#rogers: the musical

[sersi]

Steve Rogers + Rogers: The Musical ↳ Spotify Template

#marveledit #steverogersedit #filmedit #rogers the musical #steggy #pro steve rogers #pro endgame steve #**elysiaedits #**elysia's gifs #steve rogers #peggy carter #rogers: the musical #otp: the right partner #mcu #long post for ts

[charcubed]

Disneyland's Rogers: The Musical, propaganda that turns Steve Rogers into more myth than man, and revisionist history (possibly) to a purpose

Any of my thoughts in this post could just be me reading too far into things. I'm very aware of that, and please know that this post exists just because this sort of thing is fun for me! This is a thought exercise where we propose "What if we live in a world where the MCU is actually doing a cool and interesting thing as a longcon?" If you have anger at Marvel, that's valid and relatable, but please don't get angry at me or imply I'm an MCU stan who doesn't think critically about the mouse. Thanks!

Breaking news: I'm back on my bullshit!

A quick personal recap: I infamously hated Avengers: Endgame for a long list of reasons (and I even rewrote the movie). One of those reasons is that I've always taken issue with Steve's ending. But in the years since then, and as the MCU's phase 4 has evolved, my frustration at Steve's "ending" has turned into an ongoing and legitimate theory that the MCU could be slowly leading into a loosely adapted Secret Empire plot line. I know we've all been joking about Steve being trapped or about an imposter Steve since 2019, but uhhh, it's kind of not a joke to me anymore? It feels weirdly plausible at this point and so I enjoy discussing the potential.

You can find a full elaboration on that here, where I wrote out my "Steve was snatched by HYDRA" theory in 2021.

In that post, one of the things I mentioned at the time was Rogers: The Musical being in the Hawkeye trailer.

[The musical's] very existence is an example of how in-universe the stories of the lives of the heroes are being commodified, especially (in terms of how they’re framing it) for Steve’s. The heroes are no longer seen as people, if they ever were. They are, as Kate Bishop says to Clint in a recently released clip, more about “branding.” Sam Wilson will be redefining the shield moving forward in a Cap context, but simultaneously, the world is still enamored by Steve Rogers as a symbol in his own right. And that is ripe for manipulation as a Trojan horse to control public opinion… whether in the context of things like this by themselves (is the musical portraying Steve accurately, or is it painting an inaccurate picture of him the world accepts as fact?) or in future (is this propaganda that makes the public see Steve a certain way and continue to love him, to set up a fake or brainwashed Steve coming on the scene later?).

Now a form of the musical exists in full, at Disneyland and all over Youtube. Considering some of its baffling content – which I will break down below – this perspective seems even more strongly worth considering.

I have two main reasons for why I'm defending examining this musical so closely:

1. It is (arguably) an in-universe piece of media that has bearing on the MCU canon. It isn't like any other typical Disneyland attraction; its very existence is meta and it was in canon first. Obviously it's seen in Hawkeye, but there are also posters for it in several different phase 4 properties. It's lurking in the background indefinitely. So what can this musical tell us about what the wider public within the MCU is being told about the life story of Steve Rogers?

2. This Secret Empire graphic – which is animated in the center of the stage of a prolonged period of time – feels like a literal sign to pay attention.

Granted, this is obviously still ancillary material. 99% of the MCU audience will never see this musical, whether in person or on YouTube. But just because it isn't a vital piece doesn't mean it's automatically an entirely irrelevant piece.

They've given me an inch with that sign and I'm taking a mile.

So if you're interested, please join me on this journey :)

For the record, let me just say that I salute the creative team behind this show. It's pretty fun and the songs are catchy, the sets and costuming are cool, and the cast is overall very talented.

It's also fucking maddening. LMAO.

Why? Firstly, because of the seemingly deliberate ahistorical inaccuracies. We all know Ant-Man is wrongly shown in the Battle of New York, which originally "came from [the Hawkeye showrunner] and Marvel, as something to further aggravate Hawkeye as he watched the show, and also as a comment on how movies and articles and people always get something wrong." It seems like they expanded those meta nods, but most inaccuracies are now in service of glorifying Steve and Peggy's "love story." Yes, romance objectively makes for good theater; but again, I feel that this is worth examining considering the full context.

And secondly, Steve's ending is framed as an offer presented to him, convincing him it's the happy ending he deserves because he's tired. In my mind, these two big elements go together, and I'll walk you through the details of what happens in the musical before I tie the thought threads back around into some theorizing.

For your reference, here's a list of the main songs and story beats:

• "U-S-Opening Night" - the Starkettes (who are basically a Greek chorus) frame the show's story, and then it turns into an ensemble that loosely takes place at the Stark Expo. • "I Want You" – Steve's "I want" song about trying to enlist in the army. • "Star-Spangled Man With A Plan" – Steve performing on the USO tour obviously, and then there's a reprise with an added voiceover that (very briefly) covers the Howling Commandos' rescue + the war via comic book imagery. • "What You Missed" – Fury and the Starkettes tell Steve some pop culture things he missed while he was frozen, + they tell him about the Avengers. Then Fury goes down a list of other hero characters, including the Guardians? Doctor Strange? Wanda?? It plays loose and fast with time, because many non-2012 characters are bafflingly mentioned in this nonlinear Avengers list – including the Winter Soldier (???). • "Save the City" – this is the song seen in Hawkeye, with the civilians + the Avengers all involved, but it's slightly different here and expanded to also reference other battles. • "End of the Line" – Old Steve presents main Steve with the time stone as an opportunity for his happy ending, and they reflect on things together. (Yes, this is insane.) • "Just One Dance" – Steve and Peggy reunite and sing about their love. • And then there's basically a reprise of "Save the City," with the Starkettes and the whole cast closing the finale out.

Right out of the gate, let's address this: the main reason you're going to see some fans pissed about this musical is not only that Steve and Peggy's ~epic romance~ is made a pillar of the story... but also that Bucky's importance/involvement in Steve's life is minimized as much as possible.

And they took Bucky-related elements from canon and made them center more around Peggy instead.

• For some weird reason, Peggy is in the Stark Expo scene. When a soldier is hitting on the Starkettes ("hey sweetheart, I wanna dance!"), Steve tells the soldier to show the ladies some respect. The soldier grabs Steve and throws him down, and then Peggy swoops in to yell "Pick on someone your own size!" and punches the guy before walking away. So she's given Bucky's TFA line verbatim, and she is given the role he had of saving Steve from bullies. There is blatantly no reason they couldn't have had Bucky still serve that function and be truer to "history," because he briefly enters this scene in uniform less than a minute later to announce he's shipping out to the 107th – and then he spins off with a date on his arm. (We don't see Bucky on stage again until the full cast comes out for the finale!)

• After the Star-Spangled Man show, Peggy rushes in to talk to Steve. Steve is excited about his USO performance (???) but she urgently tells him to listen as she says that the 107th has been captured. Peggy apparently knows it's Bucky's division, and she knows Steve is going to go, so she tells him that she's already arranged transport for him. This is a subtle twist from the truth of how it went down in TFA, in which Steve recognized 107 as the number of Bucky's division, and his dogged determination inspired Peggy to relent and help his rescue mission. Here, Peggy is given a stronger role in the Cap origin story. And before Steve rushes off, Peggy sings a short untitled ballad hoping for their dance, so Steve pauses before he leaves to ask her to go on a date with her when he returns. • The most egregious Bucky-to-Peggy change of all is the song "End of the Line," in which the infamous Steve and Bucky line/promise (that broke Bucky's brainwashing...) is re-contextualized to be about ???? Peggy waiting for Steve in the past??? Old Man Steve and regular Steve sing it together. But we'll go back to that in a minute.

Again, I get it, yeah? It's for theater. Whatever. But in reality, the obvious logical truth is that Peggy is centered (to the point of taking elements from Bucky's story, and in turn Bucky is downplayed) because they needed to convince the audience that Steve going back in time to be with her makes sense. Steve's time travel ending had to be justified, so the Peggy and Steve "love story" had to be a pillar in this with everything else being given lesser weight.

And the inherent selfishness of him doing something as big as going back in time also had to be justified... which is why they do their best to convince you Steve fought so much he deserved it.

Let me elaborate on that by describing the lead-up to the "End of the Line" song.

So, right before "End of the Line" is "Save the City" – which includes Steve belting "I can do this all day!" repeatedly, of course. It's the 2012 Battle of New York as the Avengers come together to win.

As they begin to disperse, the song then transitions to a voiceover alert mentioning Sokovia being under attack by artificial intelligence (a.k.a. Age of Ultron). The Avengers group rushes back to center stage to say "Save the city! Help us win!" together for battle again.

And then things get fucking weird.

Because the next voiceover threat is "Washington DC. Attack: the Winter Soldier." This is not accurate to the order of events! The Winter Soldier events were before Age of Ultron; the public of the MCU would also know this.

And suddenly on stage Steve is now in the center while everyone else gestures to him. Instead of singing with him, they're telling him "Save the city! Help us win!"

Then, another voiceover: "Wakanda, under attack" (Infinity War) and again, Steve is centered while everyone else points to him. The ensemble says, "Save the city, help us win! Save us all from the state we're in! Got to hear you, got to hear you, got to hear you say..." as Steve is buckling to his knees under their pointing. And as the lights go down to one spotlight on him and everyone else leaves, he says "I can do this all day" one last time, but now it's subdued.

The implication is that Steve has been fighting and fighting, people leave him or he loses them, and he's tired.

And then fucking Old Man Steve arrives.

He says "On your left," because yes, they gave him Sam Wilson's line. BATSHIT.

So now there's two Steves on stage! There has been no mention of Thanos or infinity stones or anything up to this point! (I can only assume that's because in the MCU universe no one would want to be reminded of the trauma of "the Blip" – though it's pretty wild that they're allowed to know about magical time travel?)

Steve is baffled by Old Man Steve's arrival. I, too, was baffled by Old Man Steve's arrival.

As Steve questions how this is possible, Old Man Steve shows him the time stone from his pocket – and only the time stone – which Steve recognizes.

OLD MAN: "You've got to remember where you've been to know where you're going." STEVE: "Where am I going?" OLD MAN: "A date with destiny." STEVE: “Destiny. So we’re the hero till the end?” OLD MAN: “That’s the thing about endings, Steven. They can be rewritten.”

Lmao???????

Steve starts singing about how he hopes this means they "win" and calls himself a "tired hero."

STEVE: "But sometimes I wonder, who will save the savior? Can we really do this all day? So here I am, now and also then. Just a man, looking back at where he's been." OLD MAN: "The road is rough but wounds are healed by a thing called time. You can't forget what's waiting at the end of the line."

Me, watching this: the fact that he says this out of the blue makes absolutely no sense.

There's a bit more singing, including "end of the line" repetition, and then Old Man Steve pulls out the time stone to essentially show visions of... I don't fucking know. Past, present, and future?

That's pre-serum Steve, Steve with Mjolnir, and Sam Wilson as the new Cap. This is the only reference to Sam in the whole thing.

More singing, and then: Peggy's silhouette.

OLD MAN: "Can't forget who's waiting..." STEVE: "I can't forget who's waiting..." BOTH: "Don't forget who's waiting..." STEVE: "At the end of the line."

At this point I'm like, what in the hell?

Did Old Man Steve just brainwash normal Steve into thinking "end of the line" is now about Peggy? Because uhhhh, sorry, that's what it feels like!

Then Steve uses the stone to go back in time, reunites with Peggy, etc. etc. finale.

It's truly some crazy shit.

[drags hands down face]

Look... there's a lot to unpack here, and there's a lot that gets me about it. I know this is dramatized for the stage! I KNOW! But the fact that Old Man Steve shows up to convince Steve he should go back in time makes me want to gnaw on furniture.

Another person essentially uses the lure of a life with Peggy to tempt Steve into doing this, dramatized or not. That is how it's framed.

It's a hell of a way to frame it, and it makes Steve's ending stand in even starker contrast to so many other things in phase 4. Desperately trying to go backwards when you shouldn't or to bring back a lost lover is an evil temptation, and it results in a trap or negative cosmic consequences for basically all of the other characters in the MCU.

• In Shang-Chi, Wenwu is tempted by the Soul Eaters beyond the Dark Gate. They use the voice of his deceased wife to convince him to set them free. • In "What If" episode 4, Doctor Strange becomes evil in a desperate bid to save Christine and he destroys his universe. Along the way, he tries to tempt/trap the good Strange who's fighting him by using visions of Christine, but good Strange knows she isn't real. • Wanda's grief and desire to bring back Vision leads to – well, you know. • In No Way Home, Peter trying to undo things is what causes the multiverse problems.

And the fact that they frame it as Steve being tired, so basically the argument is he deserves that time travel ending (just like MCU fans who defend Endgame say in real life)... Well.

There's no way to make it hold up, especially because in "What If" they explicitly subverted that and had Captain Carter not go back in time despite how she felt she'd "earned" it.

Lastly, in this musical as Steve decides to pursue time travel as his course of action, he basically has the meaning or memory of "end of the line" rewritten for him. I refuse to not think that is some nefarious shit. Yes, it's not out of the realm of possibility that it's just some general Disney erasing Steve and Bucky nonsense.

But... this is on another level to me. I do think that it's a blatant choice that they had to be aware even general MCU fans would call bullshit on. Everyone knows it's inaccurate. "End of the line" is embedded in pop culture consciousness as being connected to Bucky. It just is! Surely that means it's not a stretch to theorize it could be deliberate meta commentary.

How, in the MCU world, would the in-universe playwrights even know the phrase "end of the line"? How the fuck would it be accidentally applied to Steve and Peggy? Not to sound like a crazy person, but who the fuck was rooting around in Steve and/or Bucky's personal business or their brains in order to obtain that knowledge and then remix it, and why? Neither of them would flippantly mention it in the public eye or interviews ever. So where did its inclusion come from?

And in the finale ensemble, this is Bucky's line when he comes out on stage and salutes + points to Steve: "Don't forget who's waiting..." And Old Man Steve completes it with "...at the end of the line."

What on God's green earth am I meant to do with THAT?

Smh.

The vibes are fucked, folks.

The MCU public wouldn't know enough to say the vibes are fucked. The MCU public wouldn't know the origin of "end of the line" as a phrase. But us? The ones who know the "true story" via the movies? We can call bullshit.

Whether the creative team behind this musical did every aspect of this consciously or not, in my opinion the fact that they had to tweak canon "history" to A) make Peggy's involvement in Steve's life more central and B) emphasize Steve as a tired hero all works as commentary on and almost a condemnation of Endgame's frustrating ending. In a way, it's also what Endgame did with the compass and 1973 moment with Peggy as well.

Steve's ending had to be convincing.

It's theater.

And so, maybe the same is true for the in-narrative perspective of this musical in the context of the MCU world. What purpose would it serve to tell the MCU public a feel-good narrative about how all Steve Rogers wanted was to no longer be a tragic man out of time and get to make a life with his best girl? To frame it as being about how he fought so hard for years and so he earned a happy ending? To minimize and nearly erase Bucky's importance in his life?

Who would want to do that sort of propaganda, and why?

The MCU civilians are given this happy explanation and maybe don't widely question it. Who cares about the details or logistics if it makes a good story, I guess. It's a stretch, but maybe they mostly applaud it. Maybe they're happy for "America's favorite son" (not unlike people who uncritically liked Endgame). In a way, it's even a rehabilitation of his image (after the Accords) like putting the shield on the Statue of Liberty. And maybe they'd even be ready and waiting to applaud if Steve ever made a dramatically selfless and de-aged return to the spotlight or a position of authority.

But mostly, the public is being conditioned to not know or to forget that anyone else like Bucky Barnes or Sam Wilson would possibly know Steve Rogers the person well enough in the modern day to call bullshit on any of this – or on his hypothetical miraculous future return.

So. Sure, it's probably nothing.

But what if it's not?

-------

UPDATE: @faeriecap added to this post with some incredible information and further behind-the-scenes context about the MCU/Marvel stuff at Disney parks! Check it out here :)

#rogers the musical #rogers: the musical #steve rogers #captain america #captain america meta #marvel meta #imposter steve #anti-endgame #peggy carter #stevebucky #mcu #marvel #stucky #anti-endgame steve #char writes things #me: is anyone else going to write about this being propaganda? no? fine I'll do it myself #I should not be posting it after midnight but I don't want to be tempted to fucking look at it again tomorrow. be gone you monster

[dharmasharks]

Yeah, so. This feels shitty. This feels pretty shitty in a seemingly intentional, malicious way.

But aside from feeling yucked out by another stucky retcon, I’m thinking about the implications of a canonical piece of revisionist history existing in the same universe as Steve himself.

(For those who aren’t keeping up post-endgame, we see Clint and fam go to Rogers: The Musical on Broadway in D+’s Hawkeye. Clint finds it gross, too, btw.)

That means that even in-universe, the powers that be seem intent on retelling Steve’s story to make him, and many of the characters in it, more palatable to the masses. Poor Steve. (And poor Bucky! Guy has like two lines and they gave all of them away?!)

#something something who lives who dies who tells our story #I love fics that have Steve grapple with in-universe media and propaganda that distorted his image over time #so if someone wants to write me a spite fic that’d be lovely #stucky #marvel meta #marvel critical #rogers: the musical

[rogers-the-musical]

You know what’s cool?

When Peggy finds out that she is Steve’s moral compass, it’s not because Steve doesn’t have a compass. It’s because their strengths work together. It’s that Steve has that drive, and so much goodness, he just doesn’t know Where to put it. He knows what he wants to do, just not always HOW to do it.

Then Peggy comes in, with so much faith and goodness and desperately wanting to believe better of the world, but she just can’t. Until she sees Steve. And then that goodness, that desire to believe, turns to faith: and Peggy, with all that inside her, is inspired by Steve and his desire to do right, to do good. And she uses her knowledge of the world, her intelligence, and that inspiration to help him know what the right direction is. That’s why she’s his moral compass-not because she’s any better than he is, but because she points him in the most logical direction. And lucky for Steve, that’s a direction motivated by the same faith and morality that he has.

And that’s what makes them such a special pair. It’s not about Steve not getting that last dance or Peggy being left alone, without her super-powered romance; it’s about two people who literally and figuratively lift each other up and drive each other to new heights. And they each end up doing the same even after they’re torn apart.

I know a lot of Bucky fans are disappointed at how Steggy oriented Rogers the Musical is. And I love Bucky. And while he is a driving force in Steve’s life, and the most important familial relationship he has left, Peggy is the one continuously driving him to do things. She is the one to convince him that he was “meant for more than this”, and is constantly planting seeds; guiding him. Bucky is the force that tips the action, and why wouldn’t he be? He’s his best friend. But Peggy is constantly lifting and pointing him in the right direction, believing in him to do great things. Without her influence, we wouldn’t have captain America. Without her influence, Steve may have folded to the government during civil war. (And before you attack me, I said MAY. He may have just compromised, but he definitely wouldn’t have stood his ground as firmly). So, do I believe this to be a more important relationship than hers with Bucky? Slightly. Bucky’s still an extremely important person to him, but in terms of where he wants to go and where he’s going, Peggy is the most influential person, and she IS literally where he wants to be.

This is why I’m shocked the were even going to have him move on to Sharon in the first place (though I do understand a person has to move on) Not because there’s anything wrong with her, but because it could never make up for the special relationship he lost-whether it was Sharon, Natasha, any other ship.

#Steggy #Peggy Carter #Steve Rogers #Rogers: the musical #Not sure whether or not to tag Bucky in this #I don’t want to get antis yelling at me #but this is a very important relationship to Steve #yes I know Peggy got one of Bucky’s lines in RTM #but a worker came out and said it was literally because they couldn’t fit it in with Bucky saying it

[luminouslumity]

Watch "Full Show: Rogers: The Musical | Disney California Adventure" on YouTube

So I just found out this existed and it's now one of my favorite musicals ever, even if it is short!

#disney #marvel #captain america #steve rogers #bucky barnes #peggy carter #nick fury #hawkeye #rogers the musical #rogers: the musical #musicals

[booksandabeer]

Countdown to some idiot at Marvel claiming:

"Oh 'The End of the Line' was really always about Steve's happy ending with his ladyfriend. That Bunky Bornes character was just some dude tagging along for the ride. The real destination was always heterosexual marriage."

It's That Song™ all over again just a million times worse. You want to do CompHet - The Musical? Ok, fine, whatever. Go for it. But would it fucking kill you to come up with original material for this supposedly oh so epic romance that you insist on pushing so relentlessly? Because you are not exactly making a case for the strength of that relationship if you have to cannibalize your own canon to give it any weight at all.

(Every time I say I won't get angry about their bullshit anymore they come up with something even worse than before. But here we are again. I'm angry. And I'm angry about being angry. I'm tired of being angry. This is all so sad and stupid. But, really. They had go there?)

#i don't know what to tag this #anti mcu #i guess #pls let me have my rage today. i'll go back to being polite about all this tomorrow. #rogers: the musical

[nerdgirlriot]

Me, before watching YT vids of Rogers: The Musical: Well, how good could it be? It was played off as a joke in Hawkeye. The one song was kinda cringe. idk what Disney was thinking making it into an actual stage show.

Me, after watching YT vids of Rogers: The Musical: *screaming crying throwing up*

#merry marvel marching society #rogers: the musical #oh it's still very musical-forward and still kinda cringe #but also surprisingly emotional???? #also pre-serum Steve's 'I want' song is a LITERAL 'I want' song #and i appreciate that #it reminded me of 'go the distance' from hercules #awwwwww

[dk-wren]

Rogers: The Musical First Impressions

Just finished watching a recording of Rogers: The Musical, which I am so happy to finally say, is currently running at the Hyperion Theatre inside Disney's California Adventure theme park on select days through Aug. 31st!

While subject to change, Rogers: The Musical will typically run from Tuesday to Saturday, with performances at 12:30, 2:00, 4:00, and 5:30

Here is a link to the recording I watched, but there are already plenty of videos of the whole show to choose from. Just thought I'd include it since my thoughts may be specific to what I saw in this video.

Summary of Final thoughts: I was very excited about this musical actually becoming a real thing and being developed more. Additionally, I was super interested to see if Disney tried to develop it as a serious musical or leaned more into the satire and comedy of "Save the City." Bottom line, I had so much fun watching it and thoroughly enjoyed it. I am a huge theatre fan, so definitely have a few critiques, but given its constraints, for a first production, really great.

And now, if you are interested, here is my long list of more in depth first impressions/thoughts:

Even based solely on what's been adapted in the MCU, there's still a lot of history that could be covered in a musical about Steve Rogers, which this musical does attempt to cover. So, the pacing is pretty quick.

It's kinda like a slideshow where you see the snapshots, but not the details. The only times it felt like I had a break to just sit and be in the moment was during the songs/musical numbers. Now, I don't think I can necessarily say this is a negative since it is only a 35 minute musical. I just had to sorta shift my expectations.

Building off of that, for a 35 minute, theme park musical, I'd say it's pretty darn good. It had less base material compared to Aladdin or Frozen (the previous two musicals staged in the Hyperion Theatre) that could easily translate to the stage, which allowed this creative team to have a lot of freedom in how to adapt this story for the stage. And, honestly, I really enjoyed their choices.

It's Disney and it's their theme parks. Avengers Campus is literally steps away from this theatre, so they absolutely could have gone all in in designing beautifully elaborate costumes, specifically the super hero suites. But they didn't, and I kinda liked it. Part of the decision for the actors' costumes to look more like everyday clothing likely comes from the design choices made for "Save the City" when it appeared in Hawkeye, but also, if the Captain America walk-around costume was to be the one used in this musical, I feel it would actually look a little out of place. I enjoyed how the costumes weren't one-to-one reproductions, but rather representations of each character and their signature look. You can still clearly tell who is who, but it matches the more minimalist style of the stage design too.

Loved The Starkettes! In terms of costuming, loved how their looks changed between the 40s/USO look and the modern day/business look to reflect the setting. I'm debating if I want to refer to them as the narrators or the chorus, but either way, loved their interactions with the Marvel characters and responses to certain lines in the show.

At least from this video, the projections and digital backdrops looked well done. Loved how there was not an emphasis on making like Times Square look hyper-realistic.

I don't think I'd say the digital backgrounds looked cartoonish, especially in a bad way, but there definitely is an aspect to them that's meant to be stylized. Again, this then compliments the design choices of like 3 comic book covers and that whole sequence about Steve fighting in WWII.

I could be wrong, but Rogers seems to have a smaller cast than Aladdin or Frozen. Absolutely loved their performances, but sometimes it felt like the stage was a little too big or too bare for the size of the ensemble/cast (could also be due to having minimal set pieces). - This is meant as an observation not as a critique

During the scene in which Steve and Peggy are chatting about going dancing before he crashes the plane into the ice, that conversation was translated into a song. And in my head, I was like YES!!! That's how you do a musical adaptation. You take those iconic and emotionally charged lines and put them to music.

Like I said at the very beginning, there's a lot that could be covered in a musical about Steve Rogers, so I kinda appreciated how there was like a mini reprise or continuation of "Save the City" as announcements came about attacks in different locations, which corresponds to all or most of the movies Captain America has been in. It reminded me of "Drive" from The Lightning Thief of quickly condensing a bunch of events/locations into the span of a few minutes, something the musical needed given its runtime.

This way, it acknowledges those events rather than completely ignoring them, but doesn't spend a whole lot of time with each one. The way I interpreted it too, when Cap sings the very last "I can do this all day," it then feels kinda somber in that he is reflecting on having to continuously fight in all these battles, with the expectation of always "saving the city." Plus, I thought it was a great transition to the next song, which in all honesty, I could not tell from the video if it was meant to be pre-serum or old Steve.

Loved how everyone came back out in the end for the finale (it's like memory lane)

Hoping to see it in person. This recording just confirmed to me that I am going to have a good time. Literally, big smile on my face, quietly cheering and whooping throughout the show, I'm just so excited to (hopefully) go to the theatre for a purely fun/good time.

#rogers: the musical #hyperion theatre #california adventure #musicals #musical theatre

[cacchieressa]

ROGERS: THE MUSICAL IS A GO!!!!

#steve rogers #captain america #hilarity #ROGERS: THE MUSICAL

[sublimedestructivevoid]

I am not the greatest fan of musical theater. Now, that said...

...I've got to see this shit. I have a feeling I'll be able to watch it all DAAAAAAAAAAAYYYYYYYYYYY!

#Captain America #Rogers: The Musical #Youtube

[piepeloe]

#not to be that person but #rogers: the musical #which is supposed to be about i dunno #steve rogers #does not seem to include #bucky barnes #and i know it's a fun joke thing #but still #wtf?

[between-the-pages-ofa-book]

I just watched Hawkeye again and the end credits scene just confirmed all over that I want them to film Rogers: the Musical in its entirety and put it on Disney Plus. I will also take them putting it on as an actual musical and inviting me to it and then putting it on Disney Plus.

And I don't want it to be accurate. Antman being there has already established that the writer of the musical got some details wrong so I want them to go all out on the story.

#rogers: the musical #mcu #Hawkeye

[macmanx]

This is bonkers, and surprisingly (or, I guess not considering the Disney of it all) not bad.

Anyway, the soundtrack is out now and it's a fun 30 minutes:

#music #musical #rogers: the musical #mcu #disney

[thenerdsofcolor]

'Rogers: The Musical' Creatives Wanted To Focus On Steve and Peggy's Love Story

Disney California Adventure has a new show at the Hyperion Theatre and it’s one that was born from a silly gag from Disney+’s Hawkeye. In the series, Clint Barton aka Hawkeye (Jeremy Renner) takes his kid to see a Broadway musical in New York called Rogers: The Musical – the story of Captain America and the Avengers. Clint makes fun of the musical as there is a scene depicting the Battle of New…

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#Captain America #Disney California Adventure #Disney Parks #Disneyland #Musical #Rogers: The Musical

[rogers-the-musical]

So..........There's this one part at the end of Rogers: The Musical where they're going into the final number and there's a small reprise of Just One Dance, it's literally maybe ten seconds long, but the thing, you guys, is that (and I've noticed it's sometimes there sometimes not in recordings) Steve and Peggy wiggle their noses. I'm not usually one for those kind of clearly cheesy things, but I couldn't even be uncomfortable because they were just so cute and altogether just so happy.

#Rogers: the Musical #I was sitting so close to the stage #(This is an overdue post...For a long time #and still #RTM was so special to me that I couldn't really talk about it #even after I got out of the theater for the first time #I was speechless #for the very first time #and near tears

[luminouslumity]

My favorite song from the musical, but I love the special effects most of all!

#disney #marvel #captain america #steve rogers #rogers the musical #rogers: the musical #musicals