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our bodies are the guilty ones
Jun. 3rd, 2012 01:56 pmSo here's what you missed on Glee:
Kurt's life has kind of taken a turn for the more exciting lately, between co-directing a musical that includes naked butts and toplessness — ("I don't know if I should be here.") — and being serenaded by Blaine Anderson in what was practically a real life musical — ("I won't give up on us.") — and he's kind of reeling from all of the action, which came to a head on his nineteenth birthday — ("It's like I can finally stop searching. Being with you feels like I'm just... coming home.") — but we can't really show you too much of that because whoa, network ratings. Now he's still stuck with Spring Awakening on the way and starting to get worried about just how much directing he's going to have to do with his boyfriend in the lead role. Did we mention that there are naked butts involved?
And that's what you missed on... Glee!
The time has come, and even after the passage of a good two weeks, Kurt finds that it isn't any easier to face the inevitable. He's spent plenty of afternoons going over the libretto, spent time at the piano to try and work out any minute changes to the feel, all based on the unique performances being put on by all of the cast. He's spent hours watching the crew work on the stage as well, creating backdrops, props, positioning them all under Craig's careful command. It's been a thrill and an honor both to work with such a large group of dedicated and talented individuals, that Kurt's certain of, and there are days at a time when he feels like he's doing nothing other than living, breathing, and dreaming about Spring Awakening.
And still, none of that's prepared him for this.
He's pulled both of them aside to inform them of what they really need to get started on today. Blaine, Kurt's probably told a few times by now, carefully pacing out the alerts in the time they spend together, laced with nervous laughter and quickly shoved aside in favor of just enjoying the time they have together. Jenny, on the other hand, Kurt approached during their last big rehearsal, making sure that she'd have a couple of days to center herself before the private session. Kurt also asked Mary Jane for help with the two, but quickly met with resistance.
"You'll get a lot more out of this exercise if you're forced out of your box," she pointed out.
Kurt's not so certain of that.
But it's unavoidable. Melchior and Wendla's scene in the hayloft may just about be the climax of the show itself, in its way; there's really no way they can go about censoring it without losing a great deal of the impact and intrigue. And so Kurt sits on the side of the stage, ten minutes ahead of the scheduled time.
Wishing that the earth would swallow him whole.
Kurt's life has kind of taken a turn for the more exciting lately, between co-directing a musical that includes naked butts and toplessness — ("I don't know if I should be here.") — and being serenaded by Blaine Anderson in what was practically a real life musical — ("I won't give up on us.") — and he's kind of reeling from all of the action, which came to a head on his nineteenth birthday — ("It's like I can finally stop searching. Being with you feels like I'm just... coming home.") — but we can't really show you too much of that because whoa, network ratings. Now he's still stuck with Spring Awakening on the way and starting to get worried about just how much directing he's going to have to do with his boyfriend in the lead role. Did we mention that there are naked butts involved?
And that's what you missed on... Glee!
The time has come, and even after the passage of a good two weeks, Kurt finds that it isn't any easier to face the inevitable. He's spent plenty of afternoons going over the libretto, spent time at the piano to try and work out any minute changes to the feel, all based on the unique performances being put on by all of the cast. He's spent hours watching the crew work on the stage as well, creating backdrops, props, positioning them all under Craig's careful command. It's been a thrill and an honor both to work with such a large group of dedicated and talented individuals, that Kurt's certain of, and there are days at a time when he feels like he's doing nothing other than living, breathing, and dreaming about Spring Awakening.
And still, none of that's prepared him for this.
He's pulled both of them aside to inform them of what they really need to get started on today. Blaine, Kurt's probably told a few times by now, carefully pacing out the alerts in the time they spend together, laced with nervous laughter and quickly shoved aside in favor of just enjoying the time they have together. Jenny, on the other hand, Kurt approached during their last big rehearsal, making sure that she'd have a couple of days to center herself before the private session. Kurt also asked Mary Jane for help with the two, but quickly met with resistance.
"You'll get a lot more out of this exercise if you're forced out of your box," she pointed out.
Kurt's not so certain of that.
But it's unavoidable. Melchior and Wendla's scene in the hayloft may just about be the climax of the show itself, in its way; there's really no way they can go about censoring it without losing a great deal of the impact and intrigue. And so Kurt sits on the side of the stage, ten minutes ahead of the scheduled time.
Wishing that the earth would swallow him whole.