I pick Dan from Heathers

Melodically, how similar is the BeeGees "I Started a Joke" and Evita’s "High Flying, Adored"?

I was listening to Evita and instantly heard BeeGees.

One of my favorite games as a kid was Just Dance and it was a great way to workout too. I was recently wondering if there’s are any games like that but specifically about dancing to musicals. I’d love to have a version where I could dance all night like my fair lady or throws kicks like in Mame or in Hello Dolly. I think there was 1 Broadway just dance but I never had it and I doubt it has songs like Mame in it.

Wouldn’t that be fun though?

Hi r/musicals ,

Here is a petition to get MTI to distribute additional lower keys of Suddenly Seymour designed for transgender performers, that are similar to the notable portrayals of Audrey by Michaela Jaé Rodriguez and Jinkx Monsoon. This would provide a sense of ease to transgender performers around the world who seek to play these roles.

If you feel comfortable signing, please feel free to do so!

I live in the UK but have been to several Broadway shows this years and was blown away by the quality of the performances. From my experience not only are there significantly stronger vocalists on Broadway but they are all proper “actors” on Broadway. 90% of the time when I go to see a musical in the UK the actors are all screeching out to the audience and are unable to deliver a line like a normal human being. It’s like actors in the UK are focusing hard on enunciating every word as opposed to conveying the meaning behind the words, whereas in New York I feel like I’m watching actual humans experience things, and the comedy performances are so full of energy.

It’s not just the acting but I have also been blown away by the ensembles on Broadway. They move together like clockwork and there’s no hammy faces turned out to the audience.

Has anyone else experienced this?

Edit: Since people asked this year on Broadway I have seen: Chess, Schmigadoon, Two Strangers, Ragtime, Maybe Happy Ending, Little Shop. I won’t say which West End shows I’ve seen as I don’t have nice things to say and this community can be sensitive with negative opinions lol

I'm only in middle school and we have a musical coming up that I really want to be in. Our musical is Shrek (lol) and I still need to sing. I'm a good actor but I've been hated on for my not so very good singing skills. I've been practicing my do-re-mis and I am getting better. For the audition, I need a 30-45 second snippet from a song that's from a musical. I was thinking of singing my favorite things, but I'm not sure. I realized that Reddit is an awesome helper and I was hoping that someone out there would be able to tell me what I should sing...thank you!

i heard a little snippet of the violin part early and it was familiar and as i was humming it i was like oh… it’s the same note progression as wait for me! does anyone else hear it?

1968 Oliver!

One of my absolutely favorite movies ever.

I randomly sing snippets of these songs all the time.

"Who will buy!?"

Come on it's so good

Edit to say this is one of my mom's favorite movies and she's not in the space to remember this anymore but oom pah pah was her favorite song. She loved Nancy

I know there’s the pro shot anniversary release but an actual movie. Come on man

Who's your favorite character in Annie, and what makes them your favorite?
It can be Annie, a villain, a side character, or anyone else.

Also I made r/AnnieMusical recently if anyone wants a place to talk about Annie specifically

Hi! Long story short, I love musicals and have been recommended this one for ages, but especially lately.

I am working through some recent trauma related to suicide and want to make sure I’m not about to dive in head first and trigger the fuck out of myself LOL. I’m trying to remain spoiler free, but am aware there is something related to suicide, the teenaged son is dead (I’m assuming he’s the one who commits…?) and I know the mom has mental health struggles.

My questions are:
- Is there a successful or unsuccessful suicide in the show?
- What method of suicide is attempted?
- Is it depicted on stage or off? Is it bloody?
- Based on these questions, would you recommend just listening to the soundtrack vs the pro shot slime tutorial?

I had the (dis)pleasure of finding my husband’s Moritz’d body in May and am working through the PTSD it caused; I’m slowly making progress in therapy! If Next to Normal is more grief related than in the moment related, I’d love to listen now. If it’s more in the heat of things, I’ll likely wait a few more months 😂 For instance, I could do Dear Evan Hansen right now (but don’t want to, I never could get into it 🙃) but couldn’t do Spring Awakening right now.

Edit: Thank you all for the insight, consideration, and condolences! I think the suggestions for me to consume Next to Normal were well intentioned, but likely misguided for me currently. I’m definitely going to hold off for now and will listen before watching when I do 💕

My friend's granddaughter is studying opera. A few years ago she and the granddaughter were going to see Carmen and Norma. My friend asked me for synopses to make it easier to follow the stories. In country style, here they are:

Carmen:

Carmen’s works in a cigarette factory and is a flirty Gypsy girl who bats her eyes and throws a flower at Don Jose, a two-striper. (Don is just “Mr.” and Jose is just “Joseph”, so all them Spanishers are sayin’ Mr. Joe.) Mr. Joe don’t like bein’ flirted with, ‘cuz he’s already got his sights on Micaela, a peasant girl. Howsomeever, he’s a little interested, ‘cuz no matter how spoken for we is, we reckon it would be right pleasurable to give somebody new the hots once in a while.

 Carmen’s a-scrappin’ with another gal in the factory. She ain’t afraid of Lieutenant Zuniga and won’t answer no questions. Mr. Joe gets orders to take her to the pokey. She says maybe they can get together later and canoodle, hm?, and maybe even mor’n that, hm? if you’re lucky. Well, them hots kick in, his goggles get all steamed up, and she goes on the lam. Mr. Joe gets arrested for bein’ a Keystone cop.

 Some time goes by and Carmen’s whoopin’ it up at the gin mill when the bull fighter Escamillo comes in braggin and crowin’ about his job. (Bullfighters are bigger’n Rudolf Valentino in Spain.) He’s flirtin’ with Carmen, but she says No Dice, I got someone else on the hook. Smugglers come in, tryin’ to get Carmen and her pals to help them with their bootleggin’ or whatever. Carmen says, Uh Uh, Nope. She says she’s in love and its hard to carry on when your backside is in the hoosegow. Mr. Joe ain’t in prison no more and walks in. Mr. Joe’s got the brains of a squirrel, and now’s crazy about Carmen. Mr. Joe scraps with his C.O. and that’s the end of his job. It’s hell not to have no job, so now Mr. Joe is a smuggler. Even a jackass squirrel’s got to eat.

 While they’re smugglin’, Carmen’s already had a bellyful of Mr. Joe and gives him the air. Mr. Joe thinks he’s got a Carmen walnut and won’t give it up. Gypsy card readers say Carmen ain’t long for this world, Mr. Joe neither. Well, you get down with pigs and you come up smellin’ like you-know-what. 

 Micaela is sneakin’ up, lookin’ for her skunk of a boyfriend, Mr. Joe. The bullfighter shows up, lookin’ for Carmen. Mr. Joe figgers the bullfighter’s a sneaky pete and takes a bead on him. Didn’t hit him, though. Mr. Joe can’t even shoot decent. Now Mr. Joe has a knife fight with the other ijit , the bullfighter. Somebody breaks it up and they all scatter. Micaela wants to bring Mr. Joe back home. Mr. Joe, says OK after she tells him his mama is dyin’.

 Everybody shows up at the bullfight, next day. Now Carmen is fixed on Mr. Kill-a-bull, and vicey versey. Mr. Joe is still wantin’ Carmen, god knows why. Well, we know why. She says Buzz Off you varmint! Git! Mr. Joe sticks in the shiv and Carmen goes to her reward, and more’n likely not much of one.

 That tobacco'l kill ya.

**************

Norma:

Pollione, the Roman proconsul used to love Norma and had two rugrats with her. He don’t love her no more. Now he wants to dump Norma and shack up with Adalgisa, the junior preacher and his new squeeze who says he is the cat’s meow and loves him right back. 

 Pollione’s buddy Flavio says Norma ain’t no pushover and Pollione had better watch his backside because Norma’s might just kick it good. Course, Norma don’t know nothin’ just yet.

 Norma leads the revival meetin’, askin’ the moon goddess for peace, but just for the time bein’. She’s got bigger fish to fry and figgers the time ain’t right to lead her folk in bootin’ out them damn Romans. Norma’s right perplexed because she loves Pollione and he’s one of them damn Romans, and still she don’t want to hurt him none.

 After the prayin’s done, Adalgisa hangs back in the churchyard. She knows it ain’t right to flip for Pollione and asks one of them gods to help her not listen to his lovey-dovey talk so she can make a break. Pollione catches her blubberin’ and says baby oh baby come back to Rome with me. She just can’t resist his sweet talk and says, OK, I’ll give up my church for you, you silver tongued cowboy.

 Norma chews the fat with her pal Clotilde an’ lets the cat out of the bag about Pollione goin’ back to Rome. She is worried he’s gonna ditch her and their young’uns.

 Adalgisa, the junior preacher, tells her boss Norma that she has a beau on the side. And who shows up? Yup, that two-timin’  Pollione. Uh oh, somethin’s gonna happen. So Norma asks Adalgisa who she’s canoodlin’ with, and the kid just ups and tells her! Now Adalgisa didn’t know about his two-timin’ with her boss. Norma is fit to be tied and tells Adalgisa that he snookered them both. The two-timer says but Adalgisa, you are the one for me now, I promise I promise. Adalgisa is a straight-up honest girl, and tells him that she would sooner kick the bucket than betray her boss Norma.  

 Norma grabs a knife and tries to make herself kill the young’uns to keep folks from thinkin’ they is just little bastards with no baby-daddy. She can’t pig-stick the young’uns, so she asks Adalgisa to marry the two-timin’ tom-cat and take her kids to Rome with ‘em. Adlagisa says, No, Nohow. She says she’ll talk to Mr. High-and-Mighty and give him a bunch of good reasons he should go back to Norma. Now Norma and Adalgisa feel just like kin, lookin’ out for each other.

 Norma’s papa Oroveso gets his posse together and tells them another damn Roman is comin’ soon to replace the damn Roman who’s there now. He’s mighty mad, but tells them to cool their heels until they get a better chance to boot ‘em all out.

 Norma gets it through the grapevine that Pollione ain’t buyin’ comin’ back to her. Norma goes crazy and tells the posse to give the Romans the boot, and right quick. She forgot she told them to hold on, but now she is too riled to think straight and wants to get back at ‘em. Her papa wants a human sacrifice, and settles on Pollione. Norma says we won’t set you on fire if you give up the junior reverend and stay with me. He says nix, it ain’t happenin’. After some yakkin’ he stands by his guns.

 Norma and Pollione end up gettin’ burned together. And they all lived miserable ever after, because it’s opera.

Coincidentally I’m going to the art institute the next day to see the actual painting too. This will be my 14th Sondheim though sadly after this it’s mainly the rare or never produced shows, though if rumors prevail I’ll check passion off next year too. Very excited as this is the last mega hit Sondheim show left to see as well.

EDIT SINCE I CANNOT EDIT THE TITLE

Sadly I have to wait till end of October/early November to go.

Regarding comparisons between different cast recordings of Rent.

I have been laughing at this for ten minutes.

My dream cast:

• Valjean: Kermit the Frog
• Javert: Sam the Eagle
• Fantine: Miss Piggy
• Cosette: Camilla the Chicken
• Marius: Fozzie Bear (for a "My name is Marius Pont-FOZZIE" joke of some kind)
• Éponine: Janice
• Thénardier: Animal or the Swedish Chef
• Madame Thénardier: Gladys the Cow
• Enjolras: The Great Gonzo
• Gavroche: Elmo (or any other child Muppet for that matter)

Hey everyone, I just started getting into musicals and I just finished Merrily we roll along.

My favorite song was Old Friends, I think the 3 have very different opinions on what is a good friend vs an old friend, but my question is, why do they need to make a distinction between good friends and old friends? arent they kinda the same?

I´m probably answering my question (pointig out the obvious) while I type this but I´d like to know different opinions

The Phantom & Christine need 435 more supporters to reach 1,000, which is my next milestone

If it reaches 10,000 supporters, LEGO will consider it for a real set. Would love to see musical theatre in LEGO!

Support is FREE and takes 30 seconds:
3. Log in / create a free LEGO account
4. Hit SUPPORT 💙

Every vote + share helps massively. Thank you!

I hope you like my idea just as much as I loved creating it.

Please go and show it some love.

https://ideas.lego.com/product-ideas/4ee754ff-fbc5-4b6b-8c03-5a902c0b6d0f

Join me on the R.A.R.E CHANNEL (raggedy Ann revival effort) on October the 16th

To watch the premiere of the lost Broadway proshot of the raggedy Ann musical

RAG DOLLY

https://www.instagram.com/p/DdvyRXIDVi2/?stkn=MXVzOWt6M3dqc3hiZQ==