EDSOSLO858 said: "Well, we are getting another Johnny Cash jukebox musical next season, even thoughRing of Fireflopped hard."
There's also been a do-over for Bob Dylan (though The Times They Are a-Changin' and Girl From the North Country obviously took radically different approaches).
kdogg36 said: "EDSOSLO858 said: "Well, we are getting another Johnny Cash jukebox musical next season, even thoughRing of Fireflopped hard."
There's also been a do-over for Bob Dylan (thoughThe Times They Are a-Changin'andGirl From the North Countryobviously took radically different approaches)."
There have been several theatrical musicals that have used the Beatles catalogue. There were also musicals (mostly in Europe) that used the ABBA catalogue pre-Mamma Mia. As long as there is an artist or estate that is looking to make money, you can bet a popular song catalogue will be continually mined for the theatre.
“I knew who I was this morning, but I've changed a few times since then.”
I think Taylor Swift has commented somwhere that she's not interested in a catalogue musical of her songs but is interested in (one day) writing an original score for the theatre.
“I knew who I was this morning, but I've changed a few times since then.”
This hypothetical "Untitled Brian Wilson Beach Boys Musical" will use a mix of live actors, singers and musicians with archival Beach Boys audio.
The show begins without music. Middle-aged Brian Wilson is in a session with Dr. Eugene Landy (the same actor who will also play both Murray Wilson and Phil Spector). Brian is almost catatonic. The few times he does try to speak, he can barely fit in a word; Landy is hectoring him and ranting about the absolute control he is going to require as Wilson's "advocate." Wilson begins to zone out, and we hear the original session demo for "Our Prayer," distant and distorted. It sounds far away, underwater. The sound "swims" forward and offstage singers augment the prerecorded ones. Dr. Landy notices Wilson zoning out and snaps at him to pay attention, but his voice is getting softer and softer as the music gets louder and louder.
The music resolves to the famous overtone chord at "Our Prayer's" climax, and the office set flies apart, dissolving into a stylized dreamlike version of the Wilson household. Compressed vocals for the start of the "Gee" transition come out of a radio, and younger Brian hums the "bum ba bum bum" descant to himself while eating breakfast, just before the house erupts into chaos. Cue the actual opening number, "Heroes and Villains."