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It really was hard to be The Bard, but man are we lucky to have his influence in our lives.

weavemama

STUDENT ACTORS ARE THE NEXT VICTIMS

funnyfoxes55

Bitch this all ny friends lmaooo fuck

stagemanagerssaygo

Walking through props storage, alone, in the dark

theatricallyfeminist

went to the theatre cafe in london the other day, and not to be overdramatic but it’s the best place in the world probably. they have amazing memorabilia on the walls (inc. the broomstick from the first london performances of wicked, omg) and play showtunes all the time and the wifi code is stagey24601 which sums it up really.

if you’re ever in london, GO - it’s on shaftesbury avenue opposite queens theatre (les mis).

theatregraphics

Lin-Manuel Miranda during the curtain call of his final performance of ‘Hamilton’ on Broadway at Richard Rodgers Theatre on July 9, 2016.

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For the first time in the show’s history, all four Tony Awards for performances in musicals were won by black actors.

sarahexplosions

if Broadway doesn’t want bootlegs floating around then they need to get their act together and make legal recordings. you can say all you want that theater is meant to be enjoyed live, but the fact of the matter is not everybody can get to NYC to go to a Broadway show. not everybody can afford to take the time off of work and buy a plane ticket to NYC and buy a night in a hotel AND get the ticket to the show. people want to see the shows, that’s why there’s a bootleg market in the first place, but it’s unreasonable to expect that everyone has the time, money, and ability to make it out to the one place in the world to see something on Broadway, especially if it’s a limited engagement. so record that shit, slap some subtitles on it, and sell it so we can buy it legally.

actyourshoesizegirl

Reblogging this every time I see it. Copyright is important for creators but it should not support cultural elitism. Affordability and accessibility of cultural content is key unless we want to live in a very divided society.

smallswingshoes

This reminds me of when a friend explained to me WHY pirating music was so common in the early days of ipods and the like. I didn’t understand why people went thru so much effort to pirate music cuz it was so complicated. But she told me that trying to actually buy the music was even more complicated and that pirating it was actually easier.

Make it easier for people to see recordings of these shows legally. People WILL pay for them!

trekkiepirate

She Loves Me is a Tony-nominated Broadway show and next week they’re livestreaming a performance for (I think) $10. Give them $10 and you can watch Broadway from your computer. I think that’s a brilliant way to do it. On the one hand, it’s a livestream, so you can’t turn around and resell it. On the other, you don’t have to be in NYC to enjoy a true Broadway show. Win-win.

I want more shows to do this.

purelintrash

thatsthat24

I am so happy he exists

capitanogiorgio

On Sierra Boggess’ casting in POTO Paris

So yesterday brought the announcement of Sierra Bogess’ casting as Christine for The Phantom of the Opera in Paris. And so far I’ve seen posts of people who are disappointed and fed up to see Sierra in every anniversary production. And believe me, I understand but as a French girl who is going to see the show please hear me out.

Musicals in France have nothing to do with musicals from West End and Broadway. You have like five or six musicals that are really worth it. The rest ? It’s one producer, always the same (Dove Attia if you want to know), he always gets all the spotlight for his productions that are played in concert venues, not theatres. Yes, in France most of musicals are played in concert venues because the system is : some months in Paris and then tour all over France (plus Belgium and Switzerland sometimes). Musicals can stay at most, 1 year or 1 year and half-ish that’s it and you maybe have like 5 or 6, NOTHING like West End or Broadway. Dove Attia’s musicals are mostly pop/rock songs, the type of songs you can easily put on radio or on tv spot with a videoclip. See ? The system is CLEARLY not the same. And the biggest problems in musicals in France, for me, is that you always see the same faces. Don’t get me wrong, I have nothing against Florent Mothe or Merwan Rim or anybody else, but it’s mostly the same faces.

Now, the Théâtre Mogador since its collaboration with Stage has brought West End/Broadway musicals in France, with varied and international casts for some (especially the dancers for Cats that is playing now). Even though the French translations can be a bit… failed ? I’m glad of what Mogador is doing. Because we DO NOT get to have some West End/Broadway musicals feels otherwise. And believe me, when you love musicals and that you are NOT living in the UK or in the US, whenever things are moving to have a bit of taste of that ambiance, of those feelings that you can’t get to experience unless you can pay for plane or train tickets, hotel, and tickets there, you are just happy. For real.

Of course, it could have been good to have someone else, a French singer or maybe another Christine from other productions (London, Broadway, Moscow, whatever). But at least, for people (like me) who are expecting a lot from this run in Paris, to see that Sierra will be there, it’s a bit reassuring. She may be not your favourite Christine, but I like her, she was my first, and I do love her voice (her acting could be better but still). And again, it adds to this feeling of having a taste of this world of West End and Broadway musicals. I assure you, musicals in France have nothing to do with those.

So to sum up. Yes we could have had someone else in the role, it could have been good to see someone else. But you know what ? I’m still happy about this casting. And I’ll enjoy the show if I get to see her (I’m going on a Saturday matinee) or if I get her alternate or understudy. I’m just a bit sad to see people confessing their disappointment or anything else, but I get it really.

#thank you #stop being mad at Sierra

matchtheminrenown

2013 // 2016 Tony openings encouraging theater kids everywhere

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I wholeheartedly agree with Webber in his claim regarding Sierra: “She’s the best, the best Christine certainly,“. And this is why she was chosen once more!

prettymuchbroadway

For real tho:

What is it like to love Hamilton—and only Hamilton—and not care at all that Michael Arden didn’t win Outstanding Director of a Musical for the revolutionary Deaf West Spring Awakening? Or to not even know that shows like Tuck Everlasting, Allegiance, and American Psycho ever existed? Or to be completely in the dark about shows like Waitress, Bright Star, On Your Feet, and Shuffle Along that didn’t win a single award. Don’t get me wrong, I love Hamilton. I just have other shows that I love as well

#THIS

animatedtext

whatisyourdamagee

What I “Got” Out Of The 2016 Tony Awards

Hamilton is important.

Jessie Muller was literally crying on stage because Waitress is so amazing, is NOT important.

School of Rock has 15 kids under the age of 12 nailing it every night! It’s NOT important.

Audra McDonald is pregnant and tapping her a** off, it’s NOT important.

Bright Star gave us something so unbroadway in its music and somehow made it work amazingly, but it’s NOT important.

Fidler on the Roof is an ageless story that everybody knows and loves, but too bad cause it’s NOT important.

She Loves Me is a star-studded cast but pulls it all together so well, (Jane Krakowski’s legs?!!!) NOT important.

Spring Awakening and Michael Arden (WHO DIDN”T EVEN GET SHOWN ON TV) brought a whole other culture to Broadway that has never been there before, they recited ever line in BOTH English and ASL AT. THE. SAME. TIME. I guess it’s NOT important.

This season they talked so much about diversity in the talent. Diversity is not just black and white. Diversity is people of all races, cultures, genders, etc.

The Tony Awards are there to bring the community together, to show that EVERYBODY is important. “Love is love is love is love”. But this year, 2016, I personally felt that it was only about Hamilton, a beautiful show that deserves to get recognized, but what about all of the other shows that got nothing because Hamilton got everything?

Ali Stroker is the first women on broadway in a wheelchair, there are deaf talent in a musical! These are things that nobody beside Michael Arden would have thought of, and he got ABSOLUTELY no recognition for it.

The night was dedicated to those who were lost in Orlando, a night that was dedicated to the love and community of the theatre. There were so many shows on broadway this season, that were not even nominated. Shows that closed too soon. There were not even recognized, there were not important enough to share the light of Hamilton.

There are ALL IMPORTANT. Amazing Grace, Lord of The Dance, Disaster, American Psycho, The Color Purple, Bright Star, Allegiance, Spring Awakening, On Your Feet, Dames At Sea, Fidler On The Roof, Waitress, School of Rock, Shuffle Along, Tuck Everlasting, She Loves Me, and Hamilton are ALL IMPORTANT and are ALL EQUAL.