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Changed line(s) 6 (click to see context) from:
* Moritz cites “a paper on the Habsburgs,” as a reason he can’t walk home with Ilse. The original play was written in 1891, only two years after the suicide by gunshot of Crown Prince Rudolf of Austria, a descendant of the House of Habsburg and named after a well known ancestor. Rudolf had been a liberal and wrote anonymous revolutionary articles, which were published with the help of his friend ''Moritz'' Szeps.
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* Moritz cites “a paper on the Habsburgs,” as a reason he can’t walk home with Ilse. The original play was written in 1891, only two years after the suicide by gunshot of Crown Prince Rudolf of Austria, a descendant of the House of Habsburg and named after a well known ancestor. Rudolf had been a liberal and wrote anonymous revolutionary articles, which were published with the help of his friend ''Moritz'' Szeps.Szeps.
** Bit of a stretch, but Ilse is a diminutive of Elisabeth. Rudolf's mother was the famous Empress Elisabeth (Sisi), who was a BrokenBird and DeathSeeker, married off at a young age.
** Bit of a stretch, but Ilse is a diminutive of Elisabeth. Rudolf's mother was the famous Empress Elisabeth (Sisi), who was a BrokenBird and DeathSeeker, married off at a young age.
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Changed line(s) 5 (click to see context) from:
** In the last reprise of the chorus, Hanschen grabs Ernst's arm and draws him in close: Andy Mientus' gesture in the National Tour just looks Narm-y (and drew laughter from the audience), but in the revival his hand is on Josh Castille (Ernst)'s signing arm, making it look like he is guiding Ernst's movements, coaching him what to say/sign.
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** In the last reprise of the chorus, Hanschen grabs Ernst's arm and draws him in close: Andy Mientus' gesture in the National Tour just looks Narm-y (and drew laughter from the audience), but in the revival his hand is on Josh Castille (Ernst)'s signing arm, making it look like he is guiding Ernst's movements, coaching him what to say/sign.say/sign.
* Moritz cites “a paper on the Habsburgs,” as a reason he can’t walk home with Ilse. The original play was written in 1891, only two years after the suicide by gunshot of Crown Prince Rudolf of Austria, a descendant of the House of Habsburg and named after a well known ancestor. Rudolf had been a liberal and wrote anonymous revolutionary articles, which were published with the help of his friend ''Moritz'' Szeps.
* Moritz cites “a paper on the Habsburgs,” as a reason he can’t walk home with Ilse. The original play was written in 1891, only two years after the suicide by gunshot of Crown Prince Rudolf of Austria, a descendant of the House of Habsburg and named after a well known ancestor. Rudolf had been a liberal and wrote anonymous revolutionary articles, which were published with the help of his friend ''Moritz'' Szeps.
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Changed line(s) 4 (click to see context) from:
** He shifts closer to Ernst on the piano by holding out his hands and pulling himself forward, as if lasso-ing Ernst in, or that he was a spider in a web.
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** He shifts closer to Ernst on the piano by using the sign for "Trust me", holding out his hands and pulling himself forward, as if lasso-ing Ernst in, or that he was a spider in a web.
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Changed line(s) 2 (click to see context) from:
** On the other hand, Moritz' voice actor leaves him before he signs his final monologue, as his act of [[spoiler: suicide]] signifies a defeat against the institution.
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** On the other hand, Moritz' voice actor leaves him before he signs his final monologue, as his act of [[spoiler: suicide]] signifies a defeat against the institution.institution.
* In the revival: Hanschen's ManipulativeBastard status is shown clearly in the churchyard scene.
** He shifts closer to Ernst on the piano by holding out his hands and pulling himself forward, as if lasso-ing Ernst in, or that he was a spider in a web.
** In the last reprise of the chorus, Hanschen grabs Ernst's arm and draws him in close: Andy Mientus' gesture in the National Tour just looks Narm-y (and drew laughter from the audience), but in the revival his hand is on Josh Castille (Ernst)'s signing arm, making it look like he is guiding Ernst's movements, coaching him what to say/sign.
* In the revival: Hanschen's ManipulativeBastard status is shown clearly in the churchyard scene.
** He shifts closer to Ernst on the piano by holding out his hands and pulling himself forward, as if lasso-ing Ernst in, or that he was a spider in a web.
** In the last reprise of the chorus, Hanschen grabs Ernst's arm and draws him in close: Andy Mientus' gesture in the National Tour just looks Narm-y (and drew laughter from the audience), but in the revival his hand is on Josh Castille (Ernst)'s signing arm, making it look like he is guiding Ernst's movements, coaching him what to say/sign.
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Changed line(s) 1 (click to see context) from:
* In the revival, as Wendla is being dragged off by the abortionist, the actresses playing Wendla and her voice tried to hold on to each other but was torn apart, with her voice actress being pulled back by Frau Bergmann, symbolizing the adults' effort to keep things silent. However, both actresses reappear in Those You've Known onwards, and Wendla persuaded Melchior to live on and tell their story, proving that her voice cannot be silenced.
to:
* In the revival, as Wendla is being dragged off by the abortionist, the actresses playing Wendla and her voice tried to hold on to each other but was torn apart, with her voice actress being pulled back by Frau Bergmann, symbolizing the adults' effort to keep things silent. However, both actresses reappear in Those You've Known onwards, and Wendla persuaded Melchior to live on and tell their story, proving that her voice cannot be silenced.
** On the other hand, Moritz' voice actor leaves him before he signs his final monologue, as his act of [[spoiler: suicide]] signifies a defeat against the institution.
** On the other hand, Moritz' voice actor leaves him before he signs his final monologue, as his act of [[spoiler: suicide]] signifies a defeat against the institution.
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Added DiffLines:
* In the revival, as Wendla is being dragged off by the abortionist, the actresses playing Wendla and her voice tried to hold on to each other but was torn apart, with her voice actress being pulled back by Frau Bergmann, symbolizing the adults' effort to keep things silent. However, both actresses reappear in Those You've Known onwards, and Wendla persuaded Melchior to live on and tell their story, proving that her voice cannot be silenced.
