Profile for someoneinatree2

BoringBoredBoard40 said: "Bat Boy has commercial producers attached if we want to start playing the "will it transfer" game now lol"

 

Yeah, I took one look at Alex Timbers and said "oh, this one's got legs" 

...or I guess wings

 

A Criss win would feel correct and deserved, but honestly so would Groff.

A back-to-back lead win? He really is the Tom Hanks of Broadway.

Hoping Justina Machado gets a Featured nom and honestly the win for CURVES. What a dynamite performance: both gut-busting and gut-punching, and often within moments of each other. I couldn't keep my eyes off her when she was onstage.

alovingfan said: "DAME said: "I think the recording is too pretty. There’s no grit. Flat."

Yep. I had the same reaction."

and this is my same reaction to the promo photo shoot. and the album cover now, I guess

Kad said: "It looks like they're still doing opening night festivities even if reviews aren't dropping tonight- photos of the step and repeat and red carpet are on social media."

Is this about to become the norm? or is it lowkey already the norm and I'm just now wising up to it

I believe it doesn't open until Saturday

I bet jonas is aware that curtain call is the lewk you see most on social media

I don't know when it happened, but the film has become quite beloved by the digital generation. it's one of the highest rated modern musical movies on Letterboxd - behind only Chicago (and maybe Wicked?) I believe.

Josh Rhodes is now at the helm. I know Kritzer was involved for a reading recently, with Ryann Redmond, Kate Rockwell, and Isabelle McCalla. Unsure who's continuing on for the CA production

I definitely see Wicked winning the Box Office award, but I wouldn't be surprised if this film ends up taking the Best Musical/Comedy category. After getting tons of spots on the BAFTA longlists yesterday as well as more nominations at the Globes, it feels like Emilia is the favored musical for the European voters this year, with Wicked doing much better with awards here in the US so far.

As for the film…I just spent much of the runtime wondering why they wanted to make this a musical. Found myself frequently mystified by the way they chose to make this story sing. There are twinkling moments of brilliance: Saldaña raising a rage-fueled toast in "El Mal", the whispers of a grieving son blossoming into a lullaby, or even the times when the rhythm of loading guns and traffic noise is simply allowed to seep into focus.

If they really leaned in, maaaan this could’ve been a walloping rock opera, a modern Evita or Jesus Christ Superstar. Or it could have gone the Kander & Ebb route, stepping out of reality to sing about society or comment on the story. Instead we get a dash of this and that, ending up with a film that doesn't have a strong grasp on what the songs are here to do. Some plop timidly into the plot, most cut away suddenly to the next scene, ripped off the vine before any of the ideas have a chance to mature into something meaningful.

It often felt like the musicalization was thought of as a standalone effect, like toggling color filters or slow-motion on and off, rather than a wet ingredient that chemically changes the structure of the story's batter. When your characters first start to sing (especially when they start to sing sincerely), it changes the rules of reality for the audience. It changes how they're being asked to pay attention, and it's best when the music is then allowed to communicate throughout. It should work its way into our bones and shift our perspective and transform the story in a way nothing else can. Otherwise, it's like using a sparkler to make s'mores: a brazen approach, but why?

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and it's so squeezed-in down there! bizarre indeed.

scripps said: "I was there. It was electric. Des gave a lengthy speech at the end. All the best to this cast, especiallyAli. I cannot wait to see what he does next."

Let's finally bring Chess back to Broadway - Ali would sell the hell outta that score

You should! Sounds like my area has been sorely missing out.