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Changed line(s) 199 (click to see context) from:
* TheatreIsTrueActing: In season 1, Jack is playing Hamlet on stage for the first time: as an (American) movie star, he’s used to having to work with less than a page of dialogue at a time, and having twenty takes to get his performance right; he's very nervous about Hamlet, not only because of the size of the part, but because he imagines that the audience will mentally compare him to the great actors of the past. Nevertheless, he’s committed to the role, not regarding his performance as just a publicity stunt. At least some members of the company initially look sideways at him, and think that his casting is solely intended to sell tickets, but he earns he ultimately earns their respect.
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* TheatreIsTrueActing: In season 1, Jack is playing Hamlet on stage for the first time: as an (American) movie star, he’s used to having to work with less than a page of dialogue at a time, and having twenty takes to get his performance right; he's very nervous about Hamlet, not only because of the size of the part, but because he imagines that the audience will mentally compare him to the great actors of the past. Nevertheless, he’s committed to the role, not regarding his performance as just a publicity stunt. At least some members of the company initially look sideways at him, and think that his casting is solely intended to sell tickets, but he earns he ultimately earns their respect.
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* TheatreIsTrueActing: In season 1, Jack is playing Hamlet on stage for the first time: as an (American) movie star, he’s used to having to work with less than a page of dialogue at a time, and having twenty takes to get his performance right; he's very nervous about Hamlet, not only because of the size of the part, but because he imagines that the audience will mentally compare him to the great actors of the past. Nevertheless, he’s committed to the role, not regarding his performance as just a publicity stunt. At least some members of the company initially look sideways at him, and think that his casting is solely intended to sell tickets, but he earns he ultimately earns their respect.
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* PoseOfSilence: Cyril regales Frank with an anecdote about Geoffrey losing it during the gravedigger scene of ''Theatre/{{Hamlet}}''. He leans toward Cyril for added dramatic effect when he gets to the juicy details.
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** The ''East Hastings'' musical produced during the third season comes across as a sub-par {{Theatre/Rent}} knock-off .
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** The ''East Hastings'' musical produced during the third season comes across as a sub-par {{Theatre/Rent}} knock-off .knock-off.
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* StylisticSuck:
** The ''East Hastings'' musical produced during the third season comes across as a sub-par {{Theatre/Rent}} knock-off .
** The TV series that Ellen stars in is a ClicheStorm SpaceOpera (which also includes a caveman for some reason).
** The ''East Hastings'' musical produced during the third season comes across as a sub-par {{Theatre/Rent}} knock-off .
** The TV series that Ellen stars in is a ClicheStorm SpaceOpera (which also includes a caveman for some reason).
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* IfItsYouItsOK: Patrick, for Sarah, although for Joanne Kelly, anyone'd switch their sexuality. The actors would be loath to admit it, but this subplot is a PlotParallel for Darren's [[TrueArtIsIncomprehensible incomprehensible]] gender-exploration production!
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* IfItsYouItsOK: Patrick, for Sarah, although for Joanne Kelly, anyone'd switch their sexuality. The actors would be loath to admit it, but this subplot is a PlotParallel for Darren's [[TrueArtIsIncomprehensible incomprehensible]] incomprehensible gender-exploration production!
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* TrueArtIsIncomprehensible: InUniverse, Darren firmly believes this. No one else does.
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* ClassicalMusicIsBoring: invoked and subverted. In the first episode of the first season, the audience is falling asleep at ''A Midsummer Night's Dream''; CorruptCorporateExecutive Holly Day convinces Richard that the festival would be better off producing slick modern musicals because "no one actually likes Shakespeare". However, later episodes show that this is the fault of the production, not the play, and even teenagers can get excited about the Bard when the cast and director actually care.
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* '''Richard Smith-Jones''', executive (business) director who nurtures a secret love of musicals. Played by ''Series/TheKidsInTheHall'''s Creator/MarkMcKinney.
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* '''Richard Smith-Jones''', executive (business) director who nurtures a secret love of musicals. Played by ''Series/TheKidsInTheHall'''s Creator/MarkMcKinney.Creator/MarkMcKinney of ''Series/TheKidsInTheHall''.
