These days, any musical starring vampires seems to be doomed:
And they’re going to do “Lestat” next year!
Why pick on Charles Strouse? Of the nine musicals Larry Grossman has written music for, none has run longer than four months – and those were limited run star vehicles.
Strouse has at least two major hits.
How about Comma!
A fascinating musical about the world of copy editing. Such show-stopping tunes as “Who Left the Quotes Out?” and “The Devil’s In the Possessive Case.” The “Final Proof” finale as the copy goes off to press with each character signing off on it in turn will have your audience agog!
A staging of Ain’t Misbehavin’ set in an abandoned grain elevator after a nuclear holocaust and performed entirely in Welsh.
Suddenly I am reminded of the “Robot Chicken” clip featuring Kaneda on an opera stage.
“TEEEETSUUUOOOOOOOO!”
<EXEUNT AMID WILD APPLAUSE>
“When Gregor Samsa awoke one morning, he found himself transformed into a giant cockroach.”
Naah. Too good.
Sadly enough, I’d probably go see it. And be rapt.
Sure, Mom, but I doubt if you could get Dad to come along.
Okay, so just to clarify, we’re actually trying to think of a terrible idea for a musical, terribly cast, and terribly written. If that is the case, I’ll offer the following:
Koresh – The story of one man’s journey to Messiah-hood and Martyrdom. The finale’s great, but they can only do it once. (see Daffy Duck). We need to pick an aging rock star who was once respected to write it like, oh, Paul McCartney and the book needs to be by someone who has never written a play before like Stephen King. Star Power, a compelling story, and catchy yet frighteningly inappropriate tunes. It will be so bad, it will be good.
Jonestown: the musical.
Eats, Shoots & Leaves: the Musical?
Well, I saw the movie version of Andrew Lloyd Webber’s Phantom of the Opera the other day and then read on the IMDb that John Travolta was considered for the role of the Phantom, so that’s a good start right there. Let’s put Charlton Heston in the role of young prettyboy Raoul, an undubbed Renee O’Connor as budding opera superstar Christine, Haley Joel Osment in drag as Madame Giry and last but not least… ooh, let’s say Baby Spice as Carlotta.
Naah, people’d still show up.
Oddly enough there is an opera based on this – really. The compser is John Eaton.