#natalie moore

[nrmoore]

Bunny White, Astro Diner. 2025.

[cornley-amateur-drama-society]

and if i make the artistic director of the cornley ballet company the youngest daughter and child of ian moore the director of the 1979 cornley drama society (jonathan) and have her have one-sided beef with chris who was a mentee of sorts to her father ??? what then??????

[iammaren]

If only I were she!

[white-cat-of-doom]

Megan Dillon made her farewell post today, and shared many photos of her covering Demeter during the last week of Cast 11 of the Oasis of the Seas.

With Robyn Tempest as Grizabella, Natalie Moore as Bombalurina, Ryan Ocampo as Munkustrap, Katie Hahn as Jellylorum, Hennessy Sheehan as Sillabub, Brittany Tooms Peel as Rumpleteazer, Benjamin Stacey as Mungojerrie, Nick Woodford as Rum Tum Tugger, and many more.

[cryptidvoidwritings]

source

[junkyard-gifs]

Two snippets of Ryan Lay as a soft-voiced flirty Tugger from Oasis cast 11, 2/2/22.

Ryan Lay has been covering Tugger for several weeks in the Oasis crew (poor first-cast Tugger Nick Woodford had two bouts of COVID back to back!). But Nick's ready to come back to work now, so Ryan's resigning him the mane and returning to Plato.

Which will mean Jacob James Whawell over there on the right, currently wearing the Plato outfit, can don Alonzo's black and white again! Soon he'll have three companions to stan Tugger with, instead of none. A new Pouncival and swing have only just arrived to make up the cast's depleted numbers, so for some time Jacob's Plato would have had to do all the chorus boys' parts in this number alone or just with Coricopat!

And I'm adoring Benjamin Mcmillan's Munk slinking around sulkily up the back there—including his whole-body eyeroll when Tugger drops Bomba (Natalie Moore)!

Mistoffelees is Charles Croysdill, and there's another clip of his conjuring turn over here.

[whilereadingandwalking]

Ta-Nehisi Coates: On Diving into Fiction & the Power of Myth

“I would give back the MacArthur and give back the National Book Award, to get the call from Oprah,” Ta-Nehisi Coates told WBEZ reporter and author Natalie Moore at the UIC Forum on October 2. Coates, the author of Between the World and Me and We Were Eight Years in Power, was in Chicago on tour for The Water Dancer, his New York Times bestselling novel (that was officially named to Oprah’s Book Club).

1+1=2

Many think of Coates as a journalist dipping into fiction, but Coates almost thinks of it the other way around. A poet at Howard, Coates found journalism almost unnatural for a long time. He began this novel in 2009, before the work he’s become known for, but had to put it on pause. While working at the Atlantic, he was finding that “people are really good at pretending they’re having factual conversations with you when they’re not.” People insisted to him that the Civil War was not about slavery, but he was digging into primary sources and histories galore, and could prove that it was. 

But he soon realized that those people weren’t actually talking facts. “They were having a conversation about myth. About heroes.” Admitting the truth about the Civil War would have real consequences for their life, by forcing them to admit their heroes were bad people. “The way this world of myth, the way this world of emotion, gets built up is not about fact. It’s about story, and art, and at its worst, it’s about propaganda.” 

He began to be exhausted of insisting that 1+1=2, and turned instead back to his novel: realizing that the story he wanted to tell had to be framed in myth, in emotion. He didn’t want to tell the a story about slavery that had already been told. “You have to make slavery new,” he said. In The Water Dancer, he uses vocabulary like the Quality, the Tasked, the Low, instead of slavers or enslaved. He said that the current histories of slavery are “as if the Orcs won and then the Orcs got to tell the story.” Language and terminology themselves are charged, and so he felt that “to depict that reality, you can’t use the same vocabulary that had been used before.” 

"Family is created.”

He dug into his research, reading minutiae of antebellum Southern life as well as memoir, letters, and more; and was inspired by the records of William Stills and by the magic of the escape. He avoided graphic violence.  “Some violence can be so heinous that in an attempt to condemn, to show how bad it is, you actually erase the victim again,” he said. “I think sometimes in some of our stories we have focused too much on the oppression of enslavement and not on the feelings of the enslaved.” 

He was determined to give the realistic and human story, and in his research, he found that the true trauma, what made people run away or resist, was when family ties had been destroyed: because while the slaver still held your family in his hands, you couldn’t run. “We live in a society,” he said, “that has told black people they don’t care about their families while warring against black families.” This carries into the plot of the book: Hiram must confront having a white father and brother and realize that “his notion of family can’t be white. It can’t be neat...Family is a choice. Family is created. Blood clearly is not the definitive fact in the family.”

“Hopelessly Hopeless”

Through all of this, Hiram has a near-perfect memory; and yet, can’t remember his mother, who was taken when he was small. He buries his trauma, and tries to forget; but ultimately, has to confront it. “I don’t think that’s an unusual individual reflex,” Coates said, “nor do I think it’s an unusual national one.” People have “built castles on the forgetting.” But it comes back: just as with climate change, we can try to forget what we’ve done to the world, but it sends hurricanes and rising seas to confront us. 

Coates isn’t bothered by the criticism that his writing is supposedly “hopelessly hopeless”: as a journalist, if it’s bad, he has to say so. But also, facts are given meaning by narrative. “You can actually change the past itself,” said Coates, “because what is there, but the story?” If you tell the story in a new way, in a better way, you recreate the past—and so, alter the future. So perhaps it’s a hopeful approach after all.

[allthecanadianpolitics]

Any movement typically starts with one person’s initiative.

Any movement typically starts with one person’s initiative. So it’s only fitting that a movement centred around impending education cuts begins at the student level, the demographic that will suffer most because of them.

Listowel District Secondary School’s Natalie Moore was deeply troubled by the Ontario Progressive Conservative government’s announcements in March that big budget cuts would likely be coming for provincial school boards. Following a recommendation that Ontario school boards implement a hiring freeze until the government’s budget is released this spring, talks continued to include the possibility of increasing class sizes, implementing an increase in mandatory online courses, and eliminating full-day kindergarten after the 2019-20 school year.

“I heard about the cuts and I was just kind of mulling it over for the weekend,” said Moore, 18. “I kind of realized that students, especially as leaders, need to step forward and take it into our own hands.”

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