bought based on two things: how much I love the music and how much I adore the artwork. This creativity that artists can build on introduces a realm of sentimentality for when a music consumer witnesses time taken to produce a delicate work of art, where thorough thought has been given to which photos will be used for the cover - what colour scheme we are aiming for in terms of the album's aesthetic - which font should be used for the title and should it be the same for the lyrical pages in the booklet? - these are intricate details that an artist recognises and appreciates, no matter what. With so much love and care given to a piece of work that you have crafted, not always alone but with a team, you can't help but feel a sense of inspiration along with appreciation for the beauty of it all - allowing you to feel a strong connection with the artist. With that, no other music format could even compare to the liberation of creativity that CDs possess.
If there's anything you're going to take from me and my ranting, please let it be this: close your eyes, think of an album, or a song, or an artist that you can't help but feel a strong connection to, and buy one of their CDs. Go through the cover booklet, consume and appreciate each framing of text on each page - ask yourself why they chose to use that font or that colour - have the music playing at the same time and read through each page that consists of their lyrics... Let yourself be completely enamoured by the artist's choices of creativity and build your critical thinking in terms of what could be going on inside their minds.
You'll find yourself tapping into a whole new aspect of consuming music, especially in terms of appreciating visual individuality and the liberation that comes with it. All these feelings... thank you, CDs.
I am desperate for a bootleg of the Jagged Little Pill tour, so if you have it, I am GLAD to trade for it. Also any Spring Awakening boots would be great! IDC what production. And Moulin Rouge! Willing to trade!
Oooooooooo this is so tough. And I'm one of those people who changes their favourites depending on what I'm currently obsessed with.
Although Alanis Morissette will never not be a favourite for me. I saw her live on the Jagged Little Pill Tour a couple years ago and it was a religious experience.
Janelle Monáe is also an ever-fave. She's multi-talented, so original and always does her own thing. Dirty Computer was where I really fell in love with her though. I've never seen her live but it is on my bucket list!
Lastly, Lizzo. I know there is some complicated stuff attached to her name at the moment but as a fat person seeing someone with a body like mine openly celebrate it through music and dance? That shit is affirming as fuck.
I hope that answers your question! How about you? What are yours?
There are currently 41 operating Broadway theatres, & I have been lucky enough to visit most of them. In descending order by most visited, here is a list of all the productions I’ve seen & the year I attended for each theatre.
Belasco Theatre: Hedwig & the Angry Inch (2014) / Hedwig & the Angry Inch (2015) / Hedwig & the Angry Inch (2015) / Farinelli & the King (2018) / Network (2019)
Neil Simon Theatre: Jesus Christ Superstar (2012) / Big Fish (2013) / All the Way (2014) / Angels in America Part 1 (2018) / Angels in America Part 2 (2018)
Richard Rodgers Theatre: Cat on a Hot Tin Roof (2013) / Romeo & Juliet (2013) / If/Then (2014) / Hamilton (2016) / Hamilton (2018)
Studio 54: The Mystery of Edwin Drood (2013) / Cabaret (2014) / Cabaret (2015) / The Lifespan of a Fact (2019) / Pictures From Home (2023)
Longacre Theatre: First Date (2013) / Of Mice & Men (2014) / Allegiance (2016) / The Prom (2019) / Leopoldstadt (2023)
Brooks Atkinson Theatre / Lena Horne Theatre: Peter & the Starcatcher (2013) / Spring Awakening (2016) / Spring Awakening (2016) / Waitress (2017) / SIX (2023)
Bernard B. Jacobs Theatre: It’s Only a Play (2015) / The Color Purple (2016) / The Ferryman (2018) / Company (2020) / Parade (2023)
Circle in the Square Theatre: Godspell (2012) / Fun Home (2016) / In Transit (2017) / Once on this Island (2018)
Booth Theatre: The Glass Menagerie (2013) / The Elephant Man (2015) / American Son (2019) / Kimberly Akimbo (2023)
Music Box Theatre: Pippin (2013) / The Heidi Chronicles (2015) / Dear Evan Hansen (2017) / Purlie Victorious (2023)
Broadhurst Theatre: The Front Page (2017) / Anastasia (2018) / Jagged Little Pill (2020) / A Beautiful Noise (2023)
Imperial Theatre: Les Miserables (2014) / Natasha, Pierre & the Great Comet of 1812 (2017) / Carousel (2018) / Bad Cinderella (2023)
Broadway Theatre: Cinderella (2014) / Fiddler on the Roof (2016) / West Side Story (2020) / Here Lies Love (2023)
Ethel Barrymore Theatre: The Bands Visit (2018) / The Inheritance Part 1 (2020) / The Inheritance Part 2 (2020) / Harmony (2023)
Al Hirschfeld Theatre: How to Succeed in Business Without Really Trying (2011) / Kinky Boots (2013) / Moulin Rouge (2020)