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| re: Frankenstein: The Musical | |
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LordRahl 01:19 pm UTC 12/16/09 |
| In reply to: | re: Frankenstein: The Musical - rockfenris2005 03:56 am UTC 12/16/09 |
Very clever idea with Objects. Each verse being a body part's memory. I forgot to look for my report, but hopefully today, barring a long work day making me forget again, Ill remember. Hopefully it will be helpful in adding some inspiration to your writing. > It’s tricky actually. If one ever got the permission to > produce “Frankenstein”, they’d be in competition with “Bat > out of Hell” and obviously you couldn’t use any of the > songs that appear in that musical. Besides, who’d want to > be in competition with “Neverland”? > > Before I was aware of all that, I had songs like “Objects > in the rear view mirror may appear closer than they are” > in another draft I did, which would be sung by > Frankenstein’s Monster. So how does that make sense? > Remember the Monster is comprised of various dead > materials that once belonged to people and every person is > unique. Trace memories are left behind. Each verse of the > song is a different memory and in the instrumental > sequences we see the Monster almost literally being torn > apart by the ghosts of the people/materials in which he is > comprised. > > “It’s all coming back to me now” would be sung by the > Bride of Frankenstein who almost remembers Victor, which I > guess is the purpose this song would serve here, but she > ultimately can’t remember because she is now the monster > too. > > “I’d do anything for love (But I won’t do that)” is the > Monster pining for the unconditional love of another > person. Remember there isn’t any real trick meaning to the > lyric and the lyric is actually very sincere. The Monster > would be noble and valiant in every way because all he > wants is that one love and he would do anything for it. > > “Life is a lemon and I want my money back”, again, would > be a song for the Monster after he escapes. Again, that > chorus of ghosts of the people/materials of which he is > comprised would follow him around like a Greek chorus and > sing the “Defective!” lines. > > I could go on and on. I would love to do this one day, > produce and direct and hear Jim’s music in arrangements > that would be absolutely astronomical, but I have no idea > if that could ever be a reality. One can dream (engine.) > > > | |
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