u/AsheandBurn

Emilia Perez was so terrible that I think people collectively decided forget about it. There were so many things wrong with it that I do not even need to mention cause whoever is reading this knows this.

DEH and The Greatest Showman get valid criticism, but I've also seen people point out things they like about them. Something I realize is that people still talk about them, even if it is negative. Productions that had different problems still get talked about for different reasons. (Bad Cinderella, Spider man, Carrie, Love Never dies. I'm merely using them under an umbrella group for variety.) I don't recall someone remembering this dumpster fire. That is a unique feat into itself because even the Cats movie is still talked about more. I remembered this existed randomly.

I'd like to expand your minds. I enjoy folk and country. I absolutely DESPISE everything about mainstream country. Mainstream country is so watered down and preachy. So, here are some suggestions for y'all to see what it can be.

Crane wives tends to be very creative with their lyrics. Start off with tongues and teeth. It's a favorite of mine.

Poor man's poison is more country rock, but the songs are solid.

An artist named Yola has a varied discography. She even played Persephone in hadestown.

Jt music made a far cry 5 rap and red dead 2 rap song. Heavy country mixed with rapping. The raps flow well and are interesting. It does not feel out of place AT ALL, and fits with the themes of the games.

Even vocaloid country songs are great.

Fearmonger, the good, the bad, and the baka has Teto investigating a local town, aiding the native folk, and the story is so cool.

Keep up, City Slicker is basically a gay cowboy romcom and I need more.people to talk about it.

Country songs tend to work best with great lyrics, same with folk music. It's just mainstream country songs have terrible lyrics or are boring.

Maknae on top is trot and it was so fun. Country, I think in their hands, it can be well done.

Also, and this is important. The guys know how to sing, not just yarl.

First one that comes to mind is Bad Cinderella. The musical had so many problems, but the cast did their best with what they had. They could've knocked it out of the park if not for well.....EVERYTHING ELSE WITH THE SHOW. West End got screwed over so hard.

Tech crews have a lot to deal with and work really hard. So, I'm curious what the most difficult musical there is for them since different shows have different needs.

I have been a vocaloid fan for a long time and many vocal providers were actors or singers prior to lending their voice to a vocal synth. All the members have their own unique textures that could lend well to a variety of genres, so I'm curious. If you could pick one voice, who'd you pick?

I enjoy learning more about musical structures and how they function. A common complaint I see from folks is that many vocal roles have increased in difficulty without consideration for the performers. As a hobbyist, I'd like to learn more pitfalls that composers and musical writers often fall victim as well as things you wish they'd do more of. I'll add some of my own personal questions to give an idea of different things I'm talking about.

I'm more interested in movie writing for myself, but I feel my questions can also be applied to stage productions. Plus, maybe this thread can also help others.

Would you wish for there to be overtures in musical movies?

What makes a vocal role technically well done vs pure belting?

Should vocal ranges be less broad due to how many people have complained of trying to land roles and their range not fitting it?

Can a smaller range still be technically impressive in a musical?

How can a composer or writer write songs while making sure the people can actually sing them?

Do you feel storyteller writers pigeonhole the roles too much to their voice type?

What can those who are writing the script do to make sure the a musical, stage OR Movie keeps a good sense of pacing? I'm more interested in movie pacing, but I'm curious about stage musicals as they often have complaints about their second acts.

What can they do to keep the show from feeling one note or having one "tone" on the writers' ends?

These are my questions, but I also want to know what y'all feel writers and composers need to be more considerate of? Thank you to anyone who replies ahead of time.

You don't hate it. You don't love it. You can see the appeal. You simply like it.

This is just casting for fun. I think 3racha could make some really good music if given proper direction regarding character and story for a musical, stage or movie. They are well known for their heavier tracks, but they've also produced softer music, like twilight and cover me. I think something more experimental could make for a unique musical. Case 143 is the best example. Instrumentally, it flows so well while still feeling like this is the same song without being jarring. Another song, Divine never feels like it is stuck in one place. In each skz song, every members part feels perfect and tailored to them with their very different voices and tones. Bang Chan, in particular, is really good at leading and giving direction for vocal performance. So, I think with the right script and guidance on the characters, It could be be well done. And no, them being more modern would not make the musical bad inherently. Many times, bad musicals are often working with bad scripts and that is what harms the music fundamentally. ( Mufasa, Bad Cinderella, Wish just at the top of my head.)

So, who'd you want to work on a musical? Dance choreo, Singing, Design. Etc.

Wandersong is a charming platforming adventure game. You play as a bard who is trying to find the pieces of the Earthsong in order to prevent the world from being destroyed. They are accompanied by Miriam who is a grouchy witch. The story is so well done and the characters are wonderful! The world feels amazing and if this was translated to stage, the costumes could be really neat. There's a part in the middle of the story that is just heartbreaking, but if that scene was sung on stage, it would be perfection. I played it again recently and thought man this would great on stage. The story wouldn't be hard to adapt, while the game is 9 hours long, most of that is gameplay. The story would be fun, the costumes wouldn't be that difficult, and the premise is perfect since the lead is a bard. Also, consider playing it. It is just a lovely game.