Profile for ColorTheHours048

“Masquerade” is the most obvious single (ironic, given it’s status in the play), and “Bright” is the emotional focal point, but I’m really enjoying “Drive” in its full version. It’s the first song we hear them actually play, so it has to be a hook, and it really is.

If anyone wants to be a good member of the community, I would be most appreciative. Please and thank you.

The single best thing happening on a Broadway stage this season was Nikiya Mathis’s hair and wig design for Jaja’s African Hair Braiding, so this is a great choice. I still wish hair and makeup had a category alongside the other technical categories, but it feels correct to honor this particular achievement.

Also, they had me at “bare-behind chorus boys.” Like, yeah babes, they know their audience.

“Garish cartoon strip” is kind of exactly the tone of the movie, so I don’t think it’s the dig Adeliciaboy thinks it is.

LuckyDipster said: "There are some threads I just shouldn't step into. Why do I punish myself?"

Because you want to play the victim for, I don’t know, liking Back to the Future? Pretty weird hill to climb atop and then loudly proclaim you’re dying on.

chrishuyen said: "Did anyone get the vinyl they were selling at the theater? Curious to know what's on there and if it includes everything we'd get on the cast album release"

It’s a single that includes “Masquerade,” not the full album.

The podcast Decoder Ring did an episode on creating the music for the show, and it features two different versions of “Bright” at the end. One is the start of the acoustic version and one is the uptempo version. Episode link for Spotify is here.

Neither sound like the second (“final”) recording session version we hear, so I’m assuming we’re getting two or three versions of it on the cast recording. At the very least, we’ll have the uptempo and “final” versions.

Lempicka needs to cut their losses and pack it up. Even Heart of Rock and Roll is out-grossing them now. And $48 average? Big yikes.

Eli Gelb for his performance in Stereophonic. A role that could have easily been overlooked, but he has the best (and subtlest) arc in the show.

Most orchestrations does not equal best orchestrations, in the same way that most acting doesn’t equal best acting.

Stereophonic is an absolutely brilliant feat of orchestration. The two (technically, three) versions of “Bright” alone are a great example of that. They sound like entirely different songs played back to back, but they’re just re-orchestrated within the context of the show.

BossBroadway said: "Stereophonic has great songs, it does NOT have a great score."

In fact, it does. Just because it’s not a musical doesn’t discredit the fact that Will Butler wrote great original music for it. Even if the year of musicals had been stronger, it still would have been nominated and would likely still be the frontrunner it is.

Ptero2 said: "Who the heck is gonna win Featured Actor in a Play? Corey Stoll? Will Keen was the most common prediction I had seen before today, but, well..."

Eli Gelb or Will Brill would be my pick.

Chris Stack and Andrew R. Butler were robbed of featured actor nominations for Stereophonic.

Kad said: "A lot of love for Stereophonic, including orchestrations and FIVE featured performance nominations."

Stereophonic sweep, let’s gooooooooo!

Interesting article about some of the technical aspects of the show and its creation: https://variety.com/2024/legit/news/stereophonic-broadway-behind-the-scenes-1235974171/

I saw it for a third time last night, and it really is a marvel of storytelling and craft. I pick up new things each time, my favorite last night being how Charlie is listening to his music off to the side while Diana plays “Bright” for the first time and slowly removes his headphones to listen to her, like he’s entranced. And the composition of the stage picture is almost pastoral. Just… *chef’s kiss*.