@@melmelodies8730 This comment is amazing if you consider a possible guilt felt by the soldiers! I mean, imagine they regret the death of all these young men and can't escape having hallucinations of Enjolras/Aaron and thinking this boy could have been right... 🤔🤔🤔
This is kinda a takeaway I had on rewatch... I read into it that she may have had an affair while in Spain, and Kevin's father is unknown. And I don't think Franklin knows about it. Obviously, in reality there is nothing wrong with bastard children (at least not more than with regular children), but it is a fiction trope that the scary kid has "unknown" origins (ala The Omen, Rosemary's Baby, etc).
It was worse when he wasn't even nominated for Catch Me if You Can, since he was even more the star of the show in that one. Yet his co-star Norbert on the other hand...
This comment is exactly what someone who doesn't understand metaphors would say. Basics of metaphors: - A metaphor states that one thing is another thing . It equates those two things not because they actually are the same, but for the sake of comparison or symbolism - If you take a metaphor literally, it will probably sound very strange (a dead guy saying he's alive??? WHHHHAAAAAATTTT?!?!.) Now take it... metaphoricaly: he's saying he's alive 'cause he's still there -Where? It's art! Figure it out yourself-.
@@outmostessential591 I think you may have missed the humor in what the OP said, Outmost. Some call it a suspiciously specific denial. Or saying that the lady doth protest too much. Obviously it's a metaphor for how he's still present and alive in a certain sense. But there can be a touch of humor in saying that Gabe seems awfully insistent on declaring the thing he most obviously is not. It's like if I came up you and said I wasn't a murderer about 40 times in four minutes, you'd be forgiven for wondering if I was trying to convince you of it. By the way, not a murderer. Totally not. At all. Nope. No murder. At all.
@@allenjenkins06 Yeah, I get it. I think I probably was just a bit cranky when I replied. Sorry Victoria. Her comment has more likes than mine anyway, so she won (?) fair and square... As for you totally not being a murderer... hmmm... well, yeah, I'll take your word for it. Man, I'm so nice today, what the hell is going on? Whatever, it's Friday. Everyone have a good one! Broadway is love.
I like how Gabe’s character represents different things for Diana, Dan, and Natalie. ‘ I am what you want me to be. ‘ For Diana, she won’t let him go, so, she sees him as this perfect son and what he could’ve been, but he’s also part of her turmoil. For Dan, he doesn’t really have any discernible connection to Gabe until towards the end of the musical. But Natalie sees Gabe as this figure, basically taunting her and telling her that she’ll never been as good as him. It’s interesting how, while Aaron Tveit plays Gabe, Gabe also represents different stages of grief.
Dan seems almost ashamed of "letting" Gabe die, like he believes that if they just keep the topic out of the house they can all go along as normal so long as he's a suitably strong head of household. He can't communicate very well and most of his words in moments of grief are platitudes ("I know this is hard") or some kind of accusation that someone isn't trying or isn't being fair. He's just completely shut up in his own head about it because he doesn't like feeling the pain and can't appreciate that healing can hurt.
I JUST NOTICED at some points in this song where Aaron sings in a way that reminds me of Alices voice and I think that’s a amazing touch because he is her son after all and it’s just UGH
@@raspberrycrowns9494 Gabe is a representation of grief, he mostly exists outside of the world of the show. So unless characters are explicitly looking at and talking to him, nothing he does is "really" happening. Natalie never knew Gabe even as a baby, and in her eyes he's always been this imaginary person that she exists to replace, the golden child that she resents because she'll never live up to all the great things her parents wish he could have been. When Diana is assigned yet another intensive therapy regimen after going off her medication, Natalie realizes how close she is to never needing her parents again - being a highly skilled student and musician who's graduating school early if her piano recital goes well. This makes Natalie scared that she'll have to just move on in life without ever truly connecting with her parents, and pushes her over the edge into a feeling of inevitability where for a few months she completely gives up trying. But giving up doesn't take away the pain of all those lost moments. That's Gabe in that moment; the expectations placed on Natalie and the spite she feels toward this person who shouldn't be there but who she feels her parents see as more "real" than her. Her grief is the life she never knew, not a life she lost. And, in keeping with the whole thruline of how she fears developing a severe illness like Diana the same way Diana's mother became ill, she decides that if Diana isn't going to use the meds, she might as well. Not because she needs their intended effect, but because living in the moment, in the present world where everything except the loneliness is so uncertain, just doesn't seem worth it compared to the temporary comfort of substance abuse. Characters in this show do things that they want to believe they aren't choosing to do, when they aren't in their right minds or "aren't themselves." Gabe traffics in the empty spaces of those moments, filling them in with some kind of feeling of an outside force putting pressure on them. Like in You Don't Know when Di feels like Dan is giving up on her, or that he should. Or in Superboy And The Invisible Girl when Gabe takes over the melody, forcing Natalie to sing a high harmony because she feels like even when she's talking about her own feelings she's still actually talking about Gabe and feels so incidental in her own life. And so... Gabe is the one to give her the bag because he's also the one motivating her to resent her parents, to work her ass off for school, to want something better... And is the only thing left hanging in the air when she burns out. Everything's about Gabe and it's tearing her up inside. So, through the use of Gabe delivering the bag, we get to feel Natalie's version of Gabe being given the blame for her feeling pushed to this point. Not as an excuse to the audience, but just for an intense perspective of her thought process.
So I found out that this kid is dead, so is this just Diana's conscience, kind of? (In a mental illness way). Because this musical seems really good, and this song is catchy.
No worries Aaron. U can't be forced to change from gay to straight by another person. Only God can do that. But probably not. Sorry man. Ur stuck with being gay. But try not to think of it as being stuck. Try to imagine urslf free at last. That's what I do. And it works, trust me!
The first time I saw this show I didn't expect Gabe to be so manipulative and really just the villian. My friend had said he wasn't that bad before and felt bad for him when she first saw it and when we saw it together (my first her second) she was shocked to agree with me.
@@imagiccion That's one of the most chilling things about the libretto. There IS no Gabe. He never got to say a single word to anybody. There's only the imagination of him that everyone else projects blame for their own actions onto because they're afraid of connecting to each other. It's kind of like Dear Evan Hansen except not worryingly disrespectful to the dead person
I live in Portugal and they actually just translated the musical here so I went to see it in Portuguese yesterday- I LOVED the original musical so I was kind of afraid they would ruin it but they actually did a great job
Grace O. HELLO ok so the basic plot is that diana and dan have two kids, gabe and natalie. except, gabe died when he was a baby. diana, who is severely mentally ill, still sees and hears him. it’s about natalie and dan helping diana recover and move on. it’s extremely good and emotional as hell. i love it very much.
Whilst trying to revise psychology this was playing on loop in my head it was the most frustrating thing but also strangely appropriate considering the plot...
Today I saw the Roundhouse version and it was very good. But hitting the original cast version would be impossible, especially Aaron Trveit's performance years ago as the deceased son. I was so sure this was a true winner to go to Broadway (it opened at Arena Stage temporarily located in VA). Even the understudy for Diana was spectacular, then I saw Alice Ripley the next day. Both were sensational and I am glad I didn't miss either performance before it took off to Broadway.