I Headcanon Mercutio Has A Giant Bed (not Even Extra Fancy Or Anything, Just REALLY BIG) And Bc Of That

that feeling when children make fanart of you as the tin man

i feel it's important to share that

these were made by first graders

this is my actual costume:

thabk you :)

i just found out that mercutio sings “la vie n’est pas un théâtre” alongside tybalt in the french revival and im going to make it everyone’s problem (not heard on the studio recording, but rather live)

he takes the lower harmony on that line, a stark contrast to what he usually sings. mercutio sings high and bold (see: the high F in la folie, riffing in les beaux, les laids and les rois du monde). not only that, but he harmonizes it softly, almost weakly, drowned out by tybalt's belt.

both tybalt and mercutio sing "life is not a theatre".

it's spoken like conformation. that in spite of his theatrical disposition, he understood that life wasn't the carnival of love that other people parade it to be. when he's stabbed, his charade of carelessness falters to reveal the pessimism that was once treated as foolish ramblings in je reve. no matter how much he tries to play up his whimsicality, he's a cynic that has always understood that death and tragedy was inevitable for the men that live on their knees. should he dies, he dreams, right?

but it's also a realization. it's an audible show that tybalt has overpowered his exuberance with the harsh revelation that tybalt is going to kill him. that he is going to die. that this is no longer a game. that this thing between him and tybalt isn't just teasing and empty threats anymore.

he spends a majority of the musical dancing on the edge of a sword. the goings-ons of his enemies his personal little drama. he has these wild dreams and this untouchable fearlessness that he uses to feel above it all. he may know that life is miserable no matter who you are, he may know that he's the king of nothing, but just knowing that and embracing his self proclaimed insanity is what allows him a semblance of control.

but then he's hit with the terrifying realization that life is not a theatre. things don't work out like they do in plays. life isn't as fanciful as it is in fiction. the blood isn't fake, the sun isn't a spotlight, there are no bows or encores, he doesn't get to pick himself up when the lights go dark, he is going to die. the stab sobers him, forcing him to understand that he isn't invincible. and of course, he tries, he stands with a flourish and claims he can't be harmed but madness can't save him from the cold truth of mortality.

and of course, the irony that it is a theatre. the audience gets to watch behind the safety of the pit band, free to laugh, cry, disengage, watch as the characters are forced to acknowledge that death is their reality and there is no leaving after the curtains close. the actors do, but mercutio's blood still stains the streets of verona. he does not get that luxury.

so just by singing "life is not a theatre" the way he did, mercutio becomes a cynic whose pessimism is confirmed no matter how hard he plays jester. or he's a man who thought he'd never die suddenly realizing he's just as vulnerable as the people he mocks. if anything, he's probably both.

either way is tragic. but what's even more tragic is that it probably isn't that deep and they just wanted to add a harmony to sound nice. but it has beautiful and tragic intent to ME

wake up babes ,

I Made Romeo + Juliet (1996) Memes -_-

adding onto the fact that i am insane

Elisabeth from Elisabeth das Musical is La Mort from Romeo et Juliette

reasoning?

In Wie Du, Elisabeth is talking to her father about how she wants to go and explore the world and have all sorta of adventures, and going to Verona seems like enough of an adventure to me.

in Elisabeth's sort of postmortem scene, we see her in a white dress, thin and long. La Mort's dress almost looks like it if it was that dress, torn into pieces.

And if Elisabeth is Death's lover/wife/SO post musical, that probably means she absorbs some of his power to be able to kiss people into death, hand them weapons, reveal herself at will.

Specifically, la Mort's muteness and only being a dancer- she will only dance in death's sight (wenn ich tanzen will), so whenever any Veronese peeps see their deaths coming, she reveals herself (or in moments of intense suffering for Comment Lui Dire). Specific to Comment though, Mort is taking Benvolio's suffering and physically moving and stringing him up by it, which totally recalls die Schatten Werden Langer blocking with Rudolf and Tod to me.

Elisabeth's hair is also totally long and fabulous enough for all those hairdos. Her choreo also often obscures her and her face, which is a bit of a callback to Elisabeth always hiding her face with a fan, but that might be a stretch.

first time drawing resj mercutio third time drawing resj benvolio hehe

My hot take of the day is that a loooot of the “twists” people add to performances of Romeo and Juliet are actually just Troilus and Cressida.

“I’m staging R+J but the central conflict has actual political implications, it’s not just a pointless feud” That’s Troilus and Cressida.

“R+J but they’re both adults” so, Troilus and Cressida.

“We’re adding a queer romance to R+J” like the one in Troilus and Cressida?

“R+J, but with a bigger ensemble cast” Troilus and C-

I have this picture printed out and laminated

older image asi don't have it with me

60s Mercutio Stimboard!

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@mercutiosblog!