K-Squared Ramblings

The Singing Fly

The latest newsletter for the Center Theatre Group includes a mention of The Fly: The Opera.  Yes, The Fly, based on the sci-fi film about a scientist who gets combined with a housefly in a teleportation accident.  And its remake. As an opera.

Plácido Domingo conducts the U.S. premiere of the LA Opera-commissioned opera written by Oscar®-winning composer Howard Shore (Lord of the Rings)based on the original 1957 George Langelaan short story as well as David Cronenberg’s 1986 film, with a libretto by the Tony Award-winning playwright David Henry Hwang (M. Butterfly).

I used to figure, if someone can turn The Phantom of the Opera, Little Shop of Horrors, and Jekyll and Hyde into a musical, nothing should surprise me.  But… seriously…  The Fly? And not just a musical, but an opera? And the creative team: Placido Domingo and David Henry Hwang working with David Cronenberg?

Frozen Shows

I ordered tickets for an upcoming production of The Phantom of the Opera (the Andrew Lloyd Webber musical) and something occurred to me: In all likelihood it’s going to be an exact replica of the 22-year-old London production (with a few concessions to the realities of touring). When did this start happening?

Most of the time when someone puts on a play that’s been done before, they take the script and do their own thing with the sets, costumes, and performances. This is generally true with older musicals as well; people generally aren’t worried about seeing the original staging of, say, The Sound of Music. But these days, when a big show goes on tour, audiences expect the same experience they’d get on Broadway or in the West End.

Les Miserables opened in London in 1985, went through some tweaks on the way to Broadway, and then every production worldwide for the next 10 years was identical save for cast and translations. They retooled the show for the 10th anniversary, and those changes stuck around until they decided to cut it so that they wouldn’t have to pay the orchestra overtime.

Same with Miss Saigon: opened in London, tweaked as it went to Broadway, then frozen until 2003, when it was retooled to make touring simpler (fewer sets on palettes, using a projection of a helicopter instead of a model on a boom, etc. And let me tell you, watching a show about the Vietnam War during the week leading up to the Iraq War was an odd experience.)

It’s probably been 10 years since I saw Phantom (not counting the movie, about which the less said, the better), but I’ll be surprised if it’s much different (aside from cast) than the last time. I’m sure that’s what the rest of the audience is looking for, after all.

Wednesday in San Diego

We made it to San Diego after a longer than expected midday drive. (Traffic between Carlsbad and the San Diego city limits was a nightmare.) After checking into the hotel, we stopped for a snack and then headed out to the convention center to pick up our badges for Comic-Con. It went a lot more smoothly than last year, probably due to actually having confirmation notices. (Though I did end up having to run around looking for the press desk for the CBR gig.)

One note: For the first time in four years, we were actually asked to show our trolley tickets. You have been warned.

We had tickets to see Avenue Q tonight, so instead of staying for Preview Night with everyone else (and there were lots of people waiting to get in at the time we left, about half an hour before the doors opened at 6), we went to dinner at Dussini, the Mediterranean restaurant that replaced the Spaghetti Factory a couple of years ago.

Then we walked over to the Spreckels Theater, which was interesting. It’s inside an office building, and you get from the lobby to the balcony by taking the regular office elevators to the third floor. Then they check your tickets.

Anyway, good show, highly recommended if the idea of raunchy puppets doesn’t disturb you.

Tomorrow we go to the con proper, and my con report should appear at Comics Should Be Good.