Profile for darquegk

I’m not sure of an American group or artist who could sustain a hologram meets live residential show like ABBA, not even Elvis. But if the Beatles had one, especially now that they’re restoring so much footage with Peter Jackson… THAT might run.

When I saw the musical (via bootleg), my biggest questions were “Is Susan JJ’s illegitimate daughter, and is he sleeping with her/outright molesting her?”

I was surprised neither one had a last minute reveal.

I’m curious how the replacement will work, since isn’t part of the show ABOUT Groff, as himself, doing a Darin biopic/tribute act? It’s meta in a way that will have to be reconfigured if he’s replaced.

If you're a big enough deal in BIG magic that you can book Broadway, you're gonna make more money and build more of a rep doing several shows a day in Vegas. If you're a big enough deal in SMALL magic that you can book Broadway, you're probably going to do better in an intimate setting where you won't need to rely on video monitors to show the trick. Broadway is the worst of both worlds for illusion and sleight of hand.

Tim Curry's "Losing My Mind" in one of the Sondheim tributes plays it relatively straight until halfway through, when it goes into huge, scenery chewing big band that lets Curry do his roaring, growling best.

Synthpop band Colour Theory did a very fine, haunting synth ballad version of Johanna. 

I'm glad this one was such a success! I'll admit I haven't loved Tom Fletcher's previous scores (though McFly's early albums are guilty pleasures). The meme of "Paddington is a flawless masterpiece" has grown to outrageous size over the last decade, and luckily the musical doesn't seem likely to tarnish that reputation.

During Rocky Horror over the weekend, as the Narrator, one of my topical references was "that inexplicable six-seven phenomenon." I typically do different jokes at every show since there are repeat attenders, but that one got such a huge laugh from the audience that I kept it for the entire weekend's run.

It’s a quote from a rap song hyping tall basketball players. A clip of someone quoting that line while doing a goofy dance move/gesture went viral out of context and now this really all there is to it beyond “reference to a reference to a reference.”

They did Shock Treatment in London a decade ago. It was well received, but has not been produced since and is apparently prohibited from being produced, like much of Richard O'Brien's work, due to licensing complications. When he dies, it's likely that the O'Brien estate will be a little less precious about his vast catalogue of non-RHS material.

Who plays the voice of the bear?

MJ is casting dancers. Maybe they’re doing a flash mob instead of a traditional performance. 

You're going to see a lot of "adapted by, orchestrations by" attached to this show over the next decade. The German original score and orchestrations are EXTREMELY idiosyncratic, since they were written for a specific troupe of musicians who doubled in very specific and unlikely ways. All the more conventional arrangements of the score for a conventional pit band, and almost every English translation of the script and lyrics, are still under copyright. 

This is the first major new production/adaptation since the show’s original materials went public domain, right?