| They've Arrived In Neverland | |
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Posted by: |
steven_stuart 10:29 pm UTC 11/03/10 |
| In reply to: | BOOH Redux...put your heart into gear! - Scaramouche 07:32 pm UTC 11/01/10 |
| Amazing work Scaramouche. Maybe you should send it to Jim. Have you ever thought of being a dramaturge? The only thing I disagree with is your opinion regarding the crash scene. Its so important to Jim (he has said in several interviews that he wrote "BOOH" because he wanted to write the ultimate "crash" song). It just has to be in there somewhere. Didn't you like his idea of having the heart fly out of the body? Also, I don't think "BOOH" can open the show. It will probably end the two acts but with very different versions (as you point out that Jim suggested - a choir piece for the second version). As JD mentioned, the lyrics for "All Revved Up" have been slightly changed. I think this is to make it a suitable opening number. Although your lyrics and dialogue are excellent. Like some others on this board, you really are very talented. I think they should hire you to be the dramaturge for the show. > JD mentioned that Jim has re-written/added some lyrics to > 'All Revved Up' and I always thought most of the Bat > songs need lyrical tweaks to work (in the context of a > Peter Pan musical). > > Perhaps sacrilege but, just for fun, I've had a go at > tweaking BOOH (lyrically), working from the idea that > Peter sings the song to seduce Wendy into coming to > Neverland (and getting laid). > > With that in mind I can only see it working as the opening > number. It can be reprised at the curtain call as a choir > piece (as Jim has suggested), but I can't think it would > fit anywhere better than the start? > > You will also note that the 'crash' section has been > removed entirely, as I don't think it works/makes sense > for the musical? > > Now! Imagine... > > An extended orchestral intro (acting as Overture) has a > 'silver black phantom' bike bursting out from underneath > centre stage, being ridden by Peter. He performs several > stunts, culminating in a 'doughnut' that fills the stage > with smoke. > > Along with shades and fingerless gloves, he is adorned in > a 3/4 length studded & spiked black leather jacket > (emblazoned on the rear with 'Lost Boys'), but is > shirtless underneath, exposing a muscular body and cut off > denim shorts. > > Removing the shades and jacket, he then 'rises' from the > bike (using a visible black fabric 'sling', as opposed to > 'hidden' wires) and after performing various aerial > flights, he lands on a balcony at an illuminated first > floor window, that has suddenly appeared through the smoke > (the Overture continues to play). > > At the (now open) window is Wendy, awoken by the bike, and > staring out in amazement. Peter stares back at Wendy but > nothing is said, just intense passionate eye contact, as > an extended piano intro is played. > > The piano then goes soft and Peter finally whispers: > 'Wendy, Wendy, listen...you'll love Neverland Wendy. The > sky always whips the sea, the sea always whips the sky and > beautiful, glorious Northern Lights just never stop giving > off sparks! You'll love Neverland Wendy. Do you ever dream > like this anymore?' > > He then launches into the song... > > Sirens are screamin' and there's fires a howlin' > Way down in the city tonight > There's a man in the shadows with a glint in his eye > And a hook shining oh so bright > There's evil in the air and there's thunder in the sky > An the Northern Lights are givin' off sparks! > > An out in the darkness where the ocean is pounding > Oh I swear that there are lost boys > Dancing forever > Always rockin' away to the beat > > Oh Wendy you're the only girl in this whole world > That's pure and good and right > And wherever you are and wherever you go > There's always gonna be some light > > So you gotta get out, and don't you ever look back > It's time you started spreading your wings > Oh you won't believe your eyes on our first night > together > Take my hand & you'll know, you'll never be alone > > Like a bat out of hell we'll be gone when the morning > comes > When this night is over > Like a bat out of hell we'll be gone, gone, gone > Like a bat out of hell we'll be gone when the morning > comes > 'Cause when this day is done and the sun's gone down > And the moonlights shining through > We'll be two lovers, before, the gates of Neverland > It's all you'll ever want or need... > > We're gonna hit the highway like a battering ram, on my > silver black phantom bike > Oh God my metal is hot, I know your engine is hungry > We'll be faster than the speed of night! > An we'll always be as young as we are right now > We'll always be eternally blessed > An I'll make all your inhibitions all disappear > There's so many pleasures of the flesh > > But I know that I'm damned if you never get out > And maybe I'm damned if you do > But with ev'ry single beat I got left in my heart > I swear I'll never be damned with you > But if I gotta be damned, you know I wanna be damned > Dancin' through the night with you > Well if I gotta be damned, you know I wanna be damned > Gotta be damned, you know I wanna be damned > Gotta be damned, you know I wanna be damned > Dancin' through the night > Racin' through the night > Dancin' through the night with you! > > Oh Wendy you're the only girl in this whole world > That's pure and good and right > And wherever you are and wherever you go > There's always gonna be some light > > So you gotta get out, just take a roll of the dice > It's time you started chasing your dreams > Oh we're revving with desire right at the edge of forever > Put your heart into gear, you'll never be alone > > Like a bat out of hell we'll be gone when the morning > comes > When this night is over > Like a bat out of hell we'll be gone, gone, gone > Like a bat out of hell we'll be gone when the morning > comes > Oh when this day is done and the sun's gone down > And the moonlight's shining through > We'll be two lovers, before, the gates of Neverland > It's all you'll ever want or need... > > (song slows into dialogue, with soft piano underneath) > > Peter: 'Trust me Wendy. Have Faith. Faith, trust > and...pixie dust'. (Peter throws glittering dust into the > air as Wendy stares, transfixed and mesmerised. Glitter > also falls from the theatre ceiling onto the audience). > > Peter: 'You've got such a beautiful body, don't ever waste > it, don't ever let it stall, and don't ever EVER let it's > dreams get all rusty. You're all I've ever wanted, I'm all > you'll ever need...' > > Wendy: (whisper) 'Yes...' > > Peter: 'Yes what?' > > Wendy: 'I have faith, faith in you, I believe, I really > do...' > > Entwined in each others arms they spiral down (using the > sling) onto Peter's bike, and he hands her a petite black > leather jacket (emblazoned on the rear with 'Golden > Girls'). She puts it on (over her white flowing night > dress) and holds Peter (who has now put his shades and > jacket back on). The bike is revved and billows out > 'smoke' (dry ice) that fills the stage. > > (the 'motorcycle' solo then begins) > > The bike glows and rises, turning to face the audience > head on, and appears to float above the 'clouds' (the same > dry ice). A backdrop simulates a moon filled starry sky as > they 'fly' to Neverland. > > (they remain on the 'flying' bike as the song continues as > a duet) > > (An) Like a bat out of hell we'll be gone when the morning > comes > When this night is over > Like a bat out of hell we'll be gone, gone, gone > Like a bat out of hell we'll be gone when the morning > comes > > Oh when this day is done and the sun's gone down > And the moonlight's shining through > We'll be two lovers, before, the gates of Neverland > It's all we'll ever want or need, > It's all we'll ever want or need... > > Wendy: (whisper) 'You're all I've ever wanted...' > > Peter: (whisper) 'I'm all you'll ever need...' > > They've arrived in Neverland... > > | |
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