chicafrom3: photo of the TARDIS (tv: l: charlotte/daniel)
basic stats )

Individual thoughts:

Books )

TV )

Movies )

Music )
chicafrom3: photo of the TARDIS (b: ani: rdu: tomato tomahto)
I've decided to start doing monthly roundups of the media I consume, because...reasons.

basic stats )

And now for some personal reflections on that media.

Books )

TV )

Movies )

Music )
chicafrom3: photo of the TARDIS (misc: frustrated)
I'm listening to the demo for A Gentleman's Guide To Love And Murder and oh my God Raul Esparza singing "It's Better With A Man" is my new favorite thing.

Also it's been twenty days since I last posted anything, so, uh. I suck. Total fail. I have no excuse except that I've had nothing to talk about except self-hatred and nobody wants to hear that, so. Sorry. I have also been failing at commenting. Trying to get better. Mid-year resolution?
chicafrom3: photo of the TARDIS (a: re: sexier than you)
"Petrified", as sung by Raúl Esparza, from the 2003 Broadway production of Taboo.

Hate the way you look at me
But I can see the terror in your eyes
Your eyes
You pull the trigger
Your smile is sweet
But I don't care if we never meet
That's fine
It's alright

This is the performance that got Raúl Esparza the first of four well-deserved Tony nominations.

Taboo is a show that I've been aware of and owned recordings of for a long time without ever quite paying it much attention. Basically the Raúl connection was enough to get me to try it out, and I liked it well enough and promptly didn't think much about it again. Until late last year, when I suddenly and randomly fell deeply in love, particularly with this song and "Il Adore".

"Petrified" particularly gets me because it comes hard on the heels of a chaotic, high-energy scene -- which is suddenly stripped down to just Philip Sallon (Raúl Esparza) in this very quiet, intimate, heartfelt moment. It's gorgeous and heartwrenching.
chicafrom3: photo of the TARDIS (b: ani: play the blues)
This is a post of unrelated things.

♦ NaNo is actually not going terribly. I just finished Part 1 of this story; pretty sure it's going to be three parts. Part 1 dragged on longer than I wanted it to, given that it's mostly setup, but hooray! it's done now and I can move on to the more interesting and plotty bits.

♦ There is new Once Upon A Time tonight and it has real!Belle! SCORE.

♦ The new Discworld is out! And part of me really wants to read it now, but another part thinks I should wait until I finish my Giant Discworld Reread. (I'm up to Night Watch, so I've got about 10 books left.) I am not sure what to do. Opinions?

♦ I've recently gotten suddenly obsessed with Declan Bennett's solo music. I'm not sure why I wasn't already, because it's so good. So consider this a recommendation.

♦ THE DOCTOR WHO TRAILERS LOOK FANTASTIC OH MY GOD. Yes, I squeed aloud at the first shot of Matt and David together. And yes, I cheered at "you've redecorated! ...I don't like it." JUST CRAM IN ALL THE CONTINUITY NODS AND FANPLEASING, MOFF, EVERYTHING ELSE CAN TAKE CARE OF ITSELF. AND THERE WAS THAT TWIRLY HUG WITH ELEVEN AND CLARA THAT WAS DELIGHTFUL. What's up with Rose, though? Bad Wolf? Future version? Alternate timeline? Not really Rose at all? She doesn't look or sound like S2!Rose, that's for sure. I did say the way they announced Tennant and Piper way back when made me suspect we weren't getting S2!Ten&Rose, didn't I? I remember saying that. That little smirk of Clara's when she used the vortex manipulator? EXCELLENT. I am assuming until someone proves otherwise that she remembers everything from all of her zillions of lives saving the Doctor and is just going to be super blasé about Ten. Also, HURT!DOCTOR and THE MOMENT and GALLIFREY and TIME LORDS and ZYGONS and DALEKS and I AM VERY EXCITED.

I am almost certain there were other things I intended to talk about, which I have now forgotten. Sorry?
chicafrom3: photo of the TARDIS (t: ttb: not too fast)
"People Like Us", as sung by Kendra Kassebaum and Jessica Phillips, from the 2012 Broadway musical Leap Of Faith, and as a bonus an earlier version of the song, sung by Kendra Kassebaum, from the original demo recording.

People like us are lucky
People like us are tough
Like it or not, we're all that we've got
And that's got to be enough
People like us have no one
No one but us, that's who
People like us have to stick to each other like glue
And that's what we do

Leap Of Faith is the story of a con man who calls himself Jonas Nightingale; he goes from town to town as a tent revival preacher and fleeces the locals for all he can get before moving on to the next one, with the help of his sister Sam and his choir of Angels. When the revival's bus breaks down in Sweetwater, KS, Jonas attempts to pull the same con once again, but finds complications in the form of local woman Marla and her son Jake.

Leap Of Faith is also a show that, like Wonderland, I have complicated feelings about. It flopped on Broadway, and not undeservedly; while the cast was insanely great (Raúl Esparza! Kendra Kassebaum! Jessica Phillips! Kecia Lewis-Evans! Leslie Odom, Jr.!), the book was a mess. Leap Of Faith had previously had a run at Los Angeles' Ahmanson Theatre with a completely different book, and while opinions are mixed on that production, I think it was a better one. (Though Jessica Phillips is a better Marla than Brooke Shields. Sorry, Brooke.) It's a show that had a lot of potential, and sadly most of that potential wasn't utilized in New York.

"People Like Us" was a number in both the Ahmanson and Broadway productions, and though it had markedly different lyrics in each production, it served the same plot purpose: Sam (Kassebaum) explains to Marla (Phillips) why she and Jonas are the people they are, and the two women find some common ground at last.

(I've offered both versions because they offer substantially different backstories for Jonas and Sam, and I like them both.)
chicafrom3: photo of the TARDIS (t: [tos]: emphasis)
Hey, remember when I was super enthusiastic about this project and was sure I was going to post regularly? Yeah, gonna try to get back to that.


"Where Did We Go Right?", as sung by Nathan Lane and Matthew Broderick, from the 2001 Broadway musical The Producers.

How could this happen?
The show was lousy and long
We did everything wrong
Where did we go right?

The Producers is one of those circular-history shows; first it was a movie, then the movie was adapted into a musical, then the musical was adapted into a movie. Don't you love when that happens?

The show tells the story of failed Broadway producer Max Bialystock and neurotic accountant Leo Bloom, who concoct a scheme to make a fortune: they'll oversell shares in a musical, then put on a show so bad it'll close on opening night, meaning they get to keep the money they raised rather than having to pay back the various investments. This all goes terribly awry when their show is hailed as a satiric masterpiece and becomes Broadway's newest smash hit.

"Where Did We Go Right?" is Max and Leo's lament as they realize they're not going to get away with it. As Leo falls deeper into despair with every positive review, Max replays every step of their path, trying to puzzle out exactly where they failed to put on a flop.

It's the end of our careers
It'll run for twenty years
Tell us where did we go right?
chicafrom3: photo of the TARDIS (t: ith: a bottle of cold champagne)
"Champagne", as sung by Lin-Manuel Miranda and Karen Olivo, from the 2008 Broadway musial In The Heights.

Before we both leave town
Before the corner changes
And the signs are taken down
Let's walk around the neighborhood and say our goodbyes
Usnavi, are you alright?

I'm fine, I'm trying to open this champagne

In The Heights is the baby of composer/lyricist Lin-Manuel Miranda, who also originated the role of the show's narrator character, bodega owner Usnavi. The show looks at a weekend in the lives of the residents of New York's Washington Heights, involving romances, family, fights, politics, and one lucky local winning a windfall in the lottery.

One of the plotlines of the show involves Usnavi's crush on Vanessa, who works at the local salon. Vanessa spends most of the show willfully blind to his crush, completely focused on her desire to move downtown and reinvent herself in a new neighborhood. When Usnavi announces the he's closing the bodega and moving to the Dominican Republic, Vanessa starts to realize that she might care more for him than she wants to think she does; when Usnavi convinces Vanessa's boss Daniela to help her get her application for a new apartment approved, she realizes that she might have missed her chance. "Champagne" is Vanessa's attempt to thank Usnavi for his help, to try to convince him to stay in New York, and, finally, to confess her feelings.

The fact that both Vanessa and Usnavi are kind of failures at admitting their feelings makes it a brilliantly weird love song.

You see the twisty thing is broken
But I'm gonna open this damn champagne
chicafrom3: photo of the TARDIS (mus: pogues: poguemahone)
I have received my Christmas present from my bb brother!

He's let having a good job go to his head. I'm not complaining in the least.

So obviously I immediately put on the Pogues DVD.

brief thoughts on The Pogues In Paris DVD )
chicafrom3: photo of the TARDIS (tv: l: daniel doesn't wtf)
Given that I haven't watched Glee in two seasons or so, save for a YouTube clip of 2Cellos' guest appearance, it's probably weird how fascinated I am by the current Glee-related drama. But fascinated I am.

I am specifically talking about Glee ripping off Jonathan Coulton's cover of Sir Mix-A-Lot's "Baby Got Back".

It's just so bizarre. Did they really think they were going to get away with plagiarizing a well-known musician whose fans include any number of music and tech geeks who can prove the theft? Especially when they didn't even bother to remove the line where JoCo actually names himself in the lyrics, OMG.

I mean it's even looking like they didn't even bother rerecording the arrangement, they just used his karaoke track, which is ... I mean there's lazy theft and then there's that.

chicafrom3: photo of the TARDIS (t: [tos]: nine people's favorite thing)
Confession: I continue to have zero interest in Les Miserables. Sorry. Sometimes this makes me feel like a bad theatre fan but then I realize that faking interest would make a worse theatre fan.

Have a 100 Things entry:

"That'll Never Be Me", as sung by Susan Blackwell (and narrated by Heidi Blickenstaff), from the 2012 Off-Broadway production of Now. Here. This., and as a bonus, an earlier version of the song sung by Jeff Bowen, listed as a composer demo on the OCR.

How'd they get there?
Where's that road
That could lead me out of this nowhere town tonight?
But golden tickets don't get mailed
To this one-horse-town zip code
So there ain't no use in me waiting for an invite

Now. Here. This. is the followup project from the creative team of [title of show], and essentially comprises of a collection of autobigraphical sketches from the four castmates' lives.

In early workshops of the show, "That'll Never Be Me" was a Jeff song about his insecurities as a teenager; in the final version of the show, it became a Heidi moment about her relationship with her father. Both versions resolve the conflict in the same way, with the realization that the only person you can truly be happy being is yourself, and standing back wishing doesn't change things.

You have to build your own future.

(How is it possible that 2012 is almost over?)
chicafrom3: photo of the TARDIS (mus: pogues: poguemahone)

Happy Christmas Eve to those who celebrate, happy December 24th to those who don't!
chicafrom3: photo of the TARDIS (t: [tos]: cast)
Got the chance to listen to the "Now. Here. This." CR in its entirety today, and it's fantastic. Everybody sounds great, the production quality is high, and seriously, I love the music from this show; "Golden Palace" made me cry a little.

I'm also super glad they decided to include the Jeff version of "That'll Never Be Me"; that might be my favorite track.
chicafrom3: photo of the TARDIS (t: [tos]: unwelcome)
Hello, LJ! Sorry for going MIA this weekend. But I spent it with my Nikiness, who really needs to make more time for me in her schedule, so. Things happened.

Also I spent today making sugary food to send to my no-longer-baby brother in California.

Also today I got my copy of the Now. Here. This. cast recording in the mail! \o/ So once I've had the chance to listen to that, expect gushing of some sort.
chicafrom3: photo of the TARDIS (m: sok: aisling & pangur ban)
I am a bit in love with the Leap Of Faith cast recording.

Is this something I should be ashamed to admit or do the combined powers of Raul Esparza, Kendra Kassebaum, Jessica Phillips, Kecia Lewis Evans, and Leslie Odom, Jr., provide enough legitimacy?
chicafrom3: photo of the TARDIS (t: c: pretending)
"One More Opponent / You & I", from the 2001 Danish tour of Chess, as sung by Stig Rossen and Emma Kershaw.

Each day we get through
Means one less mistake
Left for the making

Admit it, you were waiting to see how long it would take me to get around to a song from Chess.

Chess is my favorite musical, period, end of sentence, no qualifiers. Through all the rewrites and all the changes and all the flaws no one's quite managed to fix, I love it. Every version has something to recommend it, even the bizarre Australian and Off-Broadway rewrites.

The 2001 Danish Tour is my favorite cast recording, and "You & I" is one of the greatest love songs in musical theatre canon.

Florence (Kershaw) and Anatoly (Rossen) deal with a number of external factors that threaten their relationship, key among them the stress of the upcoming chess match and the arrival of Anatoly's wife, Svetlana. And as they do, they also confront the fact that they already know how their relationship is going to play out; it's the same story they've already gone through in previous relationships. But they can't stop trying to convince each other and themselves that this time the ending will be different; this time, things will work out.

You and I, we've seen it all
Been down this road before
Yet we go on believing...


Nov. 27th, 2012 10:52 pm
chicafrom3: photo of the TARDIS (mus: fm: tomorrow comes a day too soon)
Type these words into the search bar on your iTunes and list the first song that appears in the results.

With my library sorted by playcount, because a) that's my default sort and b) I actually attempted this with sort-by-artist and sort-by-album but it wound up with the same two cast albums dominating the results. This way was more interesting.

happy: RENT - Happy New Year
love: Keith Urban - I Told You So
hate: Jonathan Coulton - I Hate California
light: Clint Black - Nothin' But The Taillights
dark: The Pogues - Dark Streets Of London
good: Jonathan Coulton - So Far So Good
bad: Rascal Flatts - I Feel Bad
smile: Tim McGraw - Just To See You Smile
cry: Endway - she don't have to cry
girl: The Pogues - London Girl
boy: The Pogues - Boys From The County Hell (radio-friendly version)
sad: The Frames - Sad Songs
lost: Big & Rich - Lost In This Moment
night: Endway - One Lonely Night
day: Green Day vs. Oasis vs. Travis - Boulevard Of Broken Songs
wolf: Garth Brooks - It's Your Song
robot: The Flaming Lips - Yoshimi vs. the Pink Robots
dance: Endway - she dances
time: U2 - Sometimes You Can't Make It On Your Own
life: Endway - life's a game
death: Shane MacGowan, Kylie Minogue, Nick Cave, PJ Harvey, Anita Lane - Death Is Not The End
chicafrom3: photo of the TARDIS (tv: l: claire's gangsta yo)
"I Want It All", from the 1983 Broadway musical Baby, as sung by Liz Callaway, Beth Fowler, and Catherine Cox.

I've been sitting making decisions just like you have
So the thing that I did was to make myself a list
I put what I want on this side
And what I don't want over here
It was quite a bout,
But I worked it out
And now the answer's very clear...
I want it all

Baby is about three couples, each approaching a new pregnancy in different ways. "I Want It All" is an anthem from each of the women -- Pam, Lizzie, and Arlene -- as they contemplate the consequences of motherhood, and the sacrifices that must be made.

And then decide, forget that, I want to be a mother and also achieve all of my non-family-related dreams.

It's a very empowering song in a way that a lot of songs about motherhood aren't.

I want adventure, love, career, kids large and small
I want it all
I want a quiet simple life and some glory
And Steven Spielberg filming my first story
I want to be Gloria Steinam, Janice Joplin, Annie Hall
I want to be Catherine Hepburn, Connie Chung, Madame de Staël
I want to be Mother Teresa, Sally Ride, Lucille Ball
I want it all
chicafrom3: photo of the TARDIS (tv: dtb: it's edible!)
Loving Titus Andronicus's new album. Especially "Tried To Quit Smoking", which is brilliant.

Other than that I apparently have nothing to say today.

Better luck tomorrow.
chicafrom3: photo of the TARDIS (t: ith: the brass ring like frodo)
"Do Your Own Thing", from the 2012 Broadway musical Bring It On: The Musical, as sung by the original Broadway company.

Don't follow me (hey!)
Why you on top of me
Leave me alone
Do your own thing! (ho!)
Do your own thing! (hey!)
Comin' through! (hey!)
I ain't following
You do what you gotta do
Do your own thing! (ho!)
Do your own thing! (hey!)

I never actually expected to enjoy Bring It On. I mean, okay, it's got an awesome pedigree, having been written by Lin-Manuel Miranda (In The Heights), Tom Kitt (Next To Normal), and Amanda Green (High Fidelity). But it's about cheerleaders and based (loosely) on the series of films with the same name and I assumed it would be Not My Thing.

Spoiler: The music is hella catchy.

"Do Your Own Thing" is a big ensemble number and it's really effective at the two things it sets out to do. One, it shoves you headfirst in Campbell's panic and confusion over her new school; the overlapping and chaotic choruses are brilliantly confusing. And two, it quickly sets up the Jackson setting and characters, leading into the major storyline with Campbell and the Jackson dance crew.

And it's ridiculously catchy.

I can't get this song out of my head.