History Theatre / WesterosAnAmericanMusical

* ''Queens'' adapting ''Literature/AFeastForCrows'' and ''Literature/ADanceWithDragons'', set to music from ''Theatre/SixTheMusical''

* HappilyEverBefore: The play ending right around the time ''Literature/AStormOfSwords'' does interrupts the story at a relatively happy point:

* TheHeroSucksSong: "King Robert Baratheon" is about how much of handful Robert was to both his parents and Jon Arryn as a child and a teen, got better thanks to Eddard's influence, lead a sucessful rebellion, became King, quashed a rebellion, then let himself go. By the time the song finishes, the company is singing about Robert currently being in a brothel, fathering yet another bastard he won't pay any attention to.

* KangarooCourt: The murder trial in "The Groom When It Happened" is one. The fact that the main suspect was already considered guilty before the victim had let out their last breath is made clear in the refrain, for which the full sentence is "[[spoiler:No one else was with]] the groom when it happend". It is first sung before the suspect's trial takes place.

Kinsalying is prohibited''

There are two versions of the play on the creator’s Website/YouTube channel. The first, released in a song-by-song format, was performed in 2018 and covers events from ''Literature/AGameOfThrones'' and ''Literature/AClashOfKings'' to the tune of songs taken from the first act of ''Theatre/{{Hamilton}}''. The second, performed in 2019, was released as two videos: Act I that is an expanded rework of the 2018 version, and Act II that covers events from ''Literature/AStormOfSwords'' with tunes mostly taken from Act II of ''Theatre/{{Hamilton}}''. There is now a sequel, ''Queens'', adapting ''Literature/AFeastForCrows'' and ''Literature/ADanceWithDragons'' and the corresponding seasons of the TV show, set to music from ''Theatre/SixTheMusical''.

--> '''Tyrion:''' A very small man can cast a very large shadow. [[spoiler:Which is a quote from the books by Maester Aemon about Tyrion]]

--> '''Tyrion:''' A very small man can cast a very large shadow.

* AnachronismStew: In addition to the music, some aspects of the modern world show up in the otherwise medieval story. A couple of characters moving away from their current place of residence are seen dragging wheeled suitcases, some of the body language only makes sense in a setting with wristwatches and Wun-Wun is wearing a Giants football jersey.

-->'''Margaery''': I have always been well-liked and kind to all the presents\\

There are two versions of the play on the creator’s Website/YouTube channel. The first, released in a song-by-song format, was performed in 2018 and covers events from ''Literature/AGameOfThrones'' and ''Literature/AClashOfKings'' to the tune of songs taken from the first act of ''Theatre/{{Hamilton}}''. The second, performed in 2019, was released as two videos: Act I that is an expanded rework of the 2018 version, and Act II that covers events from ''Literature/AStormOfSwords'' with tunes mostly taken from Act II of ''Theatre/{{Hamilton}}''.

** AdaptationalHeroism:
*** The play drops most--if not all--of the alcoholic DirtyOldMan [[spoiler:only interested in the money Littlefinger pays him]] aspect of Dontos. While he's still [[spoiler:working for Littlefinger]], there is no indication of [[spoiler:him being paid for it]], which makes his good actions come across as more sincere than in canon.
*** The Hound's most questionable act in the play is not keeping Joffrey from beheading Eddard Stark. Other than that, he's competing with Dontos for the most sympathetic of the men interested in Sansa.
*** ''Heroism'' is overstating it, by Tywin's worst traits are ''way'' toned down. Jaime is cut out entirely, and Cersei is barely there, so the only one of Tywin's relationships with his children that we see is Tyrion's. We don't see the years of Tywin belittling Tyrion; we only see the ''one'' moment where Tywin gives Tyrion the job as Hand of the King and calls him his son.
** AdaptationalVillainy: Dany's angst is cut entirely and Tyrion's is heavily truncated. By keeping their ''actions'', but removing the angst, both of them are made much less sympathetic.
** AdaptationalWimp: Loras in Act II. In Act I, he co-conspires with Renly to make Margaery Robert's mistress and is the figurehead of the Tyrell army in "The Siege of King's Landing". In Act II, Olenna has to intervene to keep Loras from getting harassed by the Sand Snakes and he's mostly silently helping out with whatever Olenna and Margaery are up to.
* AdaptationAmalgamation: The play contains both elements of ''Literature/ASongOfIceAndFire'' that didn't make it to ''Series/GameOfThrones'' and elements from the latter that weren't present in the books.
* AdaptationExplanationExtrication:
** One of Littlefinger's lines only makes sense if the viewer knows of Brandon Stark's story, namely the fact that he and Littlefinger once had a duel for Catelyn's hand (you get no points for guessing who lost), and that he died trying to get Lyanna back from Rhaegar. Knowing that Lysa Arryn is Catelyn's sister is also needed to understand Littlefinger's affirmation that Lysa is "the sister he prefers" which is spoken almost an entire song ''before'' any line in the play itself mentions that she's Sansa's aunt.
** ''Ser'' Dontos spends the entire play in a fool's outfit. While he mentions his IOweYouMyLife situation in regards to Sansa, nobody ever spells out that the incident consisted of Sansa convincing Joffrey to make Dontos his fool rather than killing him. The play also omits [[spoiler:him being an alcoholic and actually being paid by Littlefinger for his more heroic actions, which strips his death from the Asshole Victim aspect it had in the original story]].
** "Sword in the Darkness" ends with someone telling Jon Snow they knew his father and that he was a good man. The fact the father is Eddard Stark is bound to go over the head of anyone not already familiar with the story, as there is no mention of a familial relationship between Eddard Stark and Jon Snow anywhere else in the play.

* AdaptationalHeroism:
** The play drops most--if not all--of the alcoholic DirtyOldMan [[spoiler:only interested in the money Littlefinger pays him]] aspect of Dontos. While he's still [[spoiler:working for Littlefinger]], there is no indication of [[spoiler:him being paid for it]], which makes his good actions come across as more sincere than in canon.
** The Hound's most questionable act in the play is not keeping Joffrey from beheading Eddard Stark. Other than that, he's competing with Dontos for the most sympathetic of the men interested in Sansa.
** ''Heroism'' is overstating it, by Tywin's worst traits are ''way'' toned down. Jaime is cut out entirely, and Cersei is barely there, so the only one of Tywin's relationships with his children that we see is Tyrion's. We don't see the years of Tywin belittling Tyrion; we only see the ''one'' moment where Tywin gives Tyrion the job as Hand of the King and calls him his son.
* AdaptationalWimp: Loras in Act II. In Act I, he co-conspires with Renly to make Margaery Robert's mistress and is the figurehead of the Tyrell army in "The Siege of King's Landing". In Act II, Olenna has to intervene to keep Loras from getting harassed by the Sand Snakes and he's mostly silently helping out with whatever Olenna and Margaery are up to.

* AdaptationalVillainy: It's not an AdaptationPersonalityChange exactly; it's more like CharacterExaggeration. Rarely are characters given traits they ''lack'' in canon, but due to AdaptationDistillation, certain aspects get cut. Dany's angst is cut entirely and Tyrion's is heavily truncated. By keeping their ''actions'', but removing the angst, both of them are made much less sympathetic.

* CrossCastRole:

* CompressedAdaptation: This is necessary to fit the first three ''Literature/ASongOfIceAndFire'' books into two hours, even with some plotlines cut entirely.

** "Shae No To This" / "Say No To This". Let's see: A young political hotshot--a man who tends to assume he's the smartest in the room. He has an affair--an unwise and poorly thought out decision. Someone threats to reveal the affair, and tries to extort money from the man as the price of silence.

** The play drops most, if not all, of the alcoholic DirtyOldMan [[spoiler:only interested in the money Littlefinger pays him]] aspect of Dontos. While he's still [[spoiler:working for Littlefinger]], there is no indication of [[spoiler:him being paid for it]], which makes his good actions come across as more sincere than in canon.

** "Shae No To This" is about Tyrion's SecretRelationship with Shae, and at some point has a minstrel try to extort money from Tyrion to keep his mouth shut about it. Its original, "Say No To This", is about Hamilton having an affair with a married woman and includes her husband asking for money in exchange for his silence.

* PlotIrrelevantVillain: Daenerys is one in the play. "I'll Be Back" reminds the audience that she doesn't have an heir and can't have children. "The Storm's End" has her point out that the turmoil that has happened by the end of Act II would make it a good time for her to try getting the throne... but that she first needs to conquer three different major cities on another continent than the one on which the rest of the characters live. "The Storm's End" is not only the last the audience sees of her, but the last song of the entire play.

* PunBasedTitle: "More Than Jest Friends" (jester + more than just friends), "Hisstorically Inaccurate" (a snake's hiss + historically inaccurate), "The Dorne Identity" (Dorne + ''Film/TheBourneIdentity''), "Shae No To This" (Shae + "Say No To This"), "A H(e)art Inflamed", "Stark to Finish" (Stark + start to finish) and "Congratshaelations" (Shae + "Congratulations").

--> '''Stannis:''' I never thought I'd have to kill my own Hand.\\