[jetix]

2026-06-18

[luntfontanne]

the fact that reeve carney is almost the same age as amber gray is kind of wild lmfao but anyways i was looking this up bc i was thinking about the concept of eva coming back to play persephone at some point bc like. The Story. the meta narrative of it all. and vocally she could def do it, i think it would be interesting to hear her persephone! but damn she's not even 30 yet akdjfkfkkfkf that really is just too young i think. give it a few more years she needs a little more time to cook 😌

[luntfontanne]

unfortch reeva hades/persephone is a complete nonstarter just fully impossible unless they completely rework hades (although tenor hades is. an interesting concept perhaps… thinking about reeve playing hades kind of like how he played dorian gray in penny dreadful…… interesting)

[luntfontanne]

actually the concept of tenor hades made me think of a version of jay gatsby that's like. actually interesting lol. but they made him such a goofy buffoon in the gatsby musical imo that character just doesn't have the sauce. but like yeah hades as a kind of slick smooth-talking and -singing robber baron / jazz age nouveau riche millionaire… very much old money imposing grizzled bass hades vs new money kind of sickly sweet manipulative tenor hades…… i would like to see it!!!!! the 20 year reunion in 2039 when reeve is in his 50s and eva is in her 40s they can come back to do hades/persephone

[luntfontanne]

the thing about the hadestown proshot is the OBC all look visibly older than they were when they started the broadway run like seven years ago (and also bc the stage always blurs ages a bit but on film it's more rigid imo and they look more undeniably the age they actually are) and for most of the characters this works to very great effect like the story hits harder if they're a little older a little angrier a little more world weary. except for orpheus who i'm SORRY just does not work as an obviously forty year old man ansjdksjcjd

[luntfontanne]

she's such a weirdo i need her so bad

[luntfontanne]

miss them 🥺

[luntfontanne]

dbhtour helen posting pokemon go volcanion andjfndkjcjfkc ok. will be needing her perhaps

[luntfontanne]

everybody look away i'm having a Moment

[luntfontanne]

looking through her tagged photos and getting hit with peggy/dorothy in 42nd street… CLASSIC aging primadonna x fresh off the bus ingenue new to the big city brought in to replace her………… oh she HAS the sauce ms kbw i believe in youuuuu

[luntfontanne]

the way she's A Gamer… wow…… representation 🫡

[luntfontanne]

akdhdkjckfkc gattelli picking up dbh strays at schmig the halfway house for wayward immortals 😭 but damn not even a month since the show closed and already back on stage is pretty incredible good for him!!!

[luntfontanne]

listening to spiritual or just more woowoo people talk about supernatural experiences they've had like seeing ghosts or hearing voices or whatever is interesting bc they obviously need to ascribe some sort of external cause or reality to them to make sense of it and i'm just like okay so that's just a hallucination. and it's like well maybe they're just different explanations for the same phenomenon that many of us experience and maybe even if i were to describe my hallucinations to people who Believed in stuff they'd be like okay well that's just whatever force speaking to you through your brain signals or whatever. but like. i don't know man just weird to me to think that if i'd grown up in a different ways or been introduced to certain ideas when i was younger before i had a strong sense of what i believed or didn't believe, i might have had a very different interpretation of things that feel mundane but distressing/annoying to me and are very much just my brain doing things with zero greater symbolic meaning attached

[cilantrhoes]

[luntfontanne]

fridadiego and hadestown happening so near to each other 🙂‍↕️. thought hadestown was the best musical pro shot i’ve seen yet. makes sense since bleeker street also produced waitress and until hadestown that was my gold standard for pro-shots. here like waitress there was still a cut one too many and more closeups than id like (especially with the ensemble and band here feeling so more central to the happenings of the story than in waitress) but the set/lighting design really lent itself for a cinematic feel. its the first recording ive rarely had the “just shoot the entire stage” thought at the back of my mind throughout. and those performances woof. i agree that orpheus’ turn was a tad iffy but the whole sequence of the walk before that was so well shot it didn’t break my immersion in the moment at all. the only thing i’m divided on are the audience shots, especially the individual sections of the audience… seemed a little too concert-y film for me which i can see being part of the point (being that technically a lot of this is directed at the audience explicitly) but not sure i thought was fully well executed - i did think the shot of eva holding the tokens/coins in her hand out to the darkened audience as if saying “wouldn’t you take these too/wont you take these out of my hands/wont someone help me” made me feel something

yeah def agree with all of that. i thought the closeups were generally used to very great effect in the hadestown proshot bc even with orpheus's turn where i REALLY wanted to see the wide shot (because as i said the effect of the stillness of the entire company on stage is my favorite part of that moment in the live show) eva and reeve's faces really did Work for me. like the tightness of the closeups gave an intimacy to that moment that normally feels so huge and expansive to me, kind of the complete opposite effect of how it feels live where it's like a void and all the air has been sucked out of the room, in the proshot it kind of felt like it was just the two of them and everything between them was too big for the screen to hold. very cool to be able to experience it that way (and also just to see eurydice's face in that moment! i've never been in a seat where you can really see her reaction that clearly). overall the closeups were worth it to me just to see amber gray's face in reaction to certain things like whoever did the camerwork and editing KNEW what was up lol.

also i thought one thing they did that was really cool was during i think it was why we build the wall where everyone in the whole ensemble is singing greek chorus style call and response with hades, when the camera cuts between closeups of each individual person, whoever did the sound mixing/editing boosted their mic the slightest bit so you could hear the person in the closeup a little louder over the rest of the chorus… that was just a really cool effect to me and something that you could only get on film and not in the live show! it was subtle enough to not be jarring when the audio would switch between emphasizing different harmonies in the chorus that usually all blend together, and i think it overall gave it a sense of being more expansive i guess? layered? that i think may have felt missing in the filmed version otherwise bc i think if they had just filmed the stage version straight it wouldn't have been able to really capture what that moment feels like live (makes me SOB every single time idk why. of all the songs. lol)

i agree that it did feel like there were a lot of audience shots and it probably could have done without them, but i do think it was kind of effective given what you mentioned, that so much of the narration is directed at the audience, the audience simultaneously as The People that orpheus is speaking to and asking to stand up and also as godlike arbiter and judge of the characters' fates (one thing i really liked about the set design in the black swan musical was when the mirrors were angled in a way that reflected just the shadow of the audience so you could see the mass of people watching… very cool effect to me and added an extra layer to the story. that shot you mentioned of eurydice reaching out to the darkened audience reminded me a bit of that). and yes wrt the hadestown proshot, the people watching in the movie theater are also ostensibly the audience or whatever, but there's something about the awareness of viewing this story through multiple layers of watching someone else watching someone else… a lot of those lines just stood out to me more in this iteration because there was such a hyperawareness of the Observation of this particular telling of the story.

anyways yeah really really loved it. i'm sure they'll release it digitally at some point, it would not make any sense for them not to, but the fact that there's no date yet makes me nervous aslkdjfld i REALLY need to see it again

[luntfontanne]

Baldur's Gate III dev. Larian Studios // "Road to Hell" - Hadestown, Anaïs Mitchell // Oresteia, Robert Icke adapted from Aeschylus // Carmilla, Joseph Sheridan Le Fanu ed. Carmen Maria Machado // "The Snail and the Rosebush," Hans Christian Andersen trans. Jean Hersholt // "cardigan," Taylor Swift // Disco Elysium dev. ZA/UM // Revenge of the Sith [novelization], Matthew Stover // Wolf in White Van, John Darnielle // "hoax," Taylor Swift // "Road to Hell (Reprise)" - Hadestown // Disco Elysium // "The Gods Show Up," Michael Kinnucan // Pathologic 2: The Marble Nest dev. Ice-Pick Lodge // Rosencrantz and Guildenstern Are Dead, Tom Stoppard // "Planet of Love," Richard Siken // Rosencrantz and Guildenstern Are Dead // Preface to Grief Lessons: Four Plays by Euripides, Anne Carson // Heroes: Mortals and Monsters, Quests and Adventures, Stephen Fry // H of H Playbook, Anne Carson // wikipedia - "prophetic perfect tense" // "Ptolemaea," Ethel Cain // "The Worm King's Lullaby," Richard Siken // Introduction to The Iliad, Homer trans. Emily Wilson // An Iliad, Lisa Peterson and Denis O'Hare (based on Homer's The Iliad, trans. Robert Fagles) // Corpus Christi, Terrence McNally // Baldur's Gate III - Karlach origin playthrough unique epilogue // [photo from "Doubt Comes In" - Hadestown] // "Road to Hell (Reprise)" - Hadestown

[luntfontanne]

The Avian Hourglass, Lindsay Drager // Asteroid City (2023) dir. Wes Anderson // Recognizing the Stranger, Isabella Hammad // "The Revolutionary Power of Palestinian Theater," Isabella Hammad // Sing Sing (2023) dir. Greg Kwedar // "Litany in Which Certain Things Are Crossed Out," Richard Siken // Fun Home: A Family Tragicomic, Alison Bechdel // "It Was Great to Have You Home…" - Fun Home [musical] // Lisa Kron's Foreword to Fun Home, book and lyrics by Lisa Kron based on the graphic novel by Alison Bechdel // "Telephone Wire" - Fun Home // The Green Knight (2021) dir. David Lowery // Hamlet 1.5.33-34, William Shakespeare // Isabella Hammad on Enter Ghost [Shakespeare Unlimited: Episode 215] // "Snow and Dirty Rain," Richard Siken // The Fall (2006) dir. Tarsem // Cut finale song "Cloud Machine" from 2006 production of Hadestown, published in Working on a Song: The Lyrics of Hadestown, Anaïs Mitchell

[luntfontanne]

wild to me that people go to see hadestown and then judge others in the audience for gasping when orpheus turns around at the end bc they think that means they're Uncultured and don't know the myth or something??? the literal entire thesis of the play is that here's the thing to know how it ends and still begin to sing it again as if it might turn out this time!! that's the whole fucking point!!! you already know the song and how it ends but you live in it and it moves you so much that you truly believe in your heart of hearts that maybe it'll turn out this time oh my god. literally explicitly verbatim they tell you this! how are you sitting on a high horse pretending you're more cultured than everyone else who also paid $200 to be there in that audience with you and you didn't even pay attention to the fucking WORDS and the entire core message of the musical… do you not cry at movies you've seen a million times even though you know what's going to happen? is the only thing capable of eliciting a genuine emotional reaction from you a shocking plot twist surprise so that's why you NEED to stay Spoiler Free about everything? is the experience of live theater or truly engaging with any story the same to you as reading a wikipedia summary and the only thing that matters is the factual series of events in the plot rather than how that story is told?? my god. how do you live like that. GIVE IN TO THE FUCKING STORY. BELIEVE IT. FEEL SOMETHING FOR ONCE IN YOUR LIFE

[luntfontanne]

DEATHBECOMESHERBROADWAY MENTIONED ON DROPOUT

"my wife surprises me with tickets to deathbecomesher on broadway megan hilty was phenomenal" asdflkjasdklf likely thing for kendahl landreth to say. classic lesbian activity.

[luntfontanne]

lmaooo internet safety tip #8931: never assume that you've been vague enough in describing something for it not to be identifiable, because sometimes the person you're describing it to got recommended the ig version of the same damn facebook post that your mom texted you! that's totally fine in this case, but it's a useful reminder for me that any amount of detail is enough to be identifiable haha

yes, I saw gun & powder at signature theatre in arlington virginia and awa sal secka was great in it and it's transferring to broadway as "wanted" and she's going to be in it and I'm thrilled for her! I first saw her perform at signature's annual open house a while back and was starstruck—her stage presence is amazing (not just because she's so so beautiful, though that admittedly probably intensified it for me). I've enjoyed getting to see her in shows around the dc area in the time since! I think she's only had a few credits outside of that region, so this is a big move 😊

lmao yeah sorry i didn't know if i should mention that it was obvious to me that you were talking about the wanted musical but i figured it was fine and wasn't actually gonna doxx anyone since you're on anon anyways lol. but yeah honestly if you mention "new musical coming to broadway that did its out of town tryout in 2020" that's enough to easily identify both the show and the regional theater it's transferring from since there really aren't that many new shows this upcoming season and most of them are revivals or transferring from offbwy or west end (and unfortunately i am the kind of person who has already made my spreadsheet of which shows i want to see next season and all their details lol)

anyways AUGH that's so so exciting for her!!! i've loved following a few local boston actors as they've done different projects around here, so i can't imagine how wildly exciting it must be to see one of the regional actors you've been watching for years actually make the move to new york with a really great show :')

[artofmaquenda]

Happy International Dog Day!

I made this ceramic dog jar in 2017, after my dog passed away, and it’s still one of my proudest works. Inside, each organ is individually sculpted and can be removed.

Creating it made me reflect on the body and spirit, how the physical remains are tangible, yet consciousness is something we can never hold. It also pushed me to think about how we view animals, ourselves, and even nature as a whole: as companions or living beings, but also as things to be categorized, dissected, and rationalized. For me, this jar became both a vessel of memory and a meditation on what lingers after life.

[luntfontanne]

MICHELLE aldjskcjkdkckfjc 🥹

sidenote the way jenn sounds in this with the slight distortion backstage is lowkey giving witch from into the woods to me????

​"NO ernest can't you see / her neck is snapped / her spine is cracked / her leg is- oh my god" 🤝 "greens greens nothing but greens … rooting through my rutabaga / raiding my arugula / ripping up the rampion, my champion" (TO ME)

[luntfontanne]

View this post on Instagram

sorry to bring this back again but actually this is what this part of dbh confrontation sounds like to me akdjdkfk genuinely the beat and "what do we do oh my god what do we do" etc etc really does sound like "and i am not throwing away my—" TO ME

[luntfontanne]

my parents have been subscribers at a theater near their house for over 30 years, so I saw a lot of shows there growing up & when I lived with them again later on. a show that premiered there in 2020 is opening on broadway this year. that wasn't a huge surprise—it's not something that happens from this theater often, but it's so clearly what this production was working toward from the start (brought in actors who had big NY & TV credits to play the leads, which they do sometimes, but also brought in a director who'd just had an incredibly successful broadway run, which they really don't). just found out that one of the original cast members, who's become a regular at that theater and who I've been enraptured by since I first saw her perform, is going to be reprising her role in the broadway production and making her broadway debut and I'm 😭😭😭😭

ahhhh that's so cool! i'm guessing this is probably about wanted the musical? SO cool that you got to see the original run, it's def one of the new shows in the upcoming season that i'm most excited for!! and also yeah so so incredible to see local performers you love like really Making It especially for a broadway transfer of a show they helped originate