Profile for g.d.e.l.g.i.

chrishuyen said: "I'm sympathetic to this as it seems like something that Steinman wanted his whole life, but as a Bat Out of Hell fan that only came to the material by way of the musical, it seems like there's a lack of focus (or perhaps too much?) and the long writing process had allowed the songs to take on a life of their own. While not strictly speaking a jukebox musical, it nonetheless feels like one simply because so many songs feel dropped into the scenes, and the aud

EricMontreal22 said: "As a Steinman fan I of course too have listened to the bootlegs, and read the scripts of the earlier versions of Steinman's apocalyptic, sexy teen Peter Pan musicals, but I think Steinman himself had kinda come to terms that the show wasn't going to really be *that* going back to the early Manchester version? Or do I have it wrong...."

He grudgingly accepted it. A lot of these choices, I am given to understand, were made as his healt

trentsketch said: "How much plot is really needed? The music is the draw. Make it a theatrical concert with a couple lines to establish a context and connect the dots. Then let the cast dance and sing the hell out of it."

Well, when you're a Jim Steinman fan aware that the plot was supposed to be the whole point, that this show was the culmination of a 50-year dream of putting this particular story onstage so that the songs were finally presented in the

John Adams, you hold your own, God bless ya, much like your namesake! No, you didn't give me that impression; I was just making that point for others who might develop that impression.

In order of clarification:

* Re: "the very idea": the very idea that he might be Jesus.
* Re: starting "The Vow" for the kids' sake: she sees how hopeful they are (well, at least one of them), she realizes that whether or not this man is Jesus, he need

Just a quick note to affirm that I, too, am here for overwrought Jim Steinman; otherwise, I wouldn't have spent so much time attempting to reboot Dance of the Vampires in a form closer to the original European version. (For those who remember that portion of my many adventures, at one point the subject of a CDAN blind item involving a putative star: still happening, but the former lead translator has picked up his ball and gone home, and a newer addition to the team has

Having covered those topics, let's get to the thorny issue of Swallow and The Man, which needs its own reply.

For better or worse, pmensky is right; there is an element of sexual tension that may register uncomfortably. But John Adams is also right; it's not nearly as serious as it is being made out to be.

Whistle's main problem is its book, which no one in this thread can deny. And the premise is the shakiest part of all, weakened by changes t

kdogg36 said: "I suspect that Jim Steinman contributed to more than the lyrics of "A Kiss Is A Terrible Thing To Waste.""

While I can't confirm this, I can tell you that the part of "Tire Tracks" that isn't "English Girls" came from Jim ["Those good girls never know what they're missing..."], melody and lyrics. [The sharp-eared Steinman fan will detect a stylistic resemblance to "And I

I'm just sayin', I had a way simpler pitch: cast it largely black, maybe make Ed a white character like Celia in The Help, futz with the book and score a bit (the book will never be perfect, but it can be slightly better than it is purely by restoring some deleted material, and I have an edit of my own to prove it; score, well, that's solved by pulling from the D.C. tryout and the celebrity concept album to restore "authenticity" and jazz it up a titch), st

Actually, the word I'm hearing on the street is that the reason ALW has begun a renewed push for the Regent's Park staging of JCS in Asia and the UK is that, although he's delighted with the sales and the press, he's a little tired of Jamie Lloyd getting nearly all of the credit for two out of three revitalizations. Apparently, digging this JCS out again is part expediency, part "you'll touch this over my dead body,"