darcy doesn’t sing a single note even during conversations where everyone else is singing at him that is until the argument following his first attempt at proposing to lizzy where you can see his restraint fall away
his first big solo is the letter he writes her
gelsey bell is mary and the unofficial narrator and she sits down at her piano to describe whats going on but before she can ever reveal her feelings on the matter, starting with that gelsey bell scream, mr bennet comes over and does the whole ‘that’s nice dear but give someone else a turn’
mr wickham has this huge ballad about how darcy ruined his life and its super melodramatic and touching
mr collins proposal to lizzy is an absolute bop that he gets so into he forgets for a moment what he’s doing he’s just owning the stage
wickham has a song where he’s trying to seduce lydia but she’s not even listening she’s just monologuing about how excited she is to get laid
during darcy’s second proposal he keeps hesitating waiting for lizzy to interrupt him like she has done every time before but she doesn’t say anything until he’s finished
at the end mary sits down at the piano and right where she’d usually be interrupted, kitty joins her and harmonises
jane and bingley have the adorable upbeat romantic duet which is just them being super polite like ‘oh so nice to have you here’ ‘so nice to be here’ interspersed with their inner monologue which is just them being like fucking jesus I’m so in love
the bingley sisters probably have a really cool mean solo
lady catherine has this terrifying disney villain song in the garden
Taking another short break from Twelfth Night. OK, so I’m over a year late to get on the Hamilton bandwagon. I’ve been geeking out about it from afar but only recently made the time to actually sit down and listen properly to the whole thing.
It’s hardly revolutionary (SEE WHAT I DID THERE?) to make a connection between Hamilton and Hamlet. Hamilton’s creator, Lin-Manuel Miranda, got the ball rolling with this recorded encounter:
Well, I’ve never met a musical number that I haven’t wanted to at least try to parody, so I thought I’d take a song from Hamilton and rework it a bit… into Hamleton. It was not easy, as Miranda’s lyrics are very dense and intricate, and I’m not entirely sure I’ve succeeded, but here it is anyways. Many thanks to Dan Beaulieu of the Seven Stages Shakespeare Company and No Holds Bard Podcast for acting as Lyrical Dramaturge on this effort.
If you’re a fan of Moulin Rouge or Great Gatsby, watch The Get Down because it was created by Baz Luhrmann, who also co-wrote and directed both films.
If you like musicals, watch The Get Down.
If you like 70′s aesthetics, New York City, hip hop, or disco, watch The Get Down.
If you claim to want or support actual representation for people of color, watch The Get Down, which has a majority black and latinx cast and has, like, two white people who only show up a couple times.
If you want LGBT representation, watch The Get Down. If you want to know a little bit about the history of black and latinx drag culture, ballroom culture, and LGBT culture, watch The Get Down. If you want to see interracial relationships, watch The Get Down.
If you want to see well written, nuanced women who are complex and who actually make mistakes, watch The Get Down.
If you want a glimpse into the way working-class people struggle with white capitalism, how poverty subjugates people of color, and the struggles young people of color from these communities face, watch The Get Down.
Watch The Get Down. It hasn’t received a tenth of the amount of attention it deserves, and we know that it’s because it has a majority black and latinx cast. Tumblr can’t handle such things, but seriously I encourage you to watch it.
Steel Phoenix Studios 