Yaaaaaaaaaaas Be Yourselves And Love Yourselves Hons 🥰🥰🥰

Y'all are amaaaaaaaazing I caaaaaaan't the talent is too much 🥰🥰🥰

REBLOG if you have amazing talented artist friends!

LET'S TALK COSTUMES YALL!

I don't completely understand the dislike of the Wembley production too well (It's a non-replica production yall, for what it is it's a lot of fun!) but I have seen that a major point of contention for people seems to be the costumes, so I wanted to create a post discussing why I think they are done very well.

First off, they are wonderfully colorful- one of the things that always concerns me in costuming is a disappearance of color in favor of darker neutral colors, but even the characters that have closer to neutral pallets- Rusty, Momma, the Components- all still have elements of color within their designs, and different textures and shapes to make them visually interesting. As this musical is a dream being had by a little kid, the colors also help reflect this as well- Control is an imaginative child, whose made up world reflects that.

The three main engines (Rusty, Greaseball, Electra) all have very distinct appearances, marking them as principal figures and representative of the three different types of engine we see- diesel, steam, and electric. All three have unique color pallets and silhouettes- the exception being Rusty, who shares similar design elements with Momma (though not quite the same colors). The are the main three racers the story revolves around, and they stand out accordingly.

The thing about the other costumes that interests me, however, is how despite the fact that the rest of the characters in the show are all different colors (with the exception of the Components, whose costumes denote them as a group unique to Electra), there are certain design elements used on the other engines, coaches, and freights that helps denote them as such.

The champion engines are the easiest example here- they all have identical costume elements, just done in different colors. All of them have fin-like hairstyles, and identical plating: shoulder pieces that when an actors hands are at their sides can stretch up to their ears, a rounded breastplate with the symbol of the engine in question, and two pieces for the legs.

The coaches also have this- despite being a myriad of colors and having elements unique to their design, they are a couple through lines- namely a piece around the waist than fans out similar to a skirt, and padding on the shoulders (except for Pearl, but she's got other stuff going on there). They also have more form fitting pieces on their legs- similar more to regular pants or leggings, which makes the detail at the waist and the padding at the shoulders the widest parts of the silhouette.

The freights also have a very similar construction of their costumes- oversized pants and large vests with shoulder plating, and then smaller pieces for the arms- they all very clearly do the same job, despite being different colors and with different patterns (Hydra is not an exception to this, but there are subtle differences signifying how he differs from the others- the plating on his arms is not as bulky as the others, the colors on his pants are inverted, and the vest comes down to his waist rather than stopping below his ribs, giving a smoother silhouette and less bulky appearance, to name a few examples).

And of course, the Components- all trucks like the freight, but their main job in the show isn't what they carry- it's to make Electra look good. As such, they all very clearly fit Electra's aesthetic in a way that none of the other coaches or freight fit the other engines- complementary silver and white to their blue and silver, with the only personalization their belts and the shape of the protrusions from their plating. (They aren't the focus of the next picture but I love it too much not to put here in some fashion.)

All of this is deliberate attention to detail- as the majority of theatre-goers are not going to be intimately familiar with the characters, and the train types, and the roles, and the story, and- you get the idea. The shapes of a character's costume helps denote them into a group- if nothing else, an audience member can tell you "oh, that's an engine" or "that's freight". It also helps people sitting further away to track the action a little better- costume details and textures will become invisible at a distance, but bright colors, large shapes and consistent silhouettes help everyone have a good time.

So, if you didn't know anything about the musical, what could you tell me about the trains in this picture?

Oh my goooooooooood this is too good I caaaaaaan't you guyyyyyyyyyyyyys aaaaaaaaaaaaaaaaaaaaaaaaaaaaa

Thank you to the wonderful @miikpal​ for the promotional art! [Commission Info]

IT RUNS IN THE FAMILY by caswell on AO3

Jeremy Heere has had a lot of bullshit in his life. He’s been bullied, he’s struggled with mental illness, he was in a car crash that ruined his hearing- but he can cope with all of that at least moderately well. When he receives a letter from his estranged, domineering mother inviting him to her new home in Nacogdoches, though, the ground beneath his feet threatens to crumble.

Jeremy doesn’t respond at first. Should he tell him? Of course he should know, he’s his best friend, but… he’s not his therapist. It’s not like it’ll help. It’ll probably just be burdensome (because, after all, he is burdensome). Still, he finally answers, “I, uh. I don’t think I like my mother.”

Michael blinks, mildly surprised. “Really? When she left, you ran to my house sobbing.”

That’s true. That day was a blur- he remembers waking up, asking his father why he looked so sad and where his mother went, because it was Sunday, after all, so she should be home, and then it bleeds into the deep recesses of his mind and he can’t quite claw it up. But he remembers, too, Michael holding him in his arms, hugging him while he shook and sobbed and whined for his mother like a fucking baby. Michael, who had always been there; Michael, who always would be, like he’d promised him that day.

(Credit for the Partially Deaf Jeremy au goes to @tinylittle-femalechrist!)

Interesting, who is ur blorbo?

I put talk about your feelings for Mikey Mell but take an Am I Gay quiz is also valid lol

Probably missed a key one, but whatever

Kind of sloppy art but I like it!

Wait, Will Roland was in Little Shop? Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa!!! /pos

aaah lsoh pics!!! ft. their corpse-flower-inspired audrey ii!!

hello be more chill tumblr im sorry i’ve forsaken you and haven’t posted in a month. have stagedorks

Fridge. Quality content.

Also this gives me excessive autistic vibes not in a 'i am an autistic expert' way, more in a 'this is the exact sort of shit me and my two autistic friends would get up to'.

((thank you to guest writer @actualbird !!!))

See the thing about Evangeline is that it’s pretty much as old as Jeremy and Michael’s entire friendship. Probably older, actually. Evangeline, of course, being the minifridge in their dorm that houses the Jeremy’s fantastic stock of Mountain Dew Red.

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i could rant forever about this but the music in musicals has a purpose!!!!!! its not just people "bursting into song for no reason"!!!! please take musicals seriously im beggin g you