by (@unclegrambo)

Watch Team StarKid Try To Guess The Fake Catching Fire Quote (VIDEO)

Yesterday, we put Team StarKid through the pop culture paces with a 50 Shades of Grey quiz — and they failed, spectacularly. We had such high hopes for the Chicago-based theater company since their big YouTube hits like A Very Potter Musical and Holy Musical B@man are pop culture parodies! This should be in their blood! However, we’re kind and we decided to give them a second chance on a slightly less NC-17 piece of work and see if they could rise to the occasion.

Today’s challenge – Catching Fire, the second book in the Hunger Games trilogy that’s soon to be a film. We had them guess the fake quote amidst 3 real quotes from the novel. They may not know much about BDSM romance novels, but we’re hoping they do a bit better on post-apocalyptic societies — their most recent tour was the Apocalyptour, after all.

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by (@raevotta)

How Much Does Team StarKid Know About 50 Shades Of Grey? (VIDEO)

Team StarKid — the Chicago-based theater company that boasts Glee’s Darren Criss among its primary collaborators – might be masters of pop culture parody with their Harry Potter and Batman-themed musicals blowing up on YouTube, but we wanted to see if they were really up-to-date on their pop culture references. When the troupe came through New York on their most recent Mayan-god themed Apocalyptour we sat them down for a little pop culture guessing game.

First up — 50 Shades of Grey. Do the StarKids know a thing or two about the most popular BDSM book series? We had them guess the fake quote amidst 3 real quotes from the novels. Let’s just say they weren’t as knowledgeable about kinky sex dungeons as they are about wizards and wands. (Warning: One swear word in this video, so it’s slightly NSFW!) Check back tomorrow when we quiz them on Hunger Games: Catching Fire.

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CONCERT REVIEW: 3,500 StarKid Superfans (And Our Reviewer) Pack A Sold-Out Roseland Ballroom

Shortly after Charlene Kaye took the stage as the opening act of StarKid‘s performance at Roseland Ballroom on Sunday evening —the final date of their “Apocalyptour”— she addressed her audience of 3,500. “It’s the end of the world,” she told them. “And you get to experience it with us.” The crowd erupted as Kaye continued playing her 45-minute set, a loud and buoyant assortment of songs that showcased her powerful voice and magnetic stage presence. Apart from a poorly conceived request for her audience to kneel down and jump in unison (an act that seemed to cause more disgruntlement than enjoyment), she held a tight grip on the crowd. Her set ended with “Animal Love I,” an electrifying anthem (and the best song of the entire evening) that seemed fitting for a theater of people who had been told to expect end of the world.

But was it really the apocalypse? As someone who knew almost nothing about StarKid upon entering the venue that evening, I couldn’t be too sure. The thousands of screaming children, parents who weren’t sure how to deal with the noise, and stage filled with good-looking performers in complimentary costumes featuring varying levels of thigh exposure felt like some kind of terrifying trifecta that could only mean certain death.

Fortunately for the crowd (and to a lesser extent, me), the world did not end after Charlene left the stage, and the Apocalyptour continued as the remaining performers of StarKid began their show. The minimal and vaguely Incan set design was, like every other element of the show’s construction, merely a method of threading disconnected StarKid songs together. The show’s framing device featured them as archeologists who encounter an ancient god of “chaos, death and musical theater” hell-bent on destroying the world. To dissuade him, they perform selections from their repertoire, including pieces from A Very Potter Musical, Me and My Dick, and Starship. A set list that moves from songs about penises to ones about Hermione Granger is objectively weird, but the StarKids (all former students of the University of Michigan’s School of Music, Theater & Dance) have an impressive grip on writing and, though lyrically all over the place, that persistent musical theater tone helped tie every dick and Potter song together.
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