Next time you’re feeling blue, belt one of these show tunes to brighten your mood:

1. “Don’t Rain On My Parade” (‘Funny Girl’)

Don’t tell me not to live
Just sit and putter
Life’s candy and the sun’s
A ball of butter
Don’t bring around a cloud
To rain on my parade

2. “I’m Gonna Wash That Man Right Out Of My Hair” (‘South Pacific’)

Wash him out, dry him out!
Push him out, fly him out!
Cancel him and let him go (yeah, sister!)

3. “One Day More” (‘Les Misérables’)

Tomorrow we’ll discover
What our God in Heaven has in store
One more dawn
One more day
One day more

4. “Dancing Through Life” (‘Wicked’)

Dancing through life
Mindless and careless
Make sure you’re where less
Trouble in life
Woes are fleeting
Blows are glancing
When you’re dancing
Through life

5. “I Have Confidence” (‘The Sound Of Music’)

I must dream of the things I am seeking, I am seeking the courage I lack
The courage to serve them with reliance
Face my mistakes without defiance
Show them I’m worthy
And while I show them
I’ll show me!

6. “Wait For It” (‘Hamilton’)

I am the one thing in life I can control
I am inimitable I am an original
I’m not falling behind or running late
I’m not standing still
I am lying in wait

7. “You Will Be Found” (‘Dear Evan Hansen’)

So let the sun come streaming in
‘Cause you’ll reach up and you’ll rise again
Lift your head and look around
You will be found

8. “Everything’s Coming Up Roses” (‘Gypsy’)

Well, someone tell me, when is it my turn?
Don’t I get a dream for myself?
Starting now it’s gonna be my turn
Gangway, world, get off of my runway!
Starting now I bat a thousand!
This time, boys, I’m taking the bows and
Everything’s coming up Rose!

9. “Tomorrow” (‘Annie’)

The sun’ll come out
Tomorrow
Bet your bottom dollar
That tomorrow
There’ll be sun!

10. “I Got The Sun In The Morning” (‘Annie Get Your Gun’)

Got no mansion, got no yacht,
Still I’m happy with what I’ve got;
I’ve got the sun in the morning and the moon at night.

11. “Put On A Happy Face” (‘Bye Bye Birdie’)

Gray skies are gonna clear up,
Put on a happy face;
Brush off the clouds and cheer up,
Put on a happy face.

12. “Seize The Day” (‘Newsies’)

Now is the time to seize the day
They’re gonna see there’s hell to pay
Nothing can break us
No one can make us quit before we’re done
One for all and all for one!

13. “Non-Stop” (‘Hamilton’)

Why do you write like you’re running out of time?
Write day and night like you’re running out of time?
Ev’ry day you fight, like you’re running out of time
Keep on fighting
In the meantime
Non-stop

14. “I Believe” (‘The Book Of Mormon’)

And now I can feel the excitement, this is the moment I was born to do
And I feel so incredible to be sharing my faith with you

15. “Defying Gravity” (‘Wicked’)

So if you care to find me
Look to the western sky
As someone told me lately
“Ev’ryone deserves the chance to fly”

16. “Dancing Queen” (‘Mamma Mia!’)

You can dance
You can jive
Having the time of your life!

17. “You Can’t Stop The Beat” (‘Hairspray’)

‘Cause you cant stop the motion of the ocean
Or the sun in the sky
You can wonder if you wanna, but I never ask why
And if you try to hold me down I’m gonna spit in your eye and say
That you can’t stop the beat!

Do you have another show tune that never fails to cheer you up? Share it in the comments below!

The post 17 Show Tunes To Belt When You’re Having A Bad Day appeared first on Theatre Nerds.

Fortunately for you, we’re not throwing away our shot to present these life-giving ‘Hamilton’ memes for your viewing pleasure:

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Imgflip.com / Pinterest

Because this is the most relatable thing we’ve ever seen.

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Pinimg

If you aren’t head-banging and screaming “HERCULES MULLIGAN” at the top of your lungs every time you listen to “Yorktown” you aren’t doing it right.

3.

Pinterest

Us after physical activity and John Jay after writing five of the federalist papers.

4.

Tumblr

Happy Valentine’s Day from A. Ham.

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Tumblr

Hugs and kisses from King George.

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Pinterest

The child who wrote this list is our spirit animal.

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Pinterest

Only the truest of ‘Hamilton’ fans will get this…

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Buzzfeed / @brokeymcpoverty

What can we say? We’re old souls.

9.

Popbuzz / @blainecapatch

Raise your hand if you’re a Lin-Manuel Carrie.

10.

Her Campus

‘Hamilton’ in a nutshell.

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Her Campus

It’s cards against humanity, but for Alexander Hamilton.

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Pinterest

History has its eyes on this meme.

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Pinterest

We are satisfied.

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Pinterest

Us.

15.

Pinterest

Also us.

16.

The Globe Trotting Scientist

Time to replenish your Gatorade stock, gang.

Have a favorite ‘Hamilton’ meme? Share it with us in the comments below!

The post 16 ‘Hamilton’ Memes That Continue To Give Us Life appeared first on Theatre Nerds.

1. Annie Baker:

Baker is best known for her 2013 Pulitzer-winning Off-Broadway play “The Flick.” Aside from having written many other Off-Broadway plays, she was a MacArthur Fellow for 2017.

2. Lisa D’Amour:

D’Amour’s Off-Broadway plays include “The Cataract” and “Nita and Zita,” the latter of which won an Obie Award. Her play “Detroit” was a finalist for the 2011 Pulitzer Prize, and her Broadway play “Airline Highway” received four Tony nominations and three Drama Desk nominations.

3. Sarah DeLappe:

Her 2016 Off-Broadway play “The Wolves,” which is about a high school girls’ soccer team, was a finalist for the 2017 Pulitzer Prize. She has an MFA from Brooklyn College.

4. Margaret Edson:

Her play “Wit,” which ran Off-Broadway from 1998-2000, earned her the Pulitzer Prize, an Emmy for Outstanding Made for Television Film, and a Tony nomination for Best Revival of a Play. The Broadway production starred Cynthia Nixon, who also received a Tony nomination.

5. Liz Flahive:

A graduate from NYU Tisch, Flahive’s play “From Up Here” received nominations from Drama Desk and Outer Critics Circle. She has co-produced the shows “Nurse Jackie” and “GLOW.”

6. Amy Freed

Her Off-Broadway play “Freedomland” was a finalist for the 1998 Pulitzer Prize. Another Off-Broadway play of hers, the Shakespeare-themed “The Beard of Avon,” played Off-Broadway in 2003. More recently, the San Francisco Public Library named her a Library Laureate.

7. Madeleine George:

Her 2013 Off-Broadway play “The (curious case of the) Watson Intelligence” was a Pulitzer Prize finalist. Along with Young Jean Lee, Anne Washburn, and Sarah Ruhl, George also co-founded the Obie-winning collective 13P. She is married to Lisa Kron, who co-wrote the musical “Fun Home.”

8. Rebecca Gilman

Her best-known works are the Off-Broadway plays “Spinning Into Butter” and “Boy Gets Girl.” The former play examines political correctness and racial identity, whereas the latter play examines power dynamics in gender relations. Another play, “A True Story of the Johnstown Flood,” was inspired by Hurricane Katrina.

9. Gina Gionfriddo:

Two of her Off-Broadway plays, “Becky Shaw” and “Rapture, Blister, Burn,” were 2009 and 2013 finalists for the Pulitzer Prize. She has also written for “Law and Order” and “Cold Case.”

10. DW Gregory

Her plays are tragicomedic examinations of American life throughout history. One of her most famous works, “Radium Girls,” is about a group of female factory workers who fall ill with radium poisoning. It is a popular choice among high schools and community theaters.

11. Danai Gurira:

You might know her as Michonne from “The Walking Dead” and as Okoye in the Marvel Cinematic Universe. Gurira’s play “Eclipsed” received six Tony nominations (winning one), and her play “Familiar” won her the Sam Norkin Award from Drama Desk.

12. Leslye Headland:

Headland is known for her “Seven Deadly Plays” cycle, in which each play covers one of the seven deadly sins in Christianity. She has directed multiple films, and her Netflix series “Russian Doll,” which she created with Natasha Lyonne and Amy Poehler, premieres later this year.

13. Amy Herzog:

Her Off-Broadway play “4000 Miles” won a 2012 Obie Award and was a 2013 Pulitzer Prize finalist. Her other Off-Broadway plays, including “The Great God Plan,” Mary Jane,” and “Belleville,” each received Drama Desk nominations.

14. Quiara Alegría Hudes:

Best known for writing the book for “In the Heights,” Hudes’ Off-Broadway play “Water by the Spoonful” won her the 2012 Pulitzer Prize for Drama. Her most recent musical “Miss You Like Hell,” which she wrote with Erin McKeown, played Off-Broadway last year.

15. Lucy Kirkwood:

This British playwright has found success on West End and on Broadway. Her most famous play, “The Children,” premiered in London in 2016, opened on Broadway a year later, and earned two Tony nominations.

16. Young Jean Lee

Lee has written and directed ten shows for her own non-profit theater company, of which she is the Artistic Director. Her most famous play, “Straight White Men,” made her the first Asian-American woman to have a play produced on Broadway.

17. Jennifer Maisel:

Her 2012 Off-Broadway play “The Last Seder” is about a Long Island family coming together during a difficult time. She is a lecturer at USC’s School for Dramatic Arts, and has been a Playwright in Residence for The Jewish Women’s Theatre Project.

18. Martyna Majok:

This Polish-American playwright won the 2018 Pulitzer Prize for Drama for her Off-Broadway play “Cost of Living.” More recently, her play “Queens,” which is about a group of immigrant women growing in the New York borough of the same name, premiered Off-Broadway last year.

19. Lynn Nottage:

Nottage is the only woman to have won the Pulitzer Prize for Drama twice. Her most recent major play “Sweat” is about a group of factory worker friends who are pitted against each other when layoffs occur. The play received three Tony nominations in 2017.

20. Antoinette Nwandu:

Nwandu is a member of the Ars Nova Play Group, and her play “Pass Over,” which ran Off-Broadway last year, became a film for Amazon that Spike Lee directed.

21. Suzan-Lori Parks:

In 2002, her play “Topdog/Underdog” made her the first African-American woman to win the Pulitzer Prize for Drama. She then was a Pulitzer Prize finalist in 2015 for her Off-Broadway play “Father Comes Home from the War (Parts 1, 2, and 3).” Her upcoming Off-Broadway play “White Noise” will premiere at the Public Theater in March of this year.

22. Theresa Rebeck:

Her Off-Broadway play “Omnium Gatherum,” which she wrote with Alexandra Gersten-Vassilaros, was a 2004 Pulitzer Prize finalist. Rebeck has had other Broadway plays, including “Seminar” and “Dead Accounts.” Her most recent Broadway play”Bernhardt/Hamlet” is about Sarah Bernhardt’s groundbreaking performance as the iconic Shakespearean protagonist.

23. Yasmina Reza:

This French playwright has had two Broadway plays, “Art” and “God of Carnage,” which both received Tony nominations. Last year, she published a novel “Elisabeth,” which is about a woman whose curiosity and ambition turn her quaint life into a police thriller.

24. Sarah Ruhl:

Two of her plays, “The Clean House” and “In the Next Room (or The Vibrator Play),” were Pulitzer Prize finalists. The latter play received three Tony nominations. More recently, her Off-Broadway play “For Peter Pan on Her 70th Birthday” received its New York premiere in 2017.

25. Laura Shamas:

Having earned a Ph. D. from Pacifica Graduate Institute, Shamas has written over 40 plays. She has also published “Pop Mythology,” which is an essay collection about mythology and modern life. Shamas is part-Chickasaw, and her works are featured in the Native American Women Playwrights Archive at Miami University in Ohio.

26. Lisa B. Thompson:

Thompson is a professor of African and African Diaspora Studies at UT-Austin, whose play “Single Black Female” ran Off-Broadway in 2006. She has had multiple plays receive productions throughout Texas.

27. Lucy Thurber:

Thurber is a playwright and opera librettist who has taught at NYU and Sarah Lawrence College. Her plays “Bottom of the World,” “Scarcity,” and “Tranfers” all received Off-Broadway runs during this decade.

28. Joyce Van Dyke:

Van Dyke is a lecturer at Harvard Extension School. Her play “The Women Who Mapped the Stars,” which tells of the discoveries made by five female Harvard astronomers, premiered last year in Cambridge. Her Off-Broadway play “Daybreak,” originally called “Deported,” is about the Armenian Genocide.

29. Paula Vogel:

Vogel is a playwright who was a Creative Writing Professor at Brown University for 24 years. She has written multiple Off-Broadway plays, including “How I Learned to Drive,” which received the 1998 Pulitzer Prize for Drama. Her Broadway play “Indecent” won two Tony Awards in 2017.

30. Anne Washburn:

She is best known for her 2013 Off-Broadway dark comedy, “Mr. Burns, a Post-Electric Play.” Despite a polarized reception, the play one Drama League nomination. Washburn’s theatrical adaptation of “The Twilight Zone” is opening on West End in March.

Did we leave off your favorite female playwright? Let us know in the comments below…

The post 30 Female Playwrights You Should Know appeared first on Theatre Nerds.

Ye olde critic for the New York Times Brooks Atkinson shared a similarly sentimental sentiment. As he put it in his review for the doomed 1958 musical “Portofino,” — “There is something pathetic about a musical show that is hopeless. For the hopeless ones require as much work as those that succeed. There are just as many carnival-colored costumes; there is just as much cheerful scenery. The light cues are just as intricate, and the orchestrations as ebullient. Just as many attractive young people dance their feet off and smile as pleasantly. Everybody has rehearsed just as loyally, as if he were bound to succeed. What makes a hopeless musical show pathetic is the fact that the medium is glamorous and gay.” From there, he went on to tear the show to shreds.

Even though we can all agree it’s a bummer to watch a show tank, there is admittedly something gleeful about reading bad reviews. Blame it on the schadenfreude, I guess (wow, I spelled “schadenfreude” all by myself! Thanks, “Avenue Q.”). Most of the time, the more scathing the review, the juicier it reads —  as long as it wasn’t written about you… THIS TIME!

Here’s a small sampling of some deliciously cringeworthy snark from theatrical reviews of seasons past. Enjoy — but try not to gloat… these shows have had it hard enough already.

1. LEGS DIAMOND (1988), 64 Performances

Frank Rich, The New York Times:

Far from being a source of ridiculous slap-happiness, ”Legs Diamond” is a sobering interlude of minimum-security imprisonment that may inspire you to pull out a pen and attend to long-neglected tasks, like finishing last Sunday’s crossword puzzle or balancing a checkbook.

The script is so confusing I lost its thread before the end of the first number. The unhelpful dialogue, which rarely falls trippingly from the company’s highly amplified tongues, sounds as if it had been translated from foreign-language comic books. A typical punchline? ”My girls don’t come cheap, and neither do sequins.” (Actually, these sequins look as if they do.) If there’s any mystery to ”Legs Diamond,” it is the one attending [the show’s star Peter] Allen, not the gangster he purports to play. Here is a performer with a single expression – a pop-eyed, I-dare-you-not-to-love-me grin – and a harsh singing voice as taut as his face. He delivers jokes as if he were a ”Hollywood Squares” second banana struggling with his cue cards, and his dancing amounts to a few Rockette-style high kicks and a lot of wiggling at the joints. As for Mr. Allen’s songs, they are so derivative they make Andrew Lloyd Webber’s scores sound idiosyncratic.

2. LENNON (2005), 49 Performances

Ben Brantley, The New York Times:

In the immortal words of Yoko Ono, “Aieeeee!” A fierce primal scream — of the kind Ms. Ono is famous for as a performance and recording artist — is surely the healthiest response to the agony of “Lennon,” the jerry-built musical shrine that opened last night at the Broadhurst Theater.

3. BRING BACK BIRDIE (1981), 4 Performances

Frank Rich, The New York Times:

If the first ”Birdie” was invigorating, the new one is depressing right up until that curtain call. Although its creators have done plenty of fine work since their first success, you’d never guess it from this mess. ”Bring Back Birdie” is not only far inferior to its predecessor, but it is also woefully tired – as if everyone involved had abandoned hope. Instead of doing ”Bring Back Birdie,” these people should have brought back ”Bye Bye Birdie.” Or maybe they should have left their and our fond memories in peace.

Though ”Bring Back Birdie” aspires to bring back everyone’s happy youth, it has sent its creators and audience alike crashing into a gloomy middle age.

4. THE CIVIL WAR (1998), 61 Performances

Ben Brantley, The New York Times:

In the wake of any war come questions, dazed, wondering questions. What, finally, did we gain from fighting? What did we learn? Why did this conflict have to happen in the first place?

Perhaps, then, it is appropriate that the new musical called ”The Civil War,” whose subject is nothing less than what its grand, stark title promises, should provoke a similar litany of questions. Why are we here at the St. James Theater? What is the point in remaining for more than two hours? Why would anyone stage a show that improbably drains the drama from what is still the most fraught and painful chapter in American history?

The show arranges its archetypal elements into confoundingly static patterns, laying out all its cards in its opening minutes and then failing to combine them in ways that would build to revelation or strong emotional response. Though the musical covers the full span of the war, with the names, dates and casualty counts of major battles projected in supertitles, you eventually come to feel that you have been watching the same rotating diorama.

5. TABOO (2003), 100 Performances

Peter Marks, The Washington Post:

Experiencing the stultifying “Taboo,” you feel as if you could be standing on a shaky pier on the edge of theaterland, waving the SS Broadway Musical goodbye.

This sort of sensation comes on those dispiriting nights when big, new, expensive shows bearing all the telltale signs of actual entertainment — starry names, busy choreography, lighting — reveal how far the musical has strayed from traditional craftsmanship. During these peculiar events, you find yourself questioning the entire institution of Broadway, wondering whether anyone will ever again levitate an audience with imaginative songs painstakingly woven into a story of bona fide human consequence.

The feeling will pass, of course, because the regenerative impulse in your psyche guides you to the memory of a recent success like “Avenue Q,” a witty, melodious sendup of urban mores and post-graduation angst. But still, Broadway continues to shelter hokum like “Taboo,” a production with such an acute case of meaning-deprivation that you almost forget what’s happening as it’s happening.

The wasted actors — as in misused — include the estimable Raul Esparza, playing a cross-dressing London club promoter who narrates this musical-in-flashback. Esparza is so fired-up here you want the stagehands to keep him away from matches; he’s a combustible presence, but if the performance were any more intense, it could embarrass even Mandy Patinkin.

6. THE STORY OF MY LIFE (2009), 5 Performances

Adam Feldman, Time Out New York:

“The Story of My Life” is a two-man musical with a dual personality. Half of Brian Hill and Neil Bartram’s well-meaning piece examines the tension between memory and fiction, as seen through the lives of two men with a knack for verbose self-reflection; the other half is a collage of cultural platitudes about butterflies, angels and snowflakes. The show can’t decide if it wants to be Stephen Sondheim or a gift shop in Topeka.

“The Story of My Life” needs fewer stories and more life. It is hard to imagine that this snowflake of a show will survive in the Broadway drift: It has wings, but it doesn’t have a prayer.

—

Ben Brantley, The New York Times:

In addition to jettisoning the usual excesses of tourist-trapping extravaganzas, they have tossed away such niceties as originality, credibility, tension and excitement. I don’t think it’s spoiling anything to tell you that [Malcolm] Gets’s character is dead when the show begins. So, for all practical purposes, is “The Story of My Life.”

And as directed by [Richard] Maltby, [actor Will] Chase (of “Lennon” and “High Fidelity”) and Mr. Gets (a Tony nominee for “Amour”) sing and act with winning (and, under the circumstances, merciful) restraint. It is to their infinite credit that even when they’re extolling the precious glories of snow angels and a butterfly’s wings, you don’t feel like punching them in the face.

7. CRY BABY (2008), 68 Performances

Ben Brantley, The New York Times:

There’s no delicate way of putting this. Cry-Baby is … tasteless. … When I said “tasteless,” I meant without flavor: sweet, sour, salty, putrid or otherwise. This show in search of an identity has all the saliva-stirring properties of week-old pre-chewed gum.

—

Clive Barnes, New York Post:

The music comes in two rocky flavors — cheery and droopy. It’s the kind of music that makes you wonder whether you’ve heard it before, just before you stop caring.

—

Mary Carol McCauley, The Baltimore Sun:

Opportunity knocked last night at the door of the Marquis Theatre, where Cry-Baby is making its Broadway debut. But nobody answered.

8. LEAP OF FAITH (2012), 19 Performances

David Cote, Time Out New York:

Want to make a ton of money? Peddle God to fools. Want to lose a ton of money? Invest in a Broadway turkey. You can’t have it both ways. It’s perfectly fine—even desirable—if your religion is crude and nonsensical, but a show as bland and confused as “Leap of Faith” is not going to make rich men of its producers (among whom are actual church leaders). The fake cash distributed by actors to audience members—so we may place it in the offertory baskets at Jonas Nightingale’s revivalist hoedowns—is all the green this wanly tacky production is likely to see.

9. LESTAT (2006), 39 Performances

Ben Brantley, The New York Times:

A promising new contender has arrived in a crowded pharmaceutical field. Joining the ranks of Ambien, Lunesta, Sonata and other prescription lullaby drugs is “Lestat,” the musical sleeping pill that opened last night at the Palace Theater. Dare to look upon “Lestat” and keep your eyelids from growing heavier and heavier.

10. HURRY, HARRY (1972), 2 Performances

Clive Barnes, The New York Times:

Muggings, massage parlors and disasters such as “Hurry, Harry” have all conspired to give Broadway a bad name. It is so feeble that even its opening is I suppose worthy of congratulation — lesser men would have given up in the face of the inevitable. But the producer, Peter Grad, and the three people who wrote the book, the man who wrote the music, and the man who wrote the lyrics fought on in spite of everything.

It is sad when this kind of thing happens– sad for the backers, sad for the people who worked for it, sad for the critics forced to pan it. The critic in such circumstances is a particular innocent. Halfway through he is tempted in a paranoid fashion to wonder: “What did I ever do to you guys that you have to give me such a rotten night?’ Oh, well!”

11. GOOD VIBRATIONS (2005), 94 Performances

Ben Brantley, The New York Times:

Even those who believe everything on this planet is here for a purpose may at first have trouble justifying the existence of “Good Vibrations,” the singing headache that opened last night at the Eugene O’Neill Theater.

But audience members strong enough to sit through this rickety jukebox of a show, which manages to purge all catchiness from the surpassingly catchy hits of the Beach Boys, will discover that the production does have a reason to be, and a noble one: “Good Vibrations” sacrifices itself, night after night and with considerable anguish, to make all other musicals on Broadway look good.

12. MARILYN: AN AMERICAN FABLE (1983), 17 Performances

Frank Rich, The New York Times:

If you read all the fine print in the Playbill for ”Marilyn: An American Fable,” you’ll discover that the new musical at the Minskoff has 16 producers and 10 songwriters. If you mistakenly look up from the Playbill to watch the show itself, you may wonder whether those 26 persons were ever in the same rehearsal room – or even the same city – at the same time. On top of its many other failings, ”Marilyn” is incoherent to the point of being loony. I defy anyone to explain – just for starters – why 10 chorus boys dressed in pink plumbers’ costumes sing a song about bubble baths at the climax of Act II.

The post 12 Times The Critics Were Absolutely Savage (But Not Necessarily Wrong) appeared first on Theatre Nerds.

From the quick-witted antics of Midge in ‘The Marvelous Mrs. Maisel’ to the devious plots of Count Olaf in ‘A Series of Unfortunate Events,’ we’ve rounded up nine shows airing this year that we think deserve a theatrical adaptation:

1. ‘The Marvelous Mrs. Maisel’

Amazon Prime’s award-winning original has swept audiences by storm with its quirky slew of characters, its lovable leading lady, its smart dialogue and its empowering story. Enter Midge Maisel, a spunky housewife living on the Upper West Side of New York City during the 1950s. With a husband, two children, and a wardrobe fit for a queen, Midge’s charmed life seems picture perfect…until her husband unexpectedly leaves, and she stumbles into a whirlwind stand-up comedy career. With a cast of colorful characters and plenty of hilarious mishaps (plus actual comedy routines), ‘Maisel’ is a shoo-in for a fabulous theatrical makeover.

2. ‘You’

The Broadway stage is no stranger to dark comedies and Netflix’s latest creepy series, ‘You’, has the potential to find its place in the theatre world. This psychological thriller quite literally follows Beck, an aspiring writer in New York City, through the eyes of her stalker, Joe Goldberg. While narrator Joe first comes across as your typical all-American guy in his twenties, an unsettling truth starts to unravel. ‘You’ is suspenseful, dramatic and could certainly make for musical material.

3. ‘The Good Place’

Imagine arriving at the pearly white gates of heaven only to find there’s been a mix-up, and you’re not supposed to be there… That’s fate for Eleanor Shellstrop (Kristen Bell) in NBC’s ‘The Good Place’. This light-hearted comedy series is full of silly twists and turns and delivers some meaningful messages too. Give us a choir of singing angels, a dancing Janet, an ensemble number about all of The Good Place’s frozen yogurt joints, and Broadway is sure to be forkin’ blessed.

4. ‘A Series Of Unfortunate Events’

A tap-dancing Count Olaf and some belting Baudelaires – we’re all about the concept of ‘A Series Of Unfortunate Events: The Musical’. This popular children’s book series- turned-Netflix-show has more than enough drama to keep audiences engaged as they watch Violet, Klaus, and Sunny narrowly escape the clutches of one ominous count. (Petition for Neil Patrick Harris to reprise Count Olaf in the Broadway musical?)

5. ‘The Chilling Adventures Of Sabrina’

The life of Sabrina Spellman no longer requires a laugh track in Netflix’s new iteration exploring the highs and lows of being a teenage witch in the normal human world. Based on a comic series of the same name, ‘The Chilling Adventures of Sabrina’ is a revamped, mystical TV show centered around its beloved half-witch, half-mortal heroine. A pinch of music, a dust of magic and a healthy dose of high school drama seems like the perfect brew for a stage adaptation that will give us chills.

6. ‘Pose’

Last year, ‘Glee’ creators Ryan Murphy and Bryan Falchuk reunited to bring the first season of ‘Pose’ to FX. This distinctive series acts as a commentary on life in New York City for a diverse ensemble of characters during the 1980s. The show includes plenty of music and dives deep into something as simple as someone’s everyday life, which is why we think ‘Pose’ would make impactful theatre.

7. ‘The Handmaid’s Tale’

While we’re not so sure this Hulu masterpiece lends itself to song and dance, a live retelling of ‘The Handmaid’s Tale’ saga would most certainly be a powerful production onstage. For centuries, theatre has embraced progressive storytelling – and this dystopian society in which women are forced into various roles such as child-bearers (otherwise known as “handmaids”) carries some pretty heavy albeit essential themes. The show does take audiences through different facets of the Gilead republic but focuses primarily on the hardships of one enslaved woman called June. Watching June’s journey unfold onstage is bound to make for a night of thought-provoking theatre.

8. ‘Unbreakable Kimmy Schmidt’

If you’re a fan of Netflix’s wild series, ‘Unbreakable Kimmy Schmidt’, which culminated in January of 2019, you’ve probably watched those Titus Andromedon musical numbers on repeat. Throughout the comedy’s four seasons, Kimmy Schmidt’s best friend Titus (a theatre nerd if there ever was one) continuously makes musical theatre references and even breaks out into song. As for the show’s premise? In the very first episode, Kimmy is rescued from an underground bunker where she was held hostage by a crazy cult leader for the past 15 years, and must then cope with adjusting to modern-day city life.

9. ‘Game Of Thrones’

Winter may be coming for the very last time in 2019, but our fingers are crossed for George R. R. Martin’s massive phenomenon to receive the theatre treatment somewhere down the road. While putting together a production of this scale would undoubtedly prove a challenge (there are dragons after all), experiencing the Seven Kingdoms onstage would be worth it. Though the journeys that take place in this fantasy realm are complex, HBO’s series shares tales of love, loss, family, and the battle between good versus evil. Kisha laz atthirarido… that’s “we can dream” in Dothraki.

Have another show you want to see adapted to theatre? Share in the comments below!

The post 9 TV Shows In 2019 That Are Made For The Stage appeared first on Theatre Nerds.

In high school, I made friends with some of the drama kids. It was so cathartic to be around people who understood my passion and to be in a place where there was no judgment. During intermission, we’d jam to showtunes in the dressing rooms. I always ask musical theater fans what their favorite musical is, and I hear all of the standards: Phantom of the Opera, Wicked, Les Miserbles, Hamilton, and Rent, but never have I come across a fellow fan of Miss Saigon. In fact, any musical fan friend I’ve mentioned it to has said that while they’ve heard good things about the show, they have not experienced it themselves.

The musical is an updated adaption of the opera Madame Butterfly by Giacomo Puccini and features a score by the genius duo behind Les Miserables, Claude-Michel Schönberg and Alain Boubil. It is Broadway’s thirteenth longest running show, opening in 1991 after succeeding in the West End in London for 2 years. Filipina singer Lea Salonga made her musical debut as the lead heroine, Kim, at the age of 17.

Set during the fall of Saigon during the final days of Vietnam War, the musical tells the tragic story of a young orphan who gets entangled in a world of prostitution and corruption to survive. On her first night as a bargirl at the seedy bar Dreamland, Kim’s virginity is bought by a US marine, John, for his friend Chris. Chris is initially reluctant to partake in his gift, but relents, and desperate for any connection, the two fall in love. Chris vows to save Kim from her life of degradation, only for the two to be tragically separated when the US troops were suddenly recalled home. It’s a tragic love story that pulls at the heartstrings and despite its risque subject matter, it never comes across as profane, just a sad way of life for these characters.

The score is beautifully done with wonderful songs such as: “Sun and Moon” and “The Last Night of the World” two of Kim and Chris’s love songs, as well as “I Still Believe,” and the heartbreaking showstopper “I’d Give My Life For You.”

In 2014, the show was revived in London and fellow Filipina, Eva Noblezada was cast as Kim. Following a successful 2 year run, it transferred to Broadway  for a year before closing once more. A film adaption has been rumored to be in the works for years, however, nothing has as of yet, surfaced, though the 25th anniversary performance was filmed and released on DVD in the UK.

Having a wide range of shows to choose from, I can honestly say that Miss Saigon is one of my absolute favorite shows. Not only does it showcase the most under-represented culture and ethnicity, but the story is so engrossing that you’re sucked right in and your heart breaks along with Kim’s. Her journey from scared child to fearless mother willing to die for her young son is captivating and the shocking ending leaves you in tears. This is a story of survival, love, determination, and above all else, strength that is universal to everyone.

Why this amazing show isn’t more popular among the theater crowd, I will never know. Seriously, if you have not seen this show, or at least listened to the soundtrack, you are missing out. There are very few times before that a show has impacted me as much as Miss Saigon did when I finished the 2014 live recording album for the first time. I am hopeful that the success of both productions of the revival will spur the film adaption on an that the revival cast will get to reprise their roles on screen; Eva Noblezada was born to play this role and after having heard her countless times on the album and seen her in the 25th anniversary live DVD, there is no one else who can do the role justice, besides Lea Salonga, of course.

The OBC  and 2014 live recordings can be found on Youtube, as well as the 2001 Manila tour production — featuring Lea Salonga. I was able to find the 25th anniversary movie on a site and download it onto my computer since it was never released in the US on either DVD or digital.

Please go and check this show out. Even if it isn’t your cup of tea, even if it isn’t your new favorite show, it’s worth a shot.

The post Miss Saigon Is An Underrated Gem appeared first on Theatre Nerds.

1. Where can you best serve the story?

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At our core, all thespians have the desire to bring stories to life. As an actor, I have jumped in to help with set movement, costume, props because I was there to help tell the story. Similarly, my former roommate and best stage manager ever has had to play up to four characters (hello college Shakespeare) because our company was too small for a full cast. Theatre is the most collaborative art form; we all should strive to set our preferences aside to make sure that we tell the best story possible.

2. What will help you grow as an artist?

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If you have played Simon Stimson in Our Town three times might I suggest that for the fourth you ASM (and no, I don’t mean the onstage one). Though every show is a new production and allows you to approach acting in a different way, sometimes the best way is to get offstage! You can see theatre in a more holistic manner if you are not always so focused in on your character. Similarly, by acting when you typically are designing or directing, you allow yourself to focus in on one character’s choices. This helps me as a costumer–by acting, I exercise my character-choices muscle and help myself see the individuals that make up the company.

3. What brings you joy?

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Ultimately, if you do not have fun running around in utter darkness for ten seconds trying to change scenes or if getting up in front of two hundred people to bare your soul, then don’t do it. While you should never rule something completely out before trying it, we call it a play for a reason: you and the audience are meant to enjoy it. There are much easier things one can do and be miserable than theatre. And this can change as you grow as an artist. You might start acting and end up going into design instead (like I did).

Experiencing multiple views of the theatre allows you to be a more well-rounded artist. There doesn’t have to be a true “either-or” if you go about it with an open mind. If you are looking for a black and white answer to this question, this is the closest thing I can offer:

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The best lesson that my theatre teachers in high school could have ever taught me was to keep going even when you think you can’t. Every time that cast list went up and my name wasn’t where I wanted it to be, I was devastated. But I kept showing up. I kept taking on responsibilities and did my best to help out wherever possible.

We all have them.

Those teachers who stick with you, even years after you have them in class. Every time you pull out the yearbook, you’re instantly flooded with memories once you come across their picture on the faculty page.

These teachers didn’t just teach you what was in the syllabus. They taught you life lessons too. Lessons that stick with you for years after graduation. The very fact that you can recall these teachers shows the enormous impact that they had on you.

If you were a theatre kid like I was (and still am), I’m willing to bet that this influential person was none other than your theatre teacher. They were most likely your favorite teacher (or if you had a bad experience, your least favorite). You most likely spent hours upon hours of rehearsals, tech nights, and performances with them. And most likely, they knew way too much about your personal life.

If this is sounding a lot like your high school theatre experience, you’re not alone.

My high school was huge. Over 2,000 students filled the hallways every day. When you already have a small circle of people you can call friends, those 2,000 classmates can feel like 2,000 strangers. By sophomore year, I was entirely out of options as for where to sit and eat lunch in the cafeteria.

I remember one day very vividly. I had become so frustrated with finding a seat in the cafeteria. I had been bouncing around from table to table, trying to find a group of kids that I felt comfortable enough sitting with. Finally, I asked the cafeteria worker for a styrofoam tray and booked it to the orchestra room.

I figured it would be better to eat alone in the orchestra room out of sight from the 800 kids sitting in the cafeteria than to put myself on public display as the kid who was sitting alone at lunch.

That was when my orchestra teacher and high school musical director poked her head out of her office and asked me what I was doing. Me, thinking I was in trouble, tried to come up with an excuse as to why I was sitting alone in the orchestra room with my lunch.

Instead of responding with anger (not that I expected her to), she invited me into her office where we launched ourselves into a discussion about the latest shows hitting Broadway that season. I finished my lunch and headed off to my next class, feeling much better about my day. That one day turned into a series of days eating lunch in my director’s office. Pretty soon, I was eating lunch there every day.

I started helping out with things around her office, becoming the second pair of eyes when it came to looking over program revisions for the upcoming spring musical. I took over the responsibility of managing the costume closet that held the various costumes of musicals past. I learned so much about the business behind theatre because my theatre teacher allowed me the opportunity to do so. By the time senior year had rolled around, I took the title of “Student Business Manager.” But by then, it was truly just a formality.

Over time, a few of my musical friends had started dropping in. We felt safe in the orchestra room with our musical director. She made us feel included and like we belonged. I know it’s a cliche of sorts to say that your students become your kids, but honestly my teacher was like a second mother to me. Her office was practically a second home for me and a few others. Some of us had pitched in together to buy a Keurig for the back room, further fueling my coffee addiction. At one point there was a panini maker, but once my teacher smelled bacon, she shut that down real quick.

Seeing how passionate my teacher was about theatre made me passionate about theatre. She inspired me to pursue this as a career, but most importantly, always keep a love for theatre burning within me.

Were there moments where I was frustrated? Sure. Every time a cast list was posted. I never got the part I wanted in the school musical. I was always the sidekick or a featured part. It took me until senior year to finally get even a supporting role.

But did I let that stop my passion or the relationship that I had established with my director? No.

The best lesson that my theatre teachers in high school could have ever taught me was to keep going even when you think you can’t. Every time that cast list went up and my name wasn’t where I wanted it to be, I was devastated. But I kept showing up. I kept taking on responsibilities and did my best to help out wherever possible.

These were life lessons that my theatre teachers were teaching me. What matters more than how you accept victory is how you deal with defeat. I didn’t realize it at the time, but now almost a year following my high school graduation, I do.

The remarkable thing is that even though I am graduated and off at college, they are still teaching me. Now and then I’ll find myself shooting off a text or e-mail to an old teacher asking for advice. And they’ll give it to me. Or vice-versa, they’ll check in and see how college is going. That is the sign of a teacher who cares.

My high school orchestra teacher wasn’t the only important theatre teacher in my life. I’ve had many, many others. Each of them worthy of an entire article just for themselves. Maybe I’ll share those stories someday. But the fact of the matter is, I have been blessed to have so many significant role models in my life that have shared their love of theatre with me, therefore fostering an appreciation of the art form within myself.

Whether you had a positive or negative experience with your high school theatre teacher (and whether you’ll admit it or not), they were fundamental in your development as an artist. Middle school and high school theatre are where we’re first exposed to this great art form. The educators that facilitate these programs in our schools have a tremendous task.

They don’t just teach theatre.

Theatre is not just acting out words on stage. Theatre is history. Theatre is music. Theatre is a science. Theatre is a math. Theatre is foreign language. Theatre is all of it wrapped in one.

Our theatre teachers are tasked with teaching life. That is their importance.

Did you have an influential theatre teacher in your life? Tell us about them in the comments below!

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We all hated – and possibly felt sorry for – his Judas Iscariot in NBC’s “Jesus Christ Superstar Live!” More recently, we were serenaded by and fell in love with him as Tom Collins in Fox’s “Rent Live.”

What you need to know about our favorite soulful standout:

1. 2003 – He was cast as Adult Simba in the national tour of Disney’s “The Lion King.”

2. 2005 – He created the role of Harpo in the musical “The Color Purple,” starring on Broadway (where he was Tony-nominated for Best Featured Actor in a Musical) and on tour.

3. 2007 – He played the musical legend Ray Charles in the Pasadena Playhouse’s “Ray Charles Live.” He was nominated for an Ovation Award for his portrayal of the blind singer/songwriting powerhouse.

4. 2010 – He portrayed the falsely-accused rapist Haywood Patterson in the original cast of “The Scottsboro Boys.” For this performance, he grabbed award nominations for the Oliviers, Drama Desk, Outer Critics Circle, Lucille Lortel, Drama League, and Audelco Awards.

5. 2011 – He was cast as Tom Collins in “Rent” Off-Broadway.

6. 2013 – He created the role of Berry Gordy Jr. in “Motown: The Musical,” for which he nabbed a nomination for a Drama League Award.

7. 2016 – He played Eubie Blake in the musical “Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed,” and earned a second Tony nomination for Best Featured Actor in a Musical.

8. 2016 – Leslie Odom Jr. recruited him to play Aaron Burr in the smash hit “Hamilton,” for which he was chosen over THREE understudies!

9. 2017 – He began work as Terry Silver on the (still running!) Starz series “Power.”

10. 2018 – He became a household name with NBC’s “Jesus Christ Superstar Live!” as Judas Iscariot, opposite names such as John Legend and Sara Bareilles. (Some would even argue that he completely stole the show!) He snagged a Primetime Emmy nomination with his powerful performance.

11. 2019 – In the short time that we’ve had, he revisited the role of Tom Collins in Fox’s “Rent Live,” and made us all – cast included – sob uncontrollably with his “I’ll Cover You (Reprise).”

Among all of this, Dixon co-founded WalkRunFly, which, according to his website, “ is most interested in developing new work by early stage artists.” Through WRF, he produced “Of Mice and Men” in 2014, as well as “Hedwig and the Angry Inch,” which, starring Neil Patrick Harris, won the Tony Award for Best Revival of a Musical AND the Drama Desk Award for Outstanding Revival of a Musical.

He also advocates for social justice, both on social media and the stage. On Instagram, he pushes for awareness of topics such as racial injustice, endangered wildlife populations, and empowering the African American community. And during a curtain call in “Hamilton,” while then-future Vice President Mike Pence visited, he delivered a short – yet powerful – speech (on behalf of the show’s cast and creators) to the new administration to fight for the “diverse America,” “a diverse group of men and women of different colors, creeds, and orientations.”

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As the kids say: We stan a woke, talented king!

Even though he is a busy and #booked actor, Dixon frequently gives us never-before-seen glimpses backstage of his current projects via social media posts and the Instagram Live feature. We don’t deserve you, BVD!

Brandon Victor Dixon is a force to be reckoned with. Along with all of his superfans, I just cannot wait to see what role he takes on next.

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Who else in our Broadway community deserves more love? Sound off in the comments below, and you might see your suggestions in an upcoming article!

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1. THE CHER SHOW

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Fresh off its Broadway debut, ‘The Cher Show’ brings to life the journey of an iconic artist as seen through Cher during three different stages of her career. While our fingers are crossed for an original cast recording soon (because Stephanie J. Block sings like magic), the music of Cher can still count as an inspiring anthem in our book. Not only will her songs encourage us to believe in life after love, but ‘The Cher Show’ reminds us that being different is the key to success.

2. WAITRESS

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With music penned by Sara Bareilles and a story based off the 2007 film, ‘Waitress’ has been captivating the theatre with sugar, butter, flour, and an empowering message. Enter Jenna, a sweet and hard-working protagonist who can’t seem to catch a break (spoiler alert: she’s a waitress stuck in a terrible marriage). As the story unfolds through some of the most uplifting show tunes out there, we watch Jenna transform into a strong-willed, determined woman who is set on giving herself the life that she deserves.

3. LES MISÉRABLES

If you know anything about musical theatre, you’ve probably heard songs from ‘Les Misérables’ in some form. As one of Broadway’s greatest shows of all time, ‘Les Mis’ depicts Victor Hugo’s tale of Jean Valjean, a man who committed a crime and subsequently dedicates his life to living with grace and kindness. It’s a tale of forgiveness and second chances that will inspire you to better yourself this coming year.

4. FUNNY GIRL

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Crowned a classic by many musical fans (and Barbra Streisand fans alike), ‘Funny Girl’ is most known for its beloved tune, “Don’t Rain On My Parade.” And in 2019, we are NOT letting anyone rain on our parade. You feel?

5. DEAR EVAN HANSEN

6. INTO THE WOODS

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Speaking of no one being alone… ‘Into The Woods’ boasts an aptly named song (“No One Is Alone”) and teaches a variety of lessons through fairy-tales woven together via a glorious Sondheim soundtrack. Sure, the plot is comedic and quirky, but even adults can do with a reminder of these important messages.

7. THE COLOR PURPLE

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If anyone has obstacles to overcome it’s Celie in ‘The Color Purple’. Based on the famous Alice Walker novel of the same title, ‘The Color Purple’ follows a young woman as she tries to find her way out of an abusive marriage in small-town Georgia. While listening to this show certainly calls for a box of tissues, how can sensational songs like “I Am Here” not inspire?

8. HAMILTON

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In case you’ve been living under a rock, this musical masterpiece hasn’t slowed down. In fact, it’s nonstop. We’re hoping that Alexander Hamilton encourages you not to throw away your shot in 2019.

9. NEWSIES

Seize the day and make your dreams happen! Chances are, you have a few things you’d like to accomplish come January. Whether it’s personal, professional or something as small as taking up a new hobby, listening to a soundtrack like ‘Newsies’ can put your mind and heart in the right place.

10. FROZEN

Blast this Broadway soundtrack and let 2018 go.

11. ON YOUR FEET!

From regular working-class woman to musical sensation, Gloria Estefan’s bio-musical is full of trials, tribulations, and conga. In case you need any more reason for the rhythm to get you, the show is full of motivational songs. Don’t take our word for it; take Gloria’s:  “Get on your feet, get up and make it happen!”

12. BILLY ELLIOT

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Despite ridicule and others not believing he could succeed, Billy pursues his passion for ballet. The riveting soundtrack that accompanies this Elton John-composed musical is a must for that motivation playlist.

13. WICKED

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Between “Defying Gravity” and “For Good,” we’re certain this soundtrack has a song for every theatre nerd in all of Oz. Whether a clean slate means putting a feud in the past or mustering up the courage to try something new and scary, this musical has us embracing the new year (and sobbing into our broomsticks).

14. HAIRSPRAY

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We all could use a little dose of Tracy Turnblad’s zest for life. Amp up your morning playlist in the new year with positive songs like “Run And Tell That,”  “Without Love” and, of course, “You Can’t Stop The Beat.”

15. RENT

Though known by many for being dark and sad, ‘Rent’ has stood the test of time as an empowering and impactful musical. Songs like “No Day But Today” remind us not to take any day for granted and to live in the moment. It’s the perfect start to your new season of love.

16. ANNIE

Because we must never forget that “the sun’ll come out tomorrow, bet your bottom dollar that tomorrow there’ll be sun.”

HONORABLE MENTION

THE GREATEST SHOWMAN

While this musical has yet to storm the stage, it’s only a matter of time. ‘The Great Showman’ has already found its fandom in the theatre nerd community, and we’re letting its music be our mantra in the new year. Get ready, 2019… THIS IS ME!

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