@OlivierAwards: Looking radiant, it’s @SamanthaBarks #oliviers
So you could go crazy, or I could go crazy, it’s true.
Sometimes life is insane, but crazy I know I can do.
'Cause crazy is perfect and fucked-up is perfect.
Perfect for you.
courf getting a harmony on the ‘if i die, let me die, let him live’, part of bring him home while he’s taking the watch
courf singing ‘without me, his world will go on turning’ to comfort himself
courf sneaking in to the epilogue with ep and fantine like ‘it’s thank to yoooou that he is liviiiing’
coming soon: ‘dont tell me courfeyrac wasn’t in love with marius just a little let me have this (ft. valjean and javert)’ - the musical
"I can with a very confident heart recommend it: if you come, you’re going to see WICKED”
"The best since the original broadway cast"
-Stephen Schwartz on the touring Australasian company of WICKED
Various Sylphide Costumes, for anon.
I decided to focus on the bodice and skirt drape for this one. The New US Tour costumes have made a cameo.
If I ever did a PotO comic (something I’d love to do!) or had the chance to design an animated version, this is probably what Erik would look like.
AU in which cosette can see/communicate with spirits
it starts with a lady all in white and ends with phantom faces at the window (●‿●✿)
“As the nucleus of Les Misérables, the story of Jean Valjean has dominated many abridged versions of the novel as well as most film renditions. To exclude the historical commentaries; of the digressions on argot, religious faith, and the sewers; or passages concerning Cosette’s early enslavement by the Thénardiers, Marius’s penurious circumstances, and the band of young revolutionaries who die on the barricades is to rip the hero’s moral struggles out of the context that gives them meaning. It is to transform Les Misérables into something like Le Misérable, to reduce a vast fresco of individual and collective destinies into the relatively trite tale of an ex-convict on the run. Hugo’s poetic imagination ceaselessly weaves analogies between Jean Valjean’s spiritual progress and humanity’s striving toward freedom, harmony, and social justice. What we lose, then, through external abridgment or our own impatience to get on with “the story” is the highly uncommon interconnectedness of the whole. Les Misérables did not originally strike critics as dangerous because of its outlaw protagonist, nor was it initially banned by the Vatican for its plot. Even today, it continues to press for radical social reform, for national and international concord, by appealing for direct popular action that would bypass established institutions.” —
Everyone else can go home. Grossman is the best.
(Kathryn M. Grossman, Les Misérables: Conversion, Revolution, Redemption)
les miserables not called the brick without reason it smashes the windows of our comfort in our rich ease and builds up in us the values of progress towards the light its also freaking huge victor hugo what a thing that you did (diminutive-fox)
This excerpt that I posted a few months back just got an unexpected second wind…and I had to acknowledge this particularly cool set of tags. “Brick” as more than a joke - I love it.
i have this very serious condition called: i’m completely in love with santino fontana because just look at him
additional tony awards
chorus member who kicked the most ass
stage manager who put up with the most shit
stage staff who had to do maintenance at three in the morning
asm who brought everyone coffee
props assistant who had to source an alternative because the actors kept breaking props