Broadway Or Bust @broadwayorbustt - Tumblr Blog

awolfswill

It's Hamtaro time!

ashstfu

butterflypeaflowertea

starting tomorrow i will be a real person in this world

butterflypeaflowertea

oh! i forgot to do this. okay starting tomorrow i will be a real person in this world and i actually seriously genuinely properly truly mean it this time

opiumvampire

fuck w me

opiumvampire

FUCK W ME

professional-egg-layer

They're true to life

sandmandaddy69

everydaylouie

watcher

(developed a pretty neat way of making stained glass in blender! i'll make a video about it at some point)

kidzbopdeathgrips

just got kicked out of Starbucks for - you guessed it - inventing a special kind of glue that lets me climb up anything.

pixelturkey

My take on Pierre Bonnard’s Le Chat Blanc (1894) - 150x232px

patronsaint-ofthedenial-deactiv

Jesse I have to sell you to one direction

marrcartney-deactivated20230330

yo mr white bitch let me at least put on my pink converse, throw my hair into a quick messy bun and put on some mascara to accentuate my blue orbs first bitch

girlnephew

literallyaflame

love shakespeare. did a hamlet run tonight, looked someone dead in the eye to say “am i a coward?” during a speech and the fucker shrugged and nodded

literallyaflame

we literally ruined society when we invented the fourth wall. let’s bring back call and response. heckling, even. fuck you hamlet you dumb piece of shit kill your uncle or shut up

hickeyknife

"When we took Shakespeare’s “Measure for Measure” into a maximum security woman’s prison on the West Side… there’s a scene there where a young woman is told by a very powerful official that “If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.” And he leaves the stage. And this character, Isabel, turned out to the audience and said: “To whom should I complain?” And a woman in the audience shouted: “The Police!” And then she looked right at that woman and said: “If I did relate this, who would believe me?” And the woman answered back, “No one, girl.”

And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theater great in prisons, it’s what makes theater great, period."

Oskar Eustis on ArtBeat Nation