Dance of the Vampires Revival? — Page 2

Whilst it's true that Crawford has a monster-size ego, he was right that the show needed to change when it moved from Europe. The Euro taste in musicals is so different- Starlight Express is still running???- the original never managed to deal with the inherent camp by embracing it more or eradicating it totally.

Broadway had some stunning moments- I recall the ballroom flying especially- but maybe what this needs is a more immersive low-tech, grungy intimacy?

But who can name a successful Broadway vampire musical?

Those demos sound pretty similar to the ones that were doing the rounds before the original production. Same logo, I think.

Thank you, Jimmy. Your kind words are much appreciated. :)

To answer a few recurring points or hanging chads in this thread (I apologize for the prolonged suspense that nobody is asking for; we're just still formulating a statement):

KevinKlawitter said: "Curious about the contemporary marketability of a show that has a connection to Roman Polanski."

Apart from a title page credit in the Playbill, DOTV didn't base its marketing on the Polanski connection, and honestly, we don't intend to either. (In fact, it's my understanding -- though I could be wrong -- that he no longer earns any royalties from the European productions, and in any event, we intend to make a point of donating a portion of the proceeds from any full production to RAINN.)

KevinKlawitter also said: "...I've noticed recently that the Hamilton Deane/John Balderston Dracula is no longer available for licensing from Concord Theatricals. Sometimes a show being taken off the market like that means a revival or tour is in the works."

It also recently entered -- or is entering -- the public domain, which is another reason that licensing may be taken off the market. Hard to charge handling fees for something you no longer own.

ManinChair5 said: "See you at the Tonys, I’m sure."

What do you know, snark isn't dead at BroadwayWorld! Keep it up, kid, you just might be in pictures. Anyway, the Tonys are a moot point because no smart money would attempt to bring this show to Broadway, or at least not as the first port of call. (James885 is way more on target, as is -- to a certain extent -- devonian.t, but again, it's too early to comment on specifics.)

ManinChair5 also said: "Supposedly Gaten Matarazzo is part of a workshop for this, which sounds fun."

Now, that is one point from the blind item I would like to clear up before a fuller statement because I don't want to jeopardize the possibility. Is he signed? No. A very informal discussion was had, and, for what it's worth, he was excited to be offered, put us in touch with his agent, and said that he had heard the European version was awesome. (I love the enthusiasm!) But it would be premature to say he is "part of a workshop." (Which is why I'm trying to find out who leaked this, because we would not rush to publication based on the conversation we've had so far.)

devonian.t said: "Those demos sound pretty similar to the ones that were doing the rounds before the original production. Same logo, I think."

Kind of a minor point, but actually not the same logo (except in typography of the word "Vampire," which is one of the defining characteristics of the show both in Europe and the States). It was a mock-up using key art we'd found online. We will cop to using a similar backing track to the early demos in both cases, though.

Okay, keeping schtum from here out until a formal statement is prepared!

Updated On: 10/27/23 at 11:53 AM

We're working on that. In the words of Maggie Smith in a delightful little film called Sister Act II, "I don't think we should restrict ourselves to a timeframe." (Not just yet, anyway.)