DEATH NOTE is actually amazing | Musical Review

I'm not a huge fan of anime. I haven't read much manga either. There's something about their over-acting that just doesn't work for me. But you know what will convince me? An absolute banger musical adaptation. 

Musicals are my jam, even the obscure ones. Especially the obscure ones, like Death Note: The Musical, which didn't even make it to an English stage. I did find a Japanese version (English subs) with the English concept album dubbed over it and let me tell you guys, it was awesome. 

Okay, 'nuff with the intro. As usual, major spoilers will be marked, but I recommend you proceed with caution. These are my opinions and you're free to agree or disagree respectfully. 

Let's get to!

 

Enjoyability | ⭑⭑⭑⭑

I came because I liked the music. A YouTuber I subscribed to covered one of the songs and it hit me in all the right places. I knew it was from an anime so I didn't have my hopes high, but I needed to see what kind of show had these bangers in them. Five minutes in and I'm hooked.

Death Note follows Light Yagami, who finds a diary called Death Note, which has the power to kill someone by writing their name. Light uses it to kill criminals and it doesn't take long before the deaths come to international attention. Light gains a new name: Kira. L, a faceless detective, is tasked to find out who Kira is and bring them to justice. 

Surprise, surprise, justice happens to be one of the main themes in Death Note. Is it right to kill criminals? Is it right to stop someone who is decreasing crime through morally wrong methods? Coincidentally, that was my overthinking topic the last couple days before stumbling on the musical. 

I found it to be incredibly thought provoking. Despite an unofficial translation and a couple moments where it was obvious that the English version didn't line up with the Japanese version, the main points and humour still came across. I dig it. A lot. 

The framing was not what I expected. Our protagonist was the villain while our antagonist is only marginally better. At least, at the start. The novelty of it is...*chef's kiss*.

Unexpected twists, powerful duets, battle of the wits...Death Note really had it all in my books. After watching it once, I watched it again. Then found three other versions which I also watched. Yes, I was a bit obsessed. But it was amazing and you should go watch it too. 

Characters | ⭑⭑⭑⭑

Light: Let's start with our main character, Light Yagami. His first song is a ballad, Where is the Justice?. It's commentary about the flaws of the justice system and you know what? He brings up good points. Despite best intentions, there are inequalities and unfair judgements made. We still have to lock up pretty much anything from diaries to devices to houses because there are some people out there who won't respect boundaries. His motives are compelling and even, perhaps, relatable.

Within the same song, foils are quick to point out the flaws in some of Light's reasoning. Yes, people commit crimes, but sometimes, things aren't "black and white". Sometimes, wrong doers have been wronged by someone else. Sometimes, they commit crimes to survive. Sometimes, they commit crimes by accident. While this doesn't excuse the fact that they broke the law, Light's solution is to kill them. 

You can probably figure out that this doesn't work. Killing criminals doesn't solve crime rates. To truly end crime, you have to attack its source. To make matters worse, Light doesn't research who he's killing. He takes the first name he sees on TV and they're dead. This is especially problematic considering that some people are wrongfully convicted. There's no assumption of innocence. It's an immediate death sentence.

*spoilers* I went into Death Note knowing almost nothing. So when Light picked up the Death Note, I thought he'd be going on and on about whether he'd be worthy enough to use it. But no. Light goes straight for it, killing people left and right. Is it wrong? Well, yeah. But it's such a different take and I love it. It helps that he sings a catchy song during this scene, lol. 

Light has a god complex. It's hinted at the start and not long after, Light simply calls himself a god. It's especially obvious when Light doesn't restrict himself to killing criminals and starts killing anyone who gets in his way, including the FBI. It's such a different take and it's intriguing to see how it was handled. *end spoilers* 

Light is such a good character from an authorial perspective. His motives are understandable while Light as a person sucks. He's not written as a good guy. It's clear he's a villain. Not an anti-hero, not a tragic hero. A villain. And he's the main character. 

Source: Gfycat

L: L's entrance on stage gave me chills. I've never experienced chills as strong as that before. He's introduced around a quarter of the way through, but the wait was worth it. L is on the side of the law -- on the side of good -- but his introductory song establishes that L isn't there because it's right. He's there because it's fun.

In a way, L isn't much better than Light. *spoilers* L is introduced by baiting Light with a sentenced criminal. He knows that if Kira was real, the criminal would die. Sure enough, Light takes the bait. You can argue that L indirectly killed someone, even if this someone in question was already going to die anyway. *end spoilers* It's later cemented that L's methods are largely wrong, making Death Note not your standard good versus evil story. 

The similarities between L and Light make the story so much more potent in its themes. Neither are better than the other. The main difference is that L is aware that he's not morally upright. He just doesn't care. Light thinks he is law or righteousness incarnate. It brings us back to our main question: is doing the wrong thing for the right reason okay? And vice versa. 

I love myself some competent characters with brains. L absolutely qualifies this. He's a genius and is unsurprisingly employed in detective work. It doesn't take long for L to track down Kira, which is impressive considering the advantages Light had. While there are some moments where L's reasonings are a bit of a stretch, it's understandable because plot happens. They did squash 26 episodes into two and a half hours after all. 

Besides intelligence, I thought L had an endearing personality. He was weird, but a good weird. Also, who doesn't like sweets? While the music and story and everything is fine and dandy, L was the real reason I became obsessed, lol. 

Ryuk and Rem: Ryuk and Rem are two "gods of death". I'm not entirely comfortable with it, but I understand how this makes sense in inciting the story. Death Notes belong to these creatures and they use them to gain immortality by stealing the remaining lifespan of their target. One of the key rules is that they can't kill to save someone. It has to be purely self interest. 

Ryuk drops his Death Note into human civilisation because of boredom. For a supernatural being, I dig this motivation. Even if it's not deep or anything, it's still true for most people. Name a person you know who doesn't get bored. *spoilers* When Light and Ryuk first meet, Light goes on a long tangent about how he must have been chosen because of his intelligence, ideals, blah blah blah. Ryuk's just like lol, sike and it's so refreshing. *end spoilers* 

While Ryuk doesn't really play any decisive roles until the end, he's basically the viewer's representative. When I go teehee things are getting interesting, Ryuk goes teehee things are getting interesting too. There's this one scene at the end where Ryuk does make a choice that impacts the story, but we'll get to that later.

Rem is much more sympathetic to humans than Ryuk is. Because they are otherworldly, most of them, including Ryuk, tend to be apathetic or even disdainful. Rem makes nice foil to the general distaste. In Rem and Ryuk's opening song, their different views gives their restatement, only human, a double meaning. It's beautiful. 

Like Ryuk, Rem doesn't have much impact on the plot until the end, but she's one of the most dynamic characters in Death Note. Rem has three songs which mark her arc, and they're all about love. It contrasts Light and L's more insensitive approach to life, making a much stronger thematic punch. 

Misa: Misa suffers from certain anime downgrades. Maybe it's just me, but there's still hints of the typical, melodramatic fragile girl that the anime has. Like when she gracefully faints over something other characters would not -- and not because it's her personality, but because it's funny. I don't enjoy that sort of humour, and it feels kind of degrading to her.

Apparently, musical Misa is much better than her anime counterpart, and I can see that. To her merit, she is fairly intelligent and has some guts. She pales in comparison to L and Light, but she is just a secondary character. 

What she does have in common is that she's not that great a person either. She will assist in murders because of her alleged "love". Some people call that love sweet. I think it's an unhealthy obsession, which contrasts Rem's pure love. This obsession I've seen in real life, and I enjoy the application to fiction. Misa's so-called "acts of love" don't stem from a place of sincerity, but from her inner struggles due to her past. 

She's a step up from the anime, so I've been told, but I think they could have done so much more with her. 

Soichiro and Sayu Yagami: I don't have much to say for either character, except for a few dot points. 

Soichiro keeps ragging on about how L's methods are cruel and even blaming Kira, but he asked L to join the case so I don't know what he's talking about. He could have at least set some boundaries at the start, or be more assertive about his views. Unless that's commentary on the flawed justice system (as Soichiro is a cop), in which case, I take my words back. 

Sayu is an oh-so-sweet younger sister, who is cliche, but I kinda like her. Plus, she's voiced by Laura Osnes in the English demo. It's hard not to fall for such a pure voice like that. She doesn't really do much apart from singing the ultimate dramatic irony song, but I wouldn't take her away. She adds a certain much needed humanity to the show, and Light in particular. 

 

Plot | ⭑⭑⭑⭑

The nature of musicals tends to mean that story structure as seen in other mediums is different. It's for good reason -- all that live singing, acting and sometimes dancing can be straining. Especially considering how many performances they do in a week. 

One stark difference that musicals feature is character introduction. In other mediums, they'll have their moment interacting with the already introduced cast. In musicals, the important ones get a number to themselves. It's generally not a problem if the music slaps, and boy does it slap in Death Note. 

Pacing wise, I feel that it is strong in the first half. With the way that the story is framed, each character provides a new dynamic and perspective, retaining audience interest. The characters affect each other even though they've never met. 

The second half, however, does not hold up. By this time, the main conflict between L and Light has been established, but we're forced to slow down (pacing and musically) as we explore Rem and Misa's arcs. On its own, the scene and music is able to stand, but within the greater context, I find myself getting bored. For example, I enjoy Rem's final song as I listen to the soundtrack, but when watching the show, I skip it. This may just be my personal preference for faster paced stories, but I've seen this complaint elsewhere, so perhaps it holds some merit. 

There were two major turning plot points that I loved. The first moment is when L challenges Light for the first time. It's a genius move on L's part and a revealing aspect of Light's character. It's probably one of the best twists I've seen. I was smiling like a dork that whole scene. 

*spoilers* The second moment is the last scene before the final requiem. Firstly, the song slaps. Secondly, the ending had such a beautiful, karma-rich moment for Light when he was killed by one of the supernatural beings he thought himself to be. He doesn't go out with dignity, he goes out screaming and writhing in the dirt. 

Compare that with L's death a few moments before. L did have more time to come to terms with death, but a few hours more isn't that much when it comes to facing death. To add the cherry on the cake, L spent his last hours being, in essence, mind controlled. In his final minutes, he still keeps his wits together and dies quietly, with just a warning to Light that the game isn't over. 

I personally feel that both characters deserved their deaths. But that may just be me and my weird liking of tragedies. Anyway, both characters did horrible things to unknown amounts of people. They had it coming. The way they accepted death was characteristic of them, and made all the difference in how they are perceived by the audience. Or me, at least. *end spoilers* 

Staging | ⭑⭑⭒⭒

The staging was simple, but effective. It wasn't spectacular, but it's not too shabby either. 

The gap in the walkway between the stage and orchestra helped with symbolism, generally to show the literal or metaphorical distance between people. This was especially cool during the L and Light duets when they would face off each other and be angsty. 

We also have a turntable. There's two primary uses: to move characters who don't walk onstage and to increase tension by adding more movement on stage. The first gives character introductions more punch. L is introduced on a turntable in his tell-tale sitting position. Chills. The second adds chaos to the chaos already on stage, like with the song Playing His Game. It helps increase tension. 

On the turntable, there was a divider. When it wasn't used to hide people, it had a gauzy texture that felt akin to a figure standing in the shadows. It's like that feeling you get when someone threatens you but you know you'll come out on top. Or something like that anyway, lol.

With the minimalist staging, it has a simple charm. It's not on the level of a show like Come From Away, but it's okay. 

Music | ⭑⭑⭑⭑

Let's go number by number. Why? Because they're all amazing. Also, I need to gush about all of them (Note: I'll be using the English demo album, not the list from the musical.) 

Moderate spoilers ahead.

Overture: It's an overture. The ticking was nice though. The chanting was spot-on haunting. I wish it was exactly 40 seconds, because you know why. It's 40 seconds in the musical at least. 

Where is the Justice: Here we see Light's perspective on the justice system. He has a back and forth with his teacher debating the system, and is later joined in by the ensemble/other students backing Light's observations. 

Like I've said before, he makes good points. Take a listen for yourself and see. But yes, ultimately, Light's view is immature, and that's acknowledged by his teacher. 

Here are my two favourite lines: 

• "What about the families / Hiding in their houses / All of them afraid to walk the street at night / With all their doors locked tight?" - Light
• Light's teacher: "The world's not black and white / The choice not either, or."
  Light: "Perhaps it's time we drain the colour from within / Till we're back to seeing black and white / And wrong and right again."

The first just punches me in the feels. I've thought the same before. Yeah, society is pretty messed up. The second tickles me awesome with its wordology. It's genius. 

Of course, it's backed by a catchy tune and let's talk about that guitar riff. It's like Light, blazing through the battlefield. More on that later. *wink wink*

Only Human: This is the song that led me to the musical, so I have a soft spot for it. It has a minor key, walzty feel with it that I totally dig. The instrumentation has an otherworldy feel, fitting the supernatural-ness of Rem and Ryuk and also akin to a circus. After all, Ryuk is complaining about being bored. 

This is where Rem and Ryuk discuss their feelings about humans. They both agree that humans are pitiful (ahem) but Ryuk is apathetic while Rem is sympathetic. Ryuk focuses more on the negative while Rem on the positive. It paints their personalities so clearly that despite similar sounding names, they're easily memorable. 

Also, let's talk about that foreshadowing for Rem there with this line: "Looking down from above / I'm intrigued by their love". She's set apart from love; she doesn't know what it is. It's a perfect, subtle set up for what's coming. 

The push-pull nature throughout the song makes the motif, "only human", so impactful. It has a double meaning with Ryuk being condescending and Rem being understanding. I love it. It's gorgeous. 

Hurricane: It's Light's power ballad. Man it's so good. And I don't usually like solos. Here, Light discovers the power of the Death Note, so therefore, Light's the boss now.  

The main metaphor here is, believe it or not, a hurricane. It is the hurricane that "blow[s] away" the bad in the world. Light starts off by saying that the world is waiting for a hurricane and the hurricane will bring pain. It progresses to Light saying he will bring the hurricane, to he is the hurricane, even to saying that he will bring the pain, fully embodying the hurricane persona. 

There's one line in the bridge where Light says, "I am the god of this brave new world." He acknowledges the god complex. Despite the triumphant vibe of the song, it's kinda chilling to realise this kid and his immature ideals have control over your life. (Theoretically, seeing as we don't live in Light's world.)

Quick performance note: The belts, guys, the belts. Jeremy Jordan doing what he does best, lol. He has a bright, vulnerable voice, fitting for a teenage character. But it's so rich and strong and beautiful. It adds so much more oomph to the song. Words can't describe how perfect his voice is for Light. Or how amazing his voice is in general.

Kira: It's the dark version of Prince Ali. Change my mind. 

Ryuk and Light meet for the first time, so Ryuk gives some exposition on the culture and perspectives of his kind and calls Light out on his actions. In particular, he points out that some things aren't right, but they aren't wrong either. 

The song ends with Ryuk being distracted by an apple, which is such a Ryuk thing to do. It reinforces how he doesn't care about human welfare, only about himself. 

Source: Make A GIF

I'm Ready: Misa's introduction is an innocent love song, except it's to Kira. She's so much more chill and optimistic than Light, especially when comparing this song to Light's ballads. Both Light and Misa think the world is flawed, but Light is pretty angsty about it while Misa still has hope. Just listen to it. It's so happy. 

This is a sort of fusion between pop and gospel, which encapsulates Misa's obsession and staying true to her pop star characterisation. And can we just talk about Misa rapping? Gold. 

We All Need a Hero: Sayu sings this to Light. Even though she's younger, she knows what Kira's doing is wrong. Light asks her what she would say to Kira, and Sayu says that the world needs more people like her older brother, who, y'know. Boy oh boy, the irony. 

She uses imagery with childish connotations, like "We all need a hero / To rush in and try to save the day / ... For dragons yet to slay". Sayu is just so innocent and wholesome. Light's songs are angsty and fast paced, Ryuk's are dramatic and unreigned, Misa's are lively and fast and sweet Sayu's are slow and hopeful. The dynamics are so different and strong, broadening perspectives. 

I've said it before and I'll say it again. Osne's voice is so pure and perfect.

The Game Begins: After lots of waiting, L is finally introduced. I had chills, no kidding. 

The song really paints L's perspective on the whole Kira case. He doesn't do it because it's right, but because it's fun. It's a game. It's almost as if Light is doing the wrong thing for the right reason, while L is doing the right thing for the wrong reason. 

You see what L's working with. Spoiler alert, it's not much. You see his methods, his almost excitement at a new puzzle. 

Contrasting Light's hurricane imagery, L uses computer imagery. L isn't as reckless and sweeping as Light. He's more calculated. 

Unlike Light's electric guitar power, L has straight piano beats, kinda like the beep bop of computer keyboards. The piano maintains a steady beat, more methodical sounding as per L's character. It's not just piano here though. L has horns. Even better, the horns repeat their motif later on. Horns are generally used for superhero themes, like how L is seen by the majority of the police force as a hero of justice. But we still have sick drums and a guitar banging out those chords, indicating the similarities between Light and L. 

Performance note: I hadn't heard of Jarrod Spector before listening to this album, but his voice is so perfect for L. His little nuances, especially when he sings "Kira's first mistake" and the little chuckle he has (a continuing and endearing trend, I must add), are filled with so much personality. 

Jordan's voice is clear and smooth, but Spector's voice is more gritty and scratchy, for lack of a better word. Don't get me wrong, both their voices are fine. *sparkle emoji* The contrast works so well for the characters, with Light being younger and less mature, L being more experienced and self aware. 

Source: Make A GIF

There Are Lines: Soichiro tells Light how he feels about Kira, expressing his moral views on justice. Specifically that the means don't justify the end. 

The melody is steady and plod along the beat, just like how Soichiro is firm in his beliefs, never venturing out of them. When Light starts singing, the melody becomes polyrhythmic, like with Light's moral views. Soichiro sings with the beat, "in line" you might say, but Light doesn't, especially when they overlap. It's genius. 

In one part, Soichiro says, "You don't load a gun, close your eyes and shoot." Light echoes the second half of the phrase ("You don't close your eyes and shoot"), which shows that Light believes in shooting, but not shooting blindly. It's a neat reference to Hurricane and the line about "writing is the gun I only have to aim." 

Secrets and Lies: We come to the first L and Light duet. Here, L tries to figure out how Kira is killing people, Soichiro rags on about how Kira and L both have trashy morals and Light thinks he's too kool for skool. Not really, Light's more focused on how he's going to kill more people. Not just criminals, but also those who try to stop him. 

In the previous song, Light's singing about how he's not going to cross lines. Here, he's singing "the lines are quickly blurring". Both L and Light sing that in the chorus, followed by "I don't care who gets hurt now / As long as I get one more shot". It really shows that neither are good people. Light's previous, somewhat noble cause is gone. It's about winning now. 

There's one part where they overlap, singing their solo verses. Interestingly, L has a higher harmony. This happens in all their duets, with few exceptions. Their respective actors have similar ranges, so it's probably a characterisation choice. Like with the horns, L seems to be given a more heroic musical identity. 

All three characters are united with one line: "Familiar faces watch you / But with a perfect stranger's eye." In essence, no one can be trusted, whether you're an ace detective, cop or criminal. It amps up the stakes so much more. 

Mortals and Fools: Our two ladies, Misa and Rem, sing about love. Rem still doesn't fully understand love, but she knows enough to say that Misa's love is unhealthy. Misa doesn't care about the consequences. She just wants to find Kira. 

*spoilers* Misa sings "love can make you come alive" and Rem returns it with "Or take your life away". If you know, you know. The foreshadowing and irony of Rem insisting that "love is for mortals and fools" is wonderful. *end spoilers* 

Stalemate: Possibly the best of the L and Light duets, our boys meet for the first time. They discuss their suspicions (with the audience, not each other, for obvious reasons). 

Again, we have piano accompanying L and the electric guitar for Light. We also have some horns doing their motif when L is mentioned or singing. L still has the higher harmony, but there's a smaller interval between him and Light. 

L breaks the fourth wall with "like two actors on a stage". He pulls away a bit from his usual techy imagery, and references things more involved in humanitarian issues. It's an interesting thing to note. 

With recent plot stuff, stakes are rocketing. Both L and Light feel it and sing, "clock is ticking". You know what else ticks? The 40 seconds until death. 

Misa has one verse to herself, finishing with a strong belt. Light ignores it to keep singing about clocks with L. It's the most Light thing to do if I ever saw one. 

I'll Only Love You More: Misa sings a message to Kira and explains a bit about why she loves him so much. She's practically begging Kira to stay, further evidence of her obsession and unhealthy love. She even references Kira as her "god". 

I gotta admit though, her hints aren't that bad. Subtle, but obvious if you're in the know. 

Honour Bound: Soichiro's solo song seems to be popular, but I, personally, am not a huge fan of the Old Man Song. There is one line which I love though: "But if what I'm seeing / Bends as light refracts". Because you need light to see, and Light refracts. 

Soichiro refuses to believe that Light is Kira, understandably. Deep down, he knows. He keeps saying that Light is who he "seems" to be. "Seems" is relative. It's emotional, and I can definitely understand why it's popular. 

Source: Make A GIF

Playing His Game: In a friendly tennis match, L and Light are starting to take their next steps after their standstill. Tensions are at an all high. 

L's piano themes start to fade into Light's themes, just on piano not guitar. Unlike their other duets, L and Light harmonise less, but rather sing in what sounds to be unison, or at least close to it. 

They're obsessed with winning now. It's not about justice or honour or whatever. Light just wants to win. 

Borrowed Time: L arrests Misa and tortures her for information. We won't discuss the ineffectiveness here, but to make it clear, torture doesn't help gain information and shouldn't be condoned. 

Misa's love is tested as she goes through all this horribleness. She somehow manages to hold out, even though she's at a breaking point. She has one brilliant line, "You can do your best / To do your worst to / Get in my head." 

Instruments wise, we have L's piano theme, but it's flipped upside down in a sense. There's also some of his horns during the instrument break as Soichiro tells L to stop this torture. From Misa's previous song, there's some acoustic guitar, complimenting Light's electric guitars. 

Ultimately, neither L nor Light cares about Misa. She's only used to gain an advantage, yet Misa still clings onto a dead hope that Kira will care. 

When Love Comes: This is Rem's last song, and the conclusion to her arc as she finally figures out what love is. She learns that "it can take your breath away". *spoilers* You know what else can? Death. *end spoilers* With Rem's realisations, we have an upbeat tune to accompany her acceptance of the cost of love. 

The Way It Ends: Finally, we have the last L and Light duet. Their last song, even. *spoilers* L knows he's going to die and there's nothing he can do about it. But the song sounds so happy. It's the kind that you'd play on a friendship montage with ugly selfies. As L slowly accepts his loss, he sings "See it flicker / Heart it humming". Spector delivers that line with a quiet sadness that chips away at my heart each time I hear it. Compare that to Light's triumphant "See it blazing / Hear it drumming" as he thinks he's won.

Throughout every duet, L is either in unison with Light, or has a higher harmony. Light breaks this once as he belts "Don't you see that you will die today" on top of L's despair. It's so powerful and heart breaking. *end spoilers* 

L has one last breaking the fourth wall moment and lapses back into computer imagery. It comes to a full circle with his introduction. 

Light has some spectacular worldplay in some of his lines. It warms my English-loving heart. Here's some of the best: 

• "Pawn upon a board." 
• "... has written you will right no more." Or is it you will write no more? 

Again, they make more references to a ticking clock and "wish you had a minute more". Another full circle going way back to the overture. 

Performance note: Both Jordan and Spector deliver perfectly. The emotions and the vocal nuances add so much depth to their characters. We hear the shred of humanity left in Light after all the deaths he has caused. We hear the cracks in L's calm collectedness. When you really take in what they're singing, how they're singing and the accompanying instrumentals, it's...*distant sound of heart shattering*

Source: Gfycat

Requiem: Death Note is a tragedy. The creators didn't shy away from this, even in adaptation. Frank Wildhorn knew this and composed this masterpiece. I admit, I wasn't keen when I first listened to it, but it's now one of my favourites. 

The previous songs have primarily been rock, with either pop or strong instrumentals if not. Now we have a haunting choral group that sounds like the ones back in the overture chanting "Kira". There's many references to previous lyrics, so I'll just dot point some of them. 

• "Shades of grey" → (Where is the Justice) Light wanted a world that's "black and white". Fortunately or unfortunately, we don't live in that kind of world. 
• "Feel every gentle breeze" → (The Way It Ends) The dead "left upon a breeze". A lot of people died because of Kira. 
• "Whisper through the trees" → (Playing His Game) L and Light wanted to "see the forest not just the trees". Maybe we should stick with trees for a while. 

The musical ends with this line "Tales full of fleeting glories / Story old as the word 'goodbye'". There's a sense of finality leaving the audience, or maybe it's just me, feeling empty.  

~ 

Final rating: ★★★★★

This is my longest post to date. If that doesn't scream about how awesome Death Note is, I don't know what will. The themes, the characters, the whole story. It's intricate and unafraid of being brutally honest. Words aren't enough to express how amazing this musical is. But you should totally watch it anyway. 

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