![]() ![]() I think now what is above poetry music when you're passionate enough about whatever it is, you're thinking that pro's blank, verse poetry don't work for you. ![]() Only reserved for shakes, parenting characters, and angels. Now the average playgoer, isn't going to know this, but what he's suggesting is there's no way these people cannot be together because they share a rarer form of communication. And I don't know whether how many people know this, but when Romeo and Juliet meet, they speak in interlocking sonnets, perfect match sonnets. I was always fascinated when I was working on Shakespeare on the fact that he, the elevated texts, very common people spoke for pro's intelligent people, spoken blank verse, but people who are raised to a higher consciousness speak poetry. And they think basically by adding a couple spoonfuls of music in there, they're home free, but all screenplays or in fact, all stories don't sing. One of the worst things in my estimation you can do is ask the original screenwriter to do the adaptation because they have created what they wanted to do. And it's a sort of lazy formula now that we can take birth of the nation and make it into a musical. So when you are tackling a play, that's based on a very iconic movie, what are the challenges of that? Do you try to make it look like the original source material or do you try to kind of be radically different? The show is helmed by former old globe, artistic director, Jack O'Brien and Jerry Mitchell, KPBS arts reporter, Beth Huck Amando speaks with O'Brien about transforming a film into a musical. ![]() The touring production of hairspray marks Broadway San Diego's returned to live performances. Hairspray began as a very indie 1988 film by John Waters and then became a musical play in 2002. ![]()
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