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Don't Lose Sight
of who you are

| Allison | 18 years old | she/her/hers | Broadway Bound | Julia Murney Enthusiast | "You just have to know that you will always get up again. Maybe not today, maybe not tomorrow, but you will. And that's what will make you stronger." ~Willemijn Verkaik |




LOVE NEVER DIES  | Ben Lewis, Anna O’byrne, Simon Gleeson.

› Phantom, Christine, Raoul.

“It’s time to leave him in the dust! It’s time to be who you should be! It’s time to do now as you must And set the music in you free! In moments, mere moment, drums will roar. There you’ll stand just like before. The crowd will hush, And then in one sweet rush I will hear you sing once more.” 


I’m not seeing the problem here.

#tbt to whenever you took this
I miss you so much @ambo_jojo !
But I’ll see you in like 16 days so it’s okay 😘

I would like to know how you reacted when you met Julia Murney.

So they didn’t put a barricade between the performers and us at stagedoor to the concert hall at The Kennedy Center, which becomes relevant later.
Anyway, at first, each of the performers came out one by one (first Jennifer Laura Thomspon, followed by Jeremy Jordan, followed by Julia Murney and so on) and they would make their way down the line of people waiting at the stage door (I was at the end of the line with a group of girls I’d met at the concert) and sign programs and what not. You know, your usual stagedoor type stuff.
When I saw Julia Murney come out of the stagedoor I got excited and it kind of felt surreal, I couldn’t believe it was actually happening.
While I was standing there waiting for her to make her way down the line to where I was, Norm Lewis came out of the stagedoor and decided, since Julia Murney was on the other side, he would start on my side, and when that happened (I KID YOU NOT) every single person flocked to him and left Julia by herself (and I heard her say “Everyone’s here for Norm” to herself and I FELT SO BAD FOR HER LIKE THAT WAS SO RUDE AND ALSO I WAS AT THAT CONCERT SPECIFICALLY FOR HER) and she just stood there and no one else was really paying attention to her. 
I still hadn’t gotten the chance to meet her but I was nervous about approaching her myself so, after a little bit of coaxing from the girls I was with, I went over and in that moment I was so starstruck that I lost every ounce of my ability to be coherent and blurted out “Hi!” pretty loudly (like embarrassingly loudly it was a bit obnoxious) and after she said “hi” back I asked her to sign my program and then was like “Can I get a picture with you?” to which she replied “Sure” so I took the picture myself and then thanked her and walked away and I JUST WISH I HAD ACTUALLY BEEN ABLE TO SAY MORE THAN LIKE 10 WORDS TO HER.
I then proceeded to post the picture I took with her on every social media site I use with the caption “EVERYONE SAY HELLO TO JULIA MURNEY THIS IS JULIA MURNEY AND I ADORE HER” and I was just elated and when I went to bed that night I was too excited to sleep like I JUST MET JULIA MURNEY 
I also haven’t changed my tumblr icon in 1 year and 4 months (which is huge because I used to change it on like a weekly basis) and have no intention on doing so any time soon. (I’ll change it if I get the chance to see her perform again and get a new picture with her)

broadway salaries 101


i figure this may be of interest to some (i know it is to me), so i thought i’d do a brief breakdown of broadway actor salaries. before we start, it’s important to note that every item that goes into constituting a total salary is determined by actors’ equity several years in advance; the union actually publishes salary rates (which increase every year in september) several years before they actually go into effect. every agreement published by AEA is actually available on their site to check out, which is pretty cool (you can find the broadway agreement here).
first we have the union-mandated minimum scale, which is $1,861 as of september 29. this is the baseline of everyone’s salary, and typically a principal actor in a low-budget show or an ensemble actor with few cover assignments or specialties will make only a little more than this minimum. also built into every company member’s salary is the media fee (a requirement only for musicals, however, not plays), which entitles the producers to use reproductions of the actor’s image for promotional purposes. as of september 29, the media fee is $37.22. 
then we get into ensemble parts. being contracted as a swing, partial swing, dance captain, understudy, specialty part (i.e. unnamed chorus role that stands out in some way), or specialty understudy will earn an actor additional increments based on how many of these they’re expected to perform. per individual assignment: $50 for principal understudy, $15 for additional understudy assignments (plus a bonus if you understudy a lot of roles), $15 per partial swing assignment, $20 for chorus specialty, $15 for understudying a specialty, and $8 for set moves. dance captains earn an additional $372.20, assistant dance captains $186.10, fight captains $75, swings $90.35. every performance in which an understudy appears as the role they’re covering earns them a per-performance increase, too. finally, there’s an extraordinary risk payment of $20 for actors who participate in onstage blocking deemed potentially hazardous to the actor’s safety.
finally, there are two categories that aren’t exactly related to the actor’s performance in the production. the first is the term contract increment, which is a figure written into the salaries of actors with term contracts (i.e. for a specific length of time with no outs), and i believe applies to principals only; this adds $200/week. second, there’s overscale, which is simply anything the producers want to tack on to the actor’s salary for whatever reason; leads or stars will receive the bulk of their inflated salaries from the overscale addition. (if kstew were offered the lead in the heidi chronicles on broadway, for example, she would be earning the minimum scale of $1,861, a media fee of $37.22, likely a term increment of $200, and then an overscale figure of let’s say $20,000/week.)
to give an example of how all this comes together: let’s say you’re an ensemble member in les mis. (please do not take the ensuing calculations as gospel since i have no idea what the contracts for the show actually look like; i’m just giving it my best guess.) your minimum base salary starts off at $1,861. you’re understudying both fantine and eponine, which adds $100 ($50 x 2 parts); playing the hair hag, which adds $20; and understudying the factory girl, which adds $15. on top of that, you’re the asst. dance captain, which gets you an additional $186.10 per week. so add those to the $20 extraordinary risk fee (which would certainly be required in that show) and the $8 set moves fee, as well as the $37.22 media fee, and you’re probably going to make somewhere around $2247.32 per week. anddddd that’s about it! salaries will soar drastically once you get into lead actor and star territory, but otherwise such a figure is pretty common for most contracted, working actors.



Hadn’t gotten around to scanning this one until rather recently, but I’m quite proud of it so I must direct your attention to the tulle detail on the skirt (and the bodice… and the sleeves… JUST LET ME HAVE MY MOMENT OKAY).

I think right up there with my rendering of Christine’s Walking Dress, this is one of my favorite drawings.


I am speechless. This is amazing.


people who don’t like cosette make me so uncomfortable like are you upset that a little girl who was very poor and lost her mother very young grew up to live comfortably and without suffering????????? is this a problem for you?????

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