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| re: Neverland & Smeg's Revamp | |
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Scaramouche 11:05 am UTC 05/19/08 |
| In reply to: | re: Neverland & Smeg's Revamp - Smeghead 12:42 pm UTC 05/18/08 |
| > > Why does Tink suddenly get upset after the ‘wedding’? > I think I explained that in my script. His jealousy of > Peter's love for Wendy. Exactly the same as in the > original Peter Pan story. My point was it comes on suddenly (in the script). There's no simmering tension or a clue as to why he is jealous. > > Finale of Act 1 is a bit lame. Would they all give up that easily? > Peter gives up to save his friend... Obviously, but there's no sense of an 'attack' on Obsidian. The 'pack' simply walk to the 'front door' and more or less surrender en masse. I would have expected them surging into the city, fighting off the guards before cornering Hook in his inner sanctum. When you think Hook is done for, Emily produces Tink, and then the guards regain control. There are several places (and this is one of them) where I would expand and develop the script. -The last song should be ‘We’re Still The Children We Once Were’, Wendy & Peter return to Neverland and are greeted by the Lost Boys & Golden Girls. > That strays too far from the original Peter Pan concept > and the whole point of Jim's script... Youth being a > fleeting thing that is a great loss when it leaves. You're probably right. Neverland is not engrained in me as much as you. Although 'Still The Children' just seems a perfect song to 'end' something (an album, musical, film etc). > > To send the audience out on a less sombre note, you could encore (after the curtain calls) with a reprise of ‘Bat’ or maybe ‘Rock & Roll Dreams Come Through’? > My point is that Neverland had something that todays > commercial musicals lack. A deep meaning. I don't see > any point in diluting that. Well the 'fashion' with jukebox musicals is to stick in a song or medley after the curtain call, that the audience may expect to hear, but would not work in the story. I was referring more to the 'epic Bat spectacular' than Neverland. If Jim and Stephen Clarke get the story & song choices right, then there should be no need. However because of the 'spectacularl' element, I wouldn't be surprised to see 'Bat' reprised after the curtain calls. > > Real nice effort and your dialogue/song choices really > > integrate well into the script (apart from the Christian > > Video Dating stuff, which is naff). Sorry. > The whole point of adding the video dating was to try and > figure out why Jim had "The Want Ad" in act 2. I didn't > want to remove things from Jim's script as much as have > them make sense. This being the case I updated it to > Video Dating as a newspaper publication didn't seem to fit > the futuristic setting. SO in figuring out why Wendy > would be on a dating site(or newspaper) after being taken > from the Lost Boys and Peter the only thing that made > sense was that her parents wanted her to find a > "respectable boy"... someone like dear old dad... to make > her forget Peter and his wanton ways. This being the case > it seemed that her parents would hook her up on a > "christian" dating site... but that didn't work with the > text of the Want Ad... so it became a Satiric Piece... > commenting on the hypocrisy of religion. I felt it worked > quite well... I understood the fact that you were trying to justify 'The Want Ad' (why did Jim put it in?), but it was the 'Christian' element I found naff. In a Steinman musical, I would expect a more 'kinky' dating agency (not that I know any)! How about www.renegade angels & horny demons.com > > To summarise, I don’t think ‘Neverland’ will be anything > > like ‘Bat’, as it is just too bizarre to get investment > > and be a commercial success. ‘Bat’ will have elements of > > ‘Neverland’, but a totally different story. > Unfortunately I agree. However, I feel that Neverland is > a deep and meaningful piece... I fear that making it > commercial will tear out it's soul and make it just > another love story action piece. I think Jim has been waiting for the big pay day all these years (either musical or film), and to get that, there is always commercialisation and an element of compromise? If he had wanted to get 'Neverland' staged (as is), I'm sure he could have done an off-Broadway production, at least, by now? I get the impression he has never fully been happy with it and has therefore constantly tinkered (no pun intended) over the years. Who knows what the Bat script is like now; you may be pleasantly surprised? Will 'Bat' tear out it's soul? No-one knows yet, but I think the flying/fantasy elements of 'Cirque De Soleil' feel perfect, and will hopefully work great. It's the BMX bikes and giant jukebox that worry me. > > In regards Jim giving you rights, I don’t think he will let you do a ‘Neverland’ until ‘Bat’ has been up & running for at least a couple of years? > I don't think he'll ever let me do it. Have you ever asked him? Maybe approach Barry Keating first and pitch your staging/script ideas to him (maybe he'll reprise his 'Historian' role for you?) > > If he ever does give you certain rights, I think the > > script (albeit re-worked & condensed) could work best > > (bearing in mind your budget) as a 4-handed costumed > > cabaret (Historian/Pianist, Hook, Peter & Wendy), with > > maybe a keyboard player for backing? > I would have no desire to do it as a caberet. I find > caberet boring. You don't need a big budget to do things > onstage Long shot but maybe invite Jim/Barry Keating to a condensed (non-profit) cabaret performance (would you need rights?), with a view to getting rights to put on a bigger stage musical? Final question: Does anyone think 'Bat' will have or needs the 'Historian' role? | |
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