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And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>!\u003c/p>\n\n","blocks":[],"excerpt":"The Cooler RSVPs “Hell yes!” to seeing 'Hamilton' with thousands of Bay Area teens.","status":"publish","parent":0,"modified":1555001970,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":173},"headData":{"title":"Hamilton: A Field Trip with Two Thousand Teens | KQED","description":"The Cooler RSVPs “Hell yes!” to seeing 'Hamilton' with thousands of Bay Area teens.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hamilton: A Field Trip with Two Thousand Teens","datePublished":"2019-04-11T07:00:04.000Z","dateModified":"2019-04-11T16:59:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"110904 https://ww2.kqed.org/pop/?p=110904","disqusUrl":"https://ww2.kqed.org/pop/2019/04/11/hamilton-a-field-trip-with-two-thousand-teens/","disqusTitle":"Hamilton: A Field Trip with Two Thousand Teens","audioTrackLength":2221,"path":"/pop/110904/hamilton-a-field-trip-with-two-thousand-teens","audioUrl":"https://www.kqed.org/.stream/anon/radio/thecooler/2019/04/Hamilteens.mp3","audioDuration":1185000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This week, the three of us are busting out of the studio because we RSVP-ed “Hell yes!” to an invite from SHN and the Hamilton Education Program—EduHam, if you’re nasty—to watch Bay Area teens (Hamilteens?) perform original songs they created based on the musical. \u003c/span>\u003cspan style=\"font-weight: 400\">And that invite includes a free performance of the actual show!\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-110905\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/lin-manuel-miranda-excited-what-reaction.gif\" alt=\"\" width=\"480\" height=\"299\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dreams do come true!\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-110906\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/lin-manuel-miranda-excited.gif\" alt=\"\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’ve heard a lot about \u003cem>Hamilton\u003c/em> from think piece writers and established critics, but what does Gen Z think and how has the musical changed the way they interact with art and history? \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listen to find out!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"audio","attributes":{"named":{"src":"https://www.kqed.org/.stream/anon/radio/thecooler/2019/04/Hamilteens.mp3","title":"Hamilton: A Field Trip with Two Thousand Teens","program":"The Cooler","image":"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/hamilton-the-musical.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener\">Subscribe and rate us five stars in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/110904/hamilton-a-field-trip-with-two-thousand-teens","authors":["27"],"categories":["pop_2793"],"tags":["pop_3341","pop_3110","pop_2853","pop_1648","pop_2859"],"featImg":"pop_110908","label":"pop"},"pop_107776":{"type":"posts","id":"pop_107776","meta":{"index":"posts_1591205157","site":"pop","id":"107776","score":null,"sort":[1543564634000]},"guestAuthors":[],"slug":"so-theres-a-scottish-zombie-christmas-high-school-musical-now","title":"So... There's a Scottish Zombie Christmas High School Musical Now","publishDate":1543564634,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>A normal way for fans to appreciate Edgar Wright's 2004 zombie comedy \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> is to watch it again and perhaps discover a few grace notes they missed the first or second or third time around. 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And it gets more specific than that: The funniest visual joke in \u003cem>Shaun of the Dead\u003c/em>, when the spaced-out hero slips on a pool of blood just below the frame, is swiped by a shot of a character tripping over an offscreen body on his morning jog.\u003c/p>\n\u003cp>None of this makes \u003cem>Anna and the Apocalypse\u003c/em> a bad movie per se—as Picasso (and Steve Jobs) said, \"Good artists copy, great artists steal\"—but the contrast between it and its main source of inspiration is clear and mostly unflattering to the new film. As the cinematic karaoke unfolds, you gain a fresh appreciation for Wright's sly commentary on workaday London or the pop-savvy delight of his heroes choosing which records are keepers and which are disposable enough to hurl at a zombie's head. Or, better still, the brilliant comic chemistry between Simon Pegg and Nick Frost and how the depth of their friendship reveals itself in crisis.\u003c/p>\n\u003cp>Many of those virtues are present in director John McPhail's affable horror-musical-comedy, just noticeably dimmer in every respect. What original inspiration it \u003cem>does\u003c/em> possess is heavily front-loaded in the first act, before the zombies take over and there's more time for song-and-dance. In a small-town high school, students are so busy preparing for a Christmas performance that they tune out CDC warnings of a strange pathogen that's spreading through the country. They're running hot with teenage emotions, which come bursting out through hallway arias and choreographed showstoppers in the school cafeteria.\u003c/p>\n\u003cfigure id=\"attachment_107781\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-107781\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg\" alt=\"Anna, singing her way through the apocalypse.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna, singing her way through the apocalypse.\u003c/figcaption>\u003c/figure>\n\u003cp>In a winning lead performance, Ella Hunt plays the feisty Anna, a senior who has plenty of problems and the undead ain't one—at least not yet. She's still reeling from her mother's death and her hectoring father (Mark Benton), a lowly janitor at the school, isn't happy to learn her plans to skip college for a year for an open-ended trip to Australia. Her best friend John (Malcolm Cumming) is all Christmas-sweater earnestness, but she's drawn more toward Nick (Ben Wiggins), a bad-boy type who toys with her affections. She and John are so wrapped up in adolescent emotions that they miss the encroaching zombie apocalypse until the next morning, when nearly the entire town is infected and they have to get back to the school to liberate the students and faculty trapped inside.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The zombie subgenre has been scrambled up and revivified a hundred different ways—here are now multiple films about Nazi zombies, for example—but the musical approach does give \u003cem>Anna and the Apocalypse\u003c/em> an appealing hook. The songs, by Scottish songwriters Roddy Hart and Tommy Reilly, are passable soft-rock confections about teenage angst, with group laments on their dead-end town and bleak futures mixed with more ebullient tunes about thwacking zombies with baseball bats. The banter between the characters never really pops, but they express themselves better through song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anna and the Apocalypse\u003c/em> doesn't gather enough goodwill to carry it through the paces, however, when Anna and her two suitors are obliged to bear down and hack their way to the finish. Anna's tense relationship with her widower father never develops beyond the basic outlines and her love triangle with John and Nick doesn't blow up the nice-guy/bad-boy dichotomy it establishes at the start. McPhail and his screenwriters, Alan McDonald and Ryan McHenry, are shooting for the emo whimsy close to \u003cem>Buffy the Vampire Slayer\u003c/em>'s famed musical episode, \u003ca href=\"https://www.youtube.com/watch?v=Fo62thpDFZA\">\"Once More with Feeling,\"\u003c/a> but that show had six seasons to develop relationships and this film only has about six minutes. Some songs are great enough to carry all that emotion in three-minute bursts, but like everything else in \u003cem>Anna and the Apocalypse\u003c/em>, these are conspicuously short of the mark.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Teens+Sing+Their+Guts+Out+In+The+Scottish+Zombie+Christmas+Musical+%27Anna+And+The+Apocalypse%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It's like 'Shaun of the Dead' with more teenagers and more singing.","status":"publish","parent":0,"modified":1543564634,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":782},"headData":{"title":"So... There's a Scottish Zombie Christmas High School Musical Now | KQED","description":"It's like 'Shaun of the Dead' with more teenagers and more singing.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"So... There's a Scottish Zombie Christmas High School Musical Now","datePublished":"2018-11-30T07:57:14.000Z","dateModified":"2018-11-30T07:57:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"107776 https://ww2.kqed.org/pop/?p=107776","disqusUrl":"https://ww2.kqed.org/pop/2018/11/29/so-theres-a-scottish-zombie-christmas-high-school-musical-now/","disqusTitle":"So... There's a Scottish Zombie Christmas High School Musical Now","nprImageCredit":"Gerardo Jaconelli","nprByline":"Scott Tobias","nprImageAgency":"Orion Pictures ","nprStoryId":"670839107","nprApiLink":"http://api.npr.org/query?id=670839107&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/11/29/670839107/teens-sing-their-guts-out-in-the-scottish-zombie-christmas-musical-anna-and-the-?ft=nprml&f=670839107","nprRetrievedStory":"1","nprPubDate":"Thu, 29 Nov 2018 17:01:00 -0500","nprStoryDate":"Thu, 29 Nov 2018 17:01:21 -0500","nprLastModifiedDate":"Thu, 29 Nov 2018 17:01:21 -0500","path":"/pop/107776/so-theres-a-scottish-zombie-christmas-high-school-musical-now","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A normal way for fans to appreciate Edgar Wright's 2004 zombie comedy \u003ca href=\"https://www.imdb.com/title/tt0365748/?ref_=nv_sr_1\">\u003cem>Shaun of the Dead\u003c/em>\u003c/a> is to watch it again and perhaps discover a few grace notes they missed the first or second or third time around. But there's something to be said for considering it through the prism of slavish imitator like \u003ca href=\"https://www.imdb.com/title/tt6433880/?ref_=fn_al_tt_1\">\u003cem>Anna and the Apocalypse\u003c/em>\u003c/a>, a Scottish genre mash-up that plays like a piece of fan art, only with a musical component added.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dfWIfwKJ7vA'\n title='//www.youtube.com/embed/dfWIfwKJ7vA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There's the first-act obliviousness to a zombie outbreak happening in the background, a few of those patented Wright whip-pans, and dialogue brimming with pop-culture references. And it gets more specific than that: The funniest visual joke in \u003cem>Shaun of the Dead\u003c/em>, when the spaced-out hero slips on a pool of blood just below the frame, is swiped by a shot of a character tripping over an offscreen body on his morning jog.\u003c/p>\n\u003cp>None of this makes \u003cem>Anna and the Apocalypse\u003c/em> a bad movie per se—as Picasso (and Steve Jobs) said, \"Good artists copy, great artists steal\"—but the contrast between it and its main source of inspiration is clear and mostly unflattering to the new film. As the cinematic karaoke unfolds, you gain a fresh appreciation for Wright's sly commentary on workaday London or the pop-savvy delight of his heroes choosing which records are keepers and which are disposable enough to hurl at a zombie's head. Or, better still, the brilliant comic chemistry between Simon Pegg and Nick Frost and how the depth of their friendship reveals itself in crisis.\u003c/p>\n\u003cp>Many of those virtues are present in director John McPhail's affable horror-musical-comedy, just noticeably dimmer in every respect. What original inspiration it \u003cem>does\u003c/em> possess is heavily front-loaded in the first act, before the zombies take over and there's more time for song-and-dance. In a small-town high school, students are so busy preparing for a Christmas performance that they tune out CDC warnings of a strange pathogen that's spreading through the country. They're running hot with teenage emotions, which come bursting out through hallway arias and choreographed showstoppers in the school cafeteria.\u003c/p>\n\u003cfigure id=\"attachment_107781\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-107781\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg\" alt=\"Anna, singing her way through the apocalypse.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo-520x293.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2018/11/3434617-annaandtheapocalypse-official-promo.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anna, singing her way through the apocalypse.\u003c/figcaption>\u003c/figure>\n\u003cp>In a winning lead performance, Ella Hunt plays the feisty Anna, a senior who has plenty of problems and the undead ain't one—at least not yet. She's still reeling from her mother's death and her hectoring father (Mark Benton), a lowly janitor at the school, isn't happy to learn her plans to skip college for a year for an open-ended trip to Australia. Her best friend John (Malcolm Cumming) is all Christmas-sweater earnestness, but she's drawn more toward Nick (Ben Wiggins), a bad-boy type who toys with her affections. She and John are so wrapped up in adolescent emotions that they miss the encroaching zombie apocalypse until the next morning, when nearly the entire town is infected and they have to get back to the school to liberate the students and faculty trapped inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The zombie subgenre has been scrambled up and revivified a hundred different ways—here are now multiple films about Nazi zombies, for example—but the musical approach does give \u003cem>Anna and the Apocalypse\u003c/em> an appealing hook. The songs, by Scottish songwriters Roddy Hart and Tommy Reilly, are passable soft-rock confections about teenage angst, with group laments on their dead-end town and bleak futures mixed with more ebullient tunes about thwacking zombies with baseball bats. The banter between the characters never really pops, but they express themselves better through song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anna and the Apocalypse\u003c/em> doesn't gather enough goodwill to carry it through the paces, however, when Anna and her two suitors are obliged to bear down and hack their way to the finish. Anna's tense relationship with her widower father never develops beyond the basic outlines and her love triangle with John and Nick doesn't blow up the nice-guy/bad-boy dichotomy it establishes at the start. McPhail and his screenwriters, Alan McDonald and Ryan McHenry, are shooting for the emo whimsy close to \u003cem>Buffy the Vampire Slayer\u003c/em>'s famed musical episode, \u003ca href=\"https://www.youtube.com/watch?v=Fo62thpDFZA\">\"Once More with Feeling,\"\u003c/a> but that show had six seasons to develop relationships and this film only has about six minutes. Some songs are great enough to carry all that emotion in three-minute bursts, but like everything else in \u003cem>Anna and the Apocalypse\u003c/em>, these are conspicuously short of the mark.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Teens+Sing+Their+Guts+Out+In+The+Scottish+Zombie+Christmas+Musical+%27Anna+And+The+Apocalypse%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/107776/so-theres-a-scottish-zombie-christmas-high-school-musical-now","authors":["byline_pop_107776"],"categories":["pop_51"],"tags":["pop_259","pop_1648","pop_864"],"featImg":"pop_107777","label":"pop"},"pop_96377":{"type":"posts","id":"pop_96377","meta":{"index":"posts_1591205157","site":"pop","id":"96377","score":null,"sort":[1506452238000]},"guestAuthors":[],"slug":"like-it-or-not-youre-getting-a-pretty-woman-musical","title":"Like it or Not, You're Getting a 'Pretty Woman' Musical","publishDate":1506452238,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>On Tuesday morning, the first announcement went out that in Fall 2018 — only a year away! — Broadway performances will begin of \u003cem>Pretty Woman: The Musical\u003c/em>. Prior to that, Chicago will host the world premiere run, beginning in the spring.\u003c/p>\n\u003cp>Sooooooooooooooooo if you've been wondering when one of Hollywood's most endearing-slash-problematic stories would make it to the stage, it's almost time!\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm2885819/\">Samantha Barks\u003c/a>, whom you might know as Eponine in the film version of \u003cem>Les Misérables\u003c/em>, will play Vivian, the sex worker played in the film by Julia Roberts. Edward, the rich guy who hires and then falls for Vivian, will be played by \u003ca href=\"http://www.imdb.com/name/nm2253954/?ref_=fn_al_nm_1\">Steve Kazee\u003c/a>, who won a Tony playing the male lead in \u003cem>Once\u003c/em>. Jerry Mitchell, the director and choreographer of \u003cem>Kinky Boots\u003c/em> on Broadway, will direct and choreograph this as well. The book is credited to the late Garry Marshall and J.F. Lawton, the director and writer of the film respectively.\u003c/p>\n\u003cp>The music and lyrics will come from \u003ca href=\"http://www.bryanadams.com/\">Bryan Adams\u003c/a> and his longtime writing partner, Jim Vallance. You know, Bryan Adams! Your favorite radio Canadian! Of ... well, \"Heaven,\" let's say. And \"Everything I Do, I Do It For You,\" and many other songs!\u003c/p>\n\u003cp>Let's be honest: this seems like kind of a weird idea, but so did a hip-hop musical about Alexander Hamilton. Who knows? Maybe in a year and a half, we'll all be singing \"Big Mistake, Huge!\" and the soaring friendship ballad \"Take Care Of You,\" and we'll be learning the dance to \"Polo (Replace Those Divots).\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Like+It+Or+Not%2C+You%27re+Getting+A+%27Pretty+Woman%27+Musical&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Just one short year 'til we're all singing \"Big Mistake, Huge!\" and \"Polo (Replace Those Divots)!\"","status":"publish","parent":0,"modified":1506452643,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":279},"headData":{"title":"Like it or Not, You're Getting a 'Pretty Woman' Musical | KQED","description":"Just one short year 'til we're all singing "Big Mistake, Huge!" and "Polo (Replace Those Divots)!"","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Like it or Not, You're Getting a 'Pretty Woman' Musical","datePublished":"2017-09-26T18:57:18.000Z","dateModified":"2017-09-26T19:04:03.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"96377 https://ww2.kqed.org/pop/?p=96377","disqusUrl":"https://ww2.kqed.org/pop/2017/09/26/like-it-or-not-youre-getting-a-pretty-woman-musical/","disqusTitle":"Like it or Not, You're Getting a 'Pretty Woman' Musical","nprImageCredit":"Hulton Archive/Buena Vista","nprByline":"Linda Holmes","nprImageAgency":"Getty Images","nprStoryId":"553693874","nprApiLink":"http://api.npr.org/query?id=553693874&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/sections/monkeysee/2017/09/26/553693874/like-it-or-not-youre-getting-a-pretty-woman-musical?ft=nprml&f=553693874","nprRetrievedStory":"1","nprPubDate":"Tue, 26 Sep 2017 09:59:00 -0400","nprStoryDate":"Tue, 26 Sep 2017 09:32:00 -0400","nprLastModifiedDate":"Tue, 26 Sep 2017 09:59:11 -0400","path":"/pop/96377/like-it-or-not-youre-getting-a-pretty-woman-musical","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday morning, the first announcement went out that in Fall 2018 — only a year away! — Broadway performances will begin of \u003cem>Pretty Woman: The Musical\u003c/em>. Prior to that, Chicago will host the world premiere run, beginning in the spring.\u003c/p>\n\u003cp>Sooooooooooooooooo if you've been wondering when one of Hollywood's most endearing-slash-problematic stories would make it to the stage, it's almost time!\u003c/p>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm2885819/\">Samantha Barks\u003c/a>, whom you might know as Eponine in the film version of \u003cem>Les Misérables\u003c/em>, will play Vivian, the sex worker played in the film by Julia Roberts. Edward, the rich guy who hires and then falls for Vivian, will be played by \u003ca href=\"http://www.imdb.com/name/nm2253954/?ref_=fn_al_nm_1\">Steve Kazee\u003c/a>, who won a Tony playing the male lead in \u003cem>Once\u003c/em>. Jerry Mitchell, the director and choreographer of \u003cem>Kinky Boots\u003c/em> on Broadway, will direct and choreograph this as well. The book is credited to the late Garry Marshall and J.F. Lawton, the director and writer of the film respectively.\u003c/p>\n\u003cp>The music and lyrics will come from \u003ca href=\"http://www.bryanadams.com/\">Bryan Adams\u003c/a> and his longtime writing partner, Jim Vallance. You know, Bryan Adams! Your favorite radio Canadian! Of ... well, \"Heaven,\" let's say. And \"Everything I Do, I Do It For You,\" and many other songs!\u003c/p>\n\u003cp>Let's be honest: this seems like kind of a weird idea, but so did a hip-hop musical about Alexander Hamilton. Who knows? Maybe in a year and a half, we'll all be singing \"Big Mistake, Huge!\" and the soaring friendship ballad \"Take Care Of You,\" and we'll be learning the dance to \"Polo (Replace Those Divots).\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Like+It+Or+Not%2C+You%27re+Getting+A+%27Pretty+Woman%27+Musical&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/96377/like-it-or-not-youre-getting-a-pretty-woman-musical","authors":["byline_pop_96377"],"categories":["pop_51"],"tags":["pop_3035","pop_1648","pop_3069"],"featImg":"pop_96378","label":"pop"},"pop_14261":{"type":"posts","id":"pop_14261","meta":{"index":"posts_1591205157","site":"pop","id":"14261","score":null,"sort":[1418073178000]},"guestAuthors":[],"slug":"the-music-man-live-picking-the-perfect-cast-for-nbcs-next-musical","title":"'The Music Man Live': Picking the Perfect Cast for NBC's Next Musical","publishDate":1418073178,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Last week’s live TV musical production proved once again that \u003cem>Peter Pan\u003c/em> will never grow old for audiences, at least not where ratings are concerned. Thanks to \u003ca href=\"https://www.youtube.com/watch?v=Jz1IKfhStbg\">Christopher Walken prancing around\u003c/a> in a pirate costume and a pink parasol as Captain Hook, \u003ca href=\"https://www.youtube.com/watch?v=x7TFZB7tXAU\">Allison Williams\u003c/a> as Peter Pan surprising viewers with a smooth singing voice (and a mostly passable British accent), and \u003ca href=\"http://www.nbc.com/sites/nbcunbc/files/files/styles/nbc_bio_image/public/images/2014/11/20/2014_1120_PeterPan_Nana_1230x1230.jpg?itok=ioKp8Hgk\">Nana \u003c/a>(Bowdie, a rescue dog from Utah) stealing every scene she was in, the network was able to help people mostly forget the kitschy, B-movie quality of last year’s NBC musical revival \u003cem>The Sound of Music\u003c/em> with the stiff Carrie Underwood. Although \u003cem>Peter Pan\u003c/em> did well in the ratings (although far below \u003cem>The Sound of Music\u003c/em>’s historic numbers), the reviews were still relatively mixed, demonstrating that, when it comes to live musicals, everybody’s a critic.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/2015_in_American_television\">NBC’s announcement of next year’s live musical\u003c/a>, \u003cem>The Music Man, \u003c/em>based off the classic 1957 Meredith Wilson songbook – already has some reviewers wondering how they’ll manage to pull off this complex show. Who can possibly play Harold Hill better than Robert Preston from the 1962 film? What about filling Shirley Jones’ shoes as Marian the librarian? Can they fit all seventy-six trombones on a single soundstage?\u003c/p>\n\u003cp>Of course, \u003cem>The Music Man\u003c/em> is a relatively safe choice for NBC to make. They don’t have to worry as much about audiences expecting a new actor to overcome a true legend in their role or any politically incorrect situations or language. And while they don’t have to compete against any upcoming films or theatre debuts, NBC needs to hope viewers don’t remember \u003ca href=\"https://www.youtube.com/watch?v=muvUfAC5xmc\">the flat and uninspired remake\u003c/a> ABC attempted in 2003 with Kristin Chenoweth and Matthew Broderick.\u003c/p>\n\u003cp>Still, if I had anything to do with the casting decisions, there wouldn’t be trouble, not right here, not in this new River City. Here’s some of my more inspired ideas:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KbPVnrKgPNw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>• \u003cstrong>Stephen T. Colbert as Harold Hill:\u003c/strong> Okay, I get it, it’s a bit unorthodox to cast a quirky comedian in the title role when there are legitimate Broadway stars like Hugh Jackman to consider. But, after Broderick’s version of this character, I believe it’s important to think outside the box. We already know Colbert can sing \u003ca href=\"https://www.youtube.com/watch?v=yYf2yFD-iIk\">(his Christmas sing-alongs are quite good\u003c/a>) and his Colbert Nation fanatics would rally viewers behind him. Best of all, thanks to \u003cem>The Colbert Report\u003c/em>, viewers already know that he’s good at playing characters who aren’t exactly always telling the truth, a strong plus for his ability to play the conniving Harold Hill.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=78jqpeRH0n4\u003c/p>\n\u003cp>• \u003cstrong>Kristen Bell as Marian Paroo:\u003c/strong> Thanks to her time on \u003cem>Veronica Mars\u003c/em>, Kristen Bell fans have realized she’s great at witty one-liners, a must for Marian Paroo. And, of course, her vocals on that endlessly-popular little film called \u003ca href=\"https://www.youtube.com/watch?v=uyVUScALsdo\">\u003cem>Frozen\u003c/em> \u003c/a>have proved she just might have the pipes to pull off a new arrangement of the complicated “Goodnight, My Someone.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LnLKbc2hvxk\u003c/p>\n\u003cp>• \u003cstrong>Bernadette Peters as Eulalie Mackechnie Shinn:\u003c/strong> Broadway fans will be thrilled by this selection and NBC can rest easy knowing that someone in the ensemble has a strong background in live theatre. Besides, have I mentioned already that she’s \u003ca href=\"https://www.youtube.com/watch?v=Jgrh56clNUE\">\u003cem>the\u003c/em> Bernadette Peters\u003c/a>? After not being cast in the new \u003cem>Into the Woods\u003c/em> film (Meryl Streep was given the role of The Witch, which Peters originated), it also might be a small moment of redemption for the incomparable actress.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3cmD1uYUan0\u003c/p>\n\u003cp>• \u003cstrong>August Maturo as Winthrop Paroo:\u003c/strong> Unfortunately, Ron Howard has outgrown his part as Marian’s \u003ca href=\"https://www.youtube.com/watch?v=2ASuSnGdWeU\">lisping little brother\u003c/a> in \u003cem>The Music Man\u003c/em> film. However, seven-year-old curly-haired Maturo has stolen many scenes on the show \u003cem>Girls Meets World\u003c/em>, and surely would be able to do a convincing scene as the Wells Fargo Wagon comes to town.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UD8tGWIqA-c\u003c/p>\n\u003cp>• \u003cstrong>Jimmy Fallon’s Ragtime Gals (with Justin Timberlake) as the Mayor’s Barbershop Quartet:\u003c/strong> There’s nothing quite like seeing the mayor’s entourage break out into beautiful a capella melodies. While it might be hard to think about how to cast these roles, \u003ca href=\"https://www.youtube.com/watch?v=UD8tGWIqA-c\">Jimmy Fallon has made the job easy\u003c/a>. The other members of the quartet, Tom Shillue (a comedian) or A.D. Miles (one of Fallon’s head writers) could easily play the mayor if Fallon and Timberlake are too busy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vblz2n1N190\u003c/p>\n\u003cp>• \u003cstrong>Dulé Hill as Marcellus Washburn:\u003c/strong> Sure, Buddy Hackett is always fun to watch as Harold Hill’s only friend in River City, Iowa, and the only person who knows the new band leader’s real scheme in the town. However, Dulé Hill has strong credentials as a tap dancer and, thanks to his years on \u003cem>Psych\u003c/em>, proves well-suited for a straight-laced “buddy” role. If the \u003cem>Psych\u003c/em> musical and his stint with \u003ca href=\"https://www.youtube.com/watch?v=x3DHFyohh2I\">Broadway's \u003cem>After Midnight \u003c/em>\u003c/a>taught viewers anything, it’s that Hill is a triple threat; his songs were the hit of both shows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, \u003cem>The Music Man\u003c/em> isn’t the only iconic show that NBC executives could pick to prepare for 2015. I’ve got plenty more suggestions for the network from James Marsden as Conrad Birdie in \u003cem>Bye, Bye Birdie\u003c/em> to Patton Oswalt as Tevye the milkman in \u003cem>Fiddler on the Roof\u003c/em> to Joseph Gordon-Levitt as Danny Zuko in \u003cem>Grease\u003c/em> so no viewer ever has to suffer through a bad remake again. Hollywood, I await your call.\u003c/p>\n\n","blocks":[],"excerpt":"With 'Peter Pan Live' in the bucket, we take a look ahead at NBC's next musical and pick the perfect cast.","status":"publish","parent":0,"modified":1418073178,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":987},"headData":{"title":"'The Music Man Live': Picking the Perfect Cast for NBC's Next Musical | KQED","description":"With 'Peter Pan Live' in the bucket, we take a look ahead at NBC's next musical and pick the perfect cast.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'The Music Man Live': Picking the Perfect Cast for NBC's Next Musical","datePublished":"2014-12-08T21:12:58.000Z","dateModified":"2014-12-08T21:12:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"14261 http://ww2.kqed.org/pop/?p=14261","disqusUrl":"https://ww2.kqed.org/pop/2014/12/08/the-music-man-live-picking-the-perfect-cast-for-nbcs-next-musical/","disqusTitle":"'The Music Man Live': Picking the Perfect Cast for NBC's Next Musical","customPermalink":"the-music-man-live-picking-the-perfect-cast-for-nbc-next-musical-peter-pan","path":"/pop/14261/the-music-man-live-picking-the-perfect-cast-for-nbcs-next-musical","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week’s live TV musical production proved once again that \u003cem>Peter Pan\u003c/em> will never grow old for audiences, at least not where ratings are concerned. Thanks to \u003ca href=\"https://www.youtube.com/watch?v=Jz1IKfhStbg\">Christopher Walken prancing around\u003c/a> in a pirate costume and a pink parasol as Captain Hook, \u003ca href=\"https://www.youtube.com/watch?v=x7TFZB7tXAU\">Allison Williams\u003c/a> as Peter Pan surprising viewers with a smooth singing voice (and a mostly passable British accent), and \u003ca href=\"http://www.nbc.com/sites/nbcunbc/files/files/styles/nbc_bio_image/public/images/2014/11/20/2014_1120_PeterPan_Nana_1230x1230.jpg?itok=ioKp8Hgk\">Nana \u003c/a>(Bowdie, a rescue dog from Utah) stealing every scene she was in, the network was able to help people mostly forget the kitschy, B-movie quality of last year’s NBC musical revival \u003cem>The Sound of Music\u003c/em> with the stiff Carrie Underwood. Although \u003cem>Peter Pan\u003c/em> did well in the ratings (although far below \u003cem>The Sound of Music\u003c/em>’s historic numbers), the reviews were still relatively mixed, demonstrating that, when it comes to live musicals, everybody’s a critic.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/2015_in_American_television\">NBC’s announcement of next year’s live musical\u003c/a>, \u003cem>The Music Man, \u003c/em>based off the classic 1957 Meredith Wilson songbook – already has some reviewers wondering how they’ll manage to pull off this complex show. Who can possibly play Harold Hill better than Robert Preston from the 1962 film? What about filling Shirley Jones’ shoes as Marian the librarian? Can they fit all seventy-six trombones on a single soundstage?\u003c/p>\n\u003cp>Of course, \u003cem>The Music Man\u003c/em> is a relatively safe choice for NBC to make. They don’t have to worry as much about audiences expecting a new actor to overcome a true legend in their role or any politically incorrect situations or language. And while they don’t have to compete against any upcoming films or theatre debuts, NBC needs to hope viewers don’t remember \u003ca href=\"https://www.youtube.com/watch?v=muvUfAC5xmc\">the flat and uninspired remake\u003c/a> ABC attempted in 2003 with Kristin Chenoweth and Matthew Broderick.\u003c/p>\n\u003cp>Still, if I had anything to do with the casting decisions, there wouldn’t be trouble, not right here, not in this new River City. Here’s some of my more inspired ideas:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KbPVnrKgPNw'\n title='//www.youtube.com/embed/KbPVnrKgPNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>• \u003cstrong>Stephen T. Colbert as Harold Hill:\u003c/strong> Okay, I get it, it’s a bit unorthodox to cast a quirky comedian in the title role when there are legitimate Broadway stars like Hugh Jackman to consider. But, after Broderick’s version of this character, I believe it’s important to think outside the box. We already know Colbert can sing \u003ca href=\"https://www.youtube.com/watch?v=yYf2yFD-iIk\">(his Christmas sing-alongs are quite good\u003c/a>) and his Colbert Nation fanatics would rally viewers behind him. Best of all, thanks to \u003cem>The Colbert Report\u003c/em>, viewers already know that he’s good at playing characters who aren’t exactly always telling the truth, a strong plus for his ability to play the conniving Harold Hill.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/78jqpeRH0n4'\n title='//www.youtube.com/embed/78jqpeRH0n4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>• \u003cstrong>Kristen Bell as Marian Paroo:\u003c/strong> Thanks to her time on \u003cem>Veronica Mars\u003c/em>, Kristen Bell fans have realized she’s great at witty one-liners, a must for Marian Paroo. And, of course, her vocals on that endlessly-popular little film called \u003ca href=\"https://www.youtube.com/watch?v=uyVUScALsdo\">\u003cem>Frozen\u003c/em> \u003c/a>have proved she just might have the pipes to pull off a new arrangement of the complicated “Goodnight, My Someone.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LnLKbc2hvxk'\n title='//www.youtube.com/embed/LnLKbc2hvxk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>• \u003cstrong>Bernadette Peters as Eulalie Mackechnie Shinn:\u003c/strong> Broadway fans will be thrilled by this selection and NBC can rest easy knowing that someone in the ensemble has a strong background in live theatre. Besides, have I mentioned already that she’s \u003ca href=\"https://www.youtube.com/watch?v=Jgrh56clNUE\">\u003cem>the\u003c/em> Bernadette Peters\u003c/a>? After not being cast in the new \u003cem>Into the Woods\u003c/em> film (Meryl Streep was given the role of The Witch, which Peters originated), it also might be a small moment of redemption for the incomparable actress.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3cmD1uYUan0'\n title='//www.youtube.com/embed/3cmD1uYUan0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>• \u003cstrong>August Maturo as Winthrop Paroo:\u003c/strong> Unfortunately, Ron Howard has outgrown his part as Marian’s \u003ca href=\"https://www.youtube.com/watch?v=2ASuSnGdWeU\">lisping little brother\u003c/a> in \u003cem>The Music Man\u003c/em> film. However, seven-year-old curly-haired Maturo has stolen many scenes on the show \u003cem>Girls Meets World\u003c/em>, and surely would be able to do a convincing scene as the Wells Fargo Wagon comes to town.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UD8tGWIqA-c'\n title='//www.youtube.com/embed/UD8tGWIqA-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>• \u003cstrong>Jimmy Fallon’s Ragtime Gals (with Justin Timberlake) as the Mayor’s Barbershop Quartet:\u003c/strong> There’s nothing quite like seeing the mayor’s entourage break out into beautiful a capella melodies. While it might be hard to think about how to cast these roles, \u003ca href=\"https://www.youtube.com/watch?v=UD8tGWIqA-c\">Jimmy Fallon has made the job easy\u003c/a>. The other members of the quartet, Tom Shillue (a comedian) or A.D. Miles (one of Fallon’s head writers) could easily play the mayor if Fallon and Timberlake are too busy.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vblz2n1N190'\n title='//www.youtube.com/embed/vblz2n1N190'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>• \u003cstrong>Dulé Hill as Marcellus Washburn:\u003c/strong> Sure, Buddy Hackett is always fun to watch as Harold Hill’s only friend in River City, Iowa, and the only person who knows the new band leader’s real scheme in the town. However, Dulé Hill has strong credentials as a tap dancer and, thanks to his years on \u003cem>Psych\u003c/em>, proves well-suited for a straight-laced “buddy” role. If the \u003cem>Psych\u003c/em> musical and his stint with \u003ca href=\"https://www.youtube.com/watch?v=x3DHFyohh2I\">Broadway's \u003cem>After Midnight \u003c/em>\u003c/a>taught viewers anything, it’s that Hill is a triple threat; his songs were the hit of both shows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, \u003cem>The Music Man\u003c/em> isn’t the only iconic show that NBC executives could pick to prepare for 2015. I’ve got plenty more suggestions for the network from James Marsden as Conrad Birdie in \u003cem>Bye, Bye Birdie\u003c/em> to Patton Oswalt as Tevye the milkman in \u003cem>Fiddler on the Roof\u003c/em> to Joseph Gordon-Levitt as Danny Zuko in \u003cem>Grease\u003c/em> so no viewer ever has to suffer through a bad remake again. Hollywood, I await your call.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/14261/the-music-man-live-picking-the-perfect-cast-for-nbcs-next-musical","authors":["3218"],"categories":["pop_3"],"tags":["pop_1648","pop_627","pop_266","pop_2715"],"featImg":"pop_14329","label":"pop"},"pop_13021":{"type":"posts","id":"pop_13021","meta":{"index":"posts_1591205157","site":"pop","id":"13021","score":null,"sort":[1406826042000]},"guestAuthors":[],"slug":"what-were-they-thinking-the-most-bizarre-musical-adaptations","title":"What Were They Thinking: The Most Bizarre Musical Adaptations","publishDate":1406826042,"format":"aside","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13029\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/carrie1.jpg\" alt=\"carrie\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/carrie1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/carrie1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Good news for anyone who loved the Oscar-winning film \u003cem>Shakespeare in Love\u003c/em>: the \u003ca href=\"http://news.msn.com/pop-culture/shakespeare-in-love-adapter-revels-in-rave-reviews-in-london\" target=\"_blank\" rel=\"noopener noreferrer\">recent musical adaptation\u003c/a> of the story of Shakespeare and his muse for \u003cem>Romeo and Juliet\u003c/em> is getting rave reviews in London. If you watched the original movie back in 1998 and thought, \"It's good, but what if the Bard had a power ballad explaining his feelings for Viola?\", then this is the musical for you.\u003c/p>\n\u003cp>In the past few years, the silver screen has become the go-to source for theater producers looking to create a sure-fire musical hit. It makes sense; if audiences loved the movie, of course they'll love it on stage with a couple of chorus lines and catchy hooks thrown in. Some have been successful (\u003cem>Hairspray\u003c/em>, \u003cem>The Producers\u003c/em>, \u003cem>The Lion King\u003c/em> and \u003cem>Monty Python's Spamalot)\u003c/em>, while others\u003cem> \u003c/em>sound like SNL parodies or show tune hallucinations. Wouldn't you have loved to have been in the meeting where some brave composer said: \"You know what I could write a killer score for? That Stephen King movie about the girl soaked in pig blood at her prom. Her mother can sing a whole \"Dirty Pillows\" number. And, at the end, the destruction of the gym can be a piece of interpretive dance!\" Seriously.\u003c/p>\n\u003cp>Here are some of our favorite odd musical adaptations, from supernatural feminist metaphors (\u003cem>The Witches of Eastwick\u003c/em>) to bungee jumping superheroes (\u003cem>Spider-Man: Turn Off The Dark\u003c/em>).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Witches of Eastwick\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AT43o2uRG8E&list=PLNXSK9RU25sj4Q_AZaW_BCpjWX-GffkRm\u003c/p>\n\u003cp>John Irving's novel of magical happenings was adapted into a film in 1987 starring Cher, Susan Sarandon and Michelle Pfeiffer as the titular witches. In 2000, composer Dana P. Rowe, lyricist John Dempsey and hit-making producer Cameron Mackintosh decided to take the story to the London stage. Five, six, seven, eight; spell, hex, curse, conjure JAZZ HANDS! This time, the witches were led by Lucie Arnaz, daughter of Lucille Ball and Desi Arnaz, with the devilish role portrayed in the film by Jack Nicholson going to \u003cem>Deadwood\u003c/em> actor Ian McShane. Problems surrounded the new production with rewrites, cast changes and special effects challenges, but the show has gone on to tour Europe and Australia (although never really becoming a hit with U.S. audiences). A musical about a polyamorous arrangement of witches and a gossipy small town chorus sounds like a good place to start. Unfortunatley, supernatural/horror elements never really worked in a musical setting, and don't even get us started on the infamous \"cherry-pit puking scene\" that made it into the show. Some things just shouldn't be sung about.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Fearless Vampire Killers\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Out of all of Roman Polanski's films, 1967's \u003cem>The Fearless Vampire Killers\u003c/em> is probably the most appropriate for a musical adaptation (not that that means much; it's just a better choice than \u003cem>The Pianist\u003c/em> or \u003cem>Rosemary's Baby)\u003c/em>. The story of a 19th century professor hunting Eastern Europe for proof of vampires (and his eventual encounter with the bloodsuckers) was given a score by Jim Steinman and originally found success in Vienna in 1997. When the team tried to transfer the show to Broadway in 2002 (retitling it \u003cem>Dance of the Vampires\u003c/em>), the trouble began. Temperamental \u003cem>Phantom of the Opera\u003c/em> star Michael Crawford apparently insisted on changes to his Count character, and the horror or spoof question surrounding the tone of the show was never resolved. In the end, the musical looked and sounded like a Meatloaf music video and audiences stayed away. In addition to \u003cem>Dance of the Vampires, \u003c/em> adaptations of \u003cem>Dracula\u003c/em> and \u003cem>Interview with the Vampire\u003c/em> have also famously flopped on stage. Theater makers, take the hint; the undead are not musical material.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Heathers\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>http://youtu.be/Gpad8LUEwsg\u003c/p>\n\u003cp>The 1988 mean teen classic starring Winona Ryder, Christian Slater and Shannen Doherty first found its way to the stage in a 2010 concert and is closing off-Broadway this August after a five month run. The show kind of works because it \u003cem>gets\u003c/em> that turning a story about murder via Draino, faked gay suicide pacts and the sinister side of adolescence into a bunch of chipper show tunes is kind of ridiculous; composers and lyricists Laurence O'Keefe and Kevin Murphy are totally in on the joke. The original \u003cem>Heathers\u003c/em> was almost operatic in its insanity and songs like \"My Dead Gay Son\" make good use of some of the most quotable lines from the film. That said, it's still a totally absurd premise for a musical, but the score helps keep the irony and darkness front and center.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Rocky\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f7-qD7oa1K8\u003c/p>\n\u003cp>The 1976 Academy Award-winning boxing classic \u003cem>Rocky\u003c/em> is known for a lot of things: great training montages, an underdog hero and stunning shots of Philly. What it's not known for is a particularly verbal or even enunciation-friendly leading man. The idea of mumbling, taken-one-too-many-punches-to-the-mouth Rocky singing a love ballad to Adrienne is laughable, although we can totally see Apollo Creed busting into song, since he was practically the James Brown of boxing. The adaption, originated in Hamburg in 2012 with music by Stephen Flaherty and lyrics by Thomas Meehan, is currently playing on Broadway. What works for the show is the athleticism in the choreography (jump ropes, for crying out loud!) and the fact that we get to hear \"Eye of the Tiger\" onstage. But the idea of Rocky Balboa singing is just too much. If we were going to turn a Stallone movie into a musical, our first choice would be \u003ca href=\"http://www.imdb.com/title/tt0105477/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stop! Or My Mom Will Shoot!\u003c/em> \u003c/a>without a doubt.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Spider-Man: Turn Off The Dark\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>http://youtu.be/4hiS2u9QCJg\u003c/p>\n\u003cp>Superheroes have a troubled history in musical theater (see notorious 1966 show and 1975 television special \u003cem>It's A Bird... It's A Plane... It's Superman\u003c/em>), but that didn't stop \u003cem>Lion King\u003c/em> director Julie Taymor and U2 composer and lyricists Bono and The Edge from trying to wring a few songs out of Spider-Man. The production is one of the most notorious in recent Broadway history; a year before opening, stunt disasters, rewrites, sky rocking budgets and the eventual dismissal of Taymor from the show all made the musical highly anticipated for all the wrong reasons. When the show finally opened in 2011, it had the distinction of having the most previews in Broadway history (182, to be exact) and was also the most expensive show ever produced for the Great White Way. While critics were dazzled by the stunts and Eiko Ishioka's costumes, everything else was blasted. Call me old fashioned, but the Green Goblin is so much less menacing when he's playing the piano.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Carrie\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>http://youtu.be/sYgRMHv68W4\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The 1988, $8 million musical adaptation of \u003cem>Carrie\u003c/em> seems like a really bizarre idea, even in light of the cult status the blood-soaked flop has earned in subsequent revivals. \u003cem>Fame\u003c/em> composer and lyricist Michael Gore and Dean Pitchford wrote the score, Debbie Allen choreographed and legit diva Betty Buckley (the singer of \"Memory\" in \u003cem>Cats\u003c/em>) was cast as Carrie's religious fanatic mom, but not even those pros could turn the musical that never should have been into a hit. Critical response was negative and audiences were bewildered during the short 15 performance run; some performances ended with both boos and standing ovations. Some fun facts from the show: the original actress playing Carrie's mother in previews resigned from the show after nearly being decapitated by a set piece, a song about Carrie's period scare in the locker room was sadly cut in try-outs and the actresses that played Carrie through the productions almost were electrocuted multiple times when their mics shorted out after getting drenched with blood at the prom. No matter what may come, we're betting \u003cem>Carrie\u003c/em> will hold its spot as the most absurd musical adaptation ever (unless I finally get to produce my all-singing tribute to the sexual-compulsive film \u003cem>Shame\u003c/em> sometime in the next few years!).\u003c/p>\n\n","blocks":[],"excerpt":"Infamous productions that sound more like like SNL parodies than real musicals.","status":"publish","parent":0,"modified":1632768938,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1373},"headData":{"title":"What Were They Thinking: The Most Bizarre Musical Adaptations - KQED Pop","description":"Infamous productions that sound more like like SNL parodies than real musicals.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Were They Thinking: The Most Bizarre Musical Adaptations","datePublished":"2014-07-31T17:00:42.000Z","dateModified":"2021-09-27T18:55:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"13021 http://blogs.kqed.org/pop/?p=13021","disqusUrl":"https://ww2.kqed.org/pop/2014/07/31/what-were-they-thinking-the-most-bizarre-musical-adaptations/","disqusTitle":"What Were They Thinking: The Most Bizarre Musical Adaptations","templateType":"standard","featuredImageType":"standard","path":"/pop/13021/what-were-they-thinking-the-most-bizarre-musical-adaptations","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13029\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/07/carrie1.jpg\" alt=\"carrie\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/07/carrie1.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/07/carrie1-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Good news for anyone who loved the Oscar-winning film \u003cem>Shakespeare in Love\u003c/em>: the \u003ca href=\"http://news.msn.com/pop-culture/shakespeare-in-love-adapter-revels-in-rave-reviews-in-london\" target=\"_blank\" rel=\"noopener noreferrer\">recent musical adaptation\u003c/a> of the story of Shakespeare and his muse for \u003cem>Romeo and Juliet\u003c/em> is getting rave reviews in London. If you watched the original movie back in 1998 and thought, \"It's good, but what if the Bard had a power ballad explaining his feelings for Viola?\", then this is the musical for you.\u003c/p>\n\u003cp>In the past few years, the silver screen has become the go-to source for theater producers looking to create a sure-fire musical hit. It makes sense; if audiences loved the movie, of course they'll love it on stage with a couple of chorus lines and catchy hooks thrown in. Some have been successful (\u003cem>Hairspray\u003c/em>, \u003cem>The Producers\u003c/em>, \u003cem>The Lion King\u003c/em> and \u003cem>Monty Python's Spamalot)\u003c/em>, while others\u003cem> \u003c/em>sound like SNL parodies or show tune hallucinations. Wouldn't you have loved to have been in the meeting where some brave composer said: \"You know what I could write a killer score for? That Stephen King movie about the girl soaked in pig blood at her prom. Her mother can sing a whole \"Dirty Pillows\" number. And, at the end, the destruction of the gym can be a piece of interpretive dance!\" Seriously.\u003c/p>\n\u003cp>Here are some of our favorite odd musical adaptations, from supernatural feminist metaphors (\u003cem>The Witches of Eastwick\u003c/em>) to bungee jumping superheroes (\u003cem>Spider-Man: Turn Off The Dark\u003c/em>).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Witches of Eastwick\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AT43o2uRG8E'\n title='//www.youtube.com/embed/AT43o2uRG8E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>John Irving's novel of magical happenings was adapted into a film in 1987 starring Cher, Susan Sarandon and Michelle Pfeiffer as the titular witches. In 2000, composer Dana P. Rowe, lyricist John Dempsey and hit-making producer Cameron Mackintosh decided to take the story to the London stage. Five, six, seven, eight; spell, hex, curse, conjure JAZZ HANDS! This time, the witches were led by Lucie Arnaz, daughter of Lucille Ball and Desi Arnaz, with the devilish role portrayed in the film by Jack Nicholson going to \u003cem>Deadwood\u003c/em> actor Ian McShane. Problems surrounded the new production with rewrites, cast changes and special effects challenges, but the show has gone on to tour Europe and Australia (although never really becoming a hit with U.S. audiences). A musical about a polyamorous arrangement of witches and a gossipy small town chorus sounds like a good place to start. Unfortunatley, supernatural/horror elements never really worked in a musical setting, and don't even get us started on the infamous \"cherry-pit puking scene\" that made it into the show. Some things just shouldn't be sung about.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>The Fearless Vampire Killers\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Out of all of Roman Polanski's films, 1967's \u003cem>The Fearless Vampire Killers\u003c/em> is probably the most appropriate for a musical adaptation (not that that means much; it's just a better choice than \u003cem>The Pianist\u003c/em> or \u003cem>Rosemary's Baby)\u003c/em>. The story of a 19th century professor hunting Eastern Europe for proof of vampires (and his eventual encounter with the bloodsuckers) was given a score by Jim Steinman and originally found success in Vienna in 1997. When the team tried to transfer the show to Broadway in 2002 (retitling it \u003cem>Dance of the Vampires\u003c/em>), the trouble began. Temperamental \u003cem>Phantom of the Opera\u003c/em> star Michael Crawford apparently insisted on changes to his Count character, and the horror or spoof question surrounding the tone of the show was never resolved. In the end, the musical looked and sounded like a Meatloaf music video and audiences stayed away. In addition to \u003cem>Dance of the Vampires, \u003c/em> adaptations of \u003cem>Dracula\u003c/em> and \u003cem>Interview with the Vampire\u003c/em> have also famously flopped on stage. Theater makers, take the hint; the undead are not musical material.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Heathers\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gpad8LUEwsg'\n title='//www.youtube.com/embed/Gpad8LUEwsg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 1988 mean teen classic starring Winona Ryder, Christian Slater and Shannen Doherty first found its way to the stage in a 2010 concert and is closing off-Broadway this August after a five month run. The show kind of works because it \u003cem>gets\u003c/em> that turning a story about murder via Draino, faked gay suicide pacts and the sinister side of adolescence into a bunch of chipper show tunes is kind of ridiculous; composers and lyricists Laurence O'Keefe and Kevin Murphy are totally in on the joke. The original \u003cem>Heathers\u003c/em> was almost operatic in its insanity and songs like \"My Dead Gay Son\" make good use of some of the most quotable lines from the film. That said, it's still a totally absurd premise for a musical, but the score helps keep the irony and darkness front and center.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Rocky\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/f7-qD7oa1K8'\n title='//www.youtube.com/embed/f7-qD7oa1K8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 1976 Academy Award-winning boxing classic \u003cem>Rocky\u003c/em> is known for a lot of things: great training montages, an underdog hero and stunning shots of Philly. What it's not known for is a particularly verbal or even enunciation-friendly leading man. The idea of mumbling, taken-one-too-many-punches-to-the-mouth Rocky singing a love ballad to Adrienne is laughable, although we can totally see Apollo Creed busting into song, since he was practically the James Brown of boxing. The adaption, originated in Hamburg in 2012 with music by Stephen Flaherty and lyrics by Thomas Meehan, is currently playing on Broadway. What works for the show is the athleticism in the choreography (jump ropes, for crying out loud!) and the fact that we get to hear \"Eye of the Tiger\" onstage. But the idea of Rocky Balboa singing is just too much. If we were going to turn a Stallone movie into a musical, our first choice would be \u003ca href=\"http://www.imdb.com/title/tt0105477/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stop! Or My Mom Will Shoot!\u003c/em> \u003c/a>without a doubt.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Spider-Man: Turn Off The Dark\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4hiS2u9QCJg'\n title='//www.youtube.com/embed/4hiS2u9QCJg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Superheroes have a troubled history in musical theater (see notorious 1966 show and 1975 television special \u003cem>It's A Bird... It's A Plane... It's Superman\u003c/em>), but that didn't stop \u003cem>Lion King\u003c/em> director Julie Taymor and U2 composer and lyricists Bono and The Edge from trying to wring a few songs out of Spider-Man. The production is one of the most notorious in recent Broadway history; a year before opening, stunt disasters, rewrites, sky rocking budgets and the eventual dismissal of Taymor from the show all made the musical highly anticipated for all the wrong reasons. When the show finally opened in 2011, it had the distinction of having the most previews in Broadway history (182, to be exact) and was also the most expensive show ever produced for the Great White Way. While critics were dazzled by the stunts and Eiko Ishioka's costumes, everything else was blasted. Call me old fashioned, but the Green Goblin is so much less menacing when he's playing the piano.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>\u003cstrong>Carrie\u003c/strong>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sYgRMHv68W4'\n title='//www.youtube.com/embed/sYgRMHv68W4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1988, $8 million musical adaptation of \u003cem>Carrie\u003c/em> seems like a really bizarre idea, even in light of the cult status the blood-soaked flop has earned in subsequent revivals. \u003cem>Fame\u003c/em> composer and lyricist Michael Gore and Dean Pitchford wrote the score, Debbie Allen choreographed and legit diva Betty Buckley (the singer of \"Memory\" in \u003cem>Cats\u003c/em>) was cast as Carrie's religious fanatic mom, but not even those pros could turn the musical that never should have been into a hit. Critical response was negative and audiences were bewildered during the short 15 performance run; some performances ended with both boos and standing ovations. Some fun facts from the show: the original actress playing Carrie's mother in previews resigned from the show after nearly being decapitated by a set piece, a song about Carrie's period scare in the locker room was sadly cut in try-outs and the actresses that played Carrie through the productions almost were electrocuted multiple times when their mics shorted out after getting drenched with blood at the prom. No matter what may come, we're betting \u003cem>Carrie\u003c/em> will hold its spot as the most absurd musical adaptation ever (unless I finally get to produce my all-singing tribute to the sexual-compulsive film \u003cem>Shame\u003c/em> sometime in the next few years!).\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/13021/what-were-they-thinking-the-most-bizarre-musical-adaptations","authors":["2436"],"categories":["pop_51","pop_4"],"tags":["pop_1649","pop_1648"],"featImg":"pop_13028","label":"pop"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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