The Addams Family

So producers ask you to write an Addams Family musical. What story do you tell? The films contrasted the Addam's with "normal" criminals who wanted to harm them. The stage show introduces a fiancee and conservative in-laws. The device has fueled many comedies including You Can't Take It With You, Auntie Mame and La Cage Aux Folles. So that's your spine. But what do you do with the details?

Who are the Addams's? Are they undead? If so are they zombies, ghosts or vampires? Are they just unusually morbid mortals? How much of their BDSM leanings can you mention in a family show? If you put them onstage do you use the personalities from the comics, cartoons, TV sitcom or films?

The stage show went through multiple rewrites before and after the Broadway engagement. The squid was cut for the tour. She certainly isn't in the school version. But the song about squid molestation was in the Chicago tryout and made it to Broadway.

Lil' Abner

So you have an established cartoon franchise. How do you compress them into one story? You can do an origin story, like Annie or Spiderman, or you can put the town in danger. The latter worked for The Simpsons Movie in 2007, its working for Spongebob the Musical in 2016 and in 1956 it fueled the plot for the musical adaptation of Lil'Abner.

The show ran for 693 performances and saved most of the original cast for the film. The show has received concert productions from Encores and Reprise but doesn't merit a full scale revival. Like Annie, the original comic is out of print. The show lacks heart and the Cold War satire has not aged well. The movie is worth catching for Stubby Kaye's performance and Michael Kidd's choreography.

Teenage Mutant Ninja Turtles: Coming Out of Their Shells

I didn't care for the recent Turtles movies, but it's important to remember that the Turtles have survived worse. Eastman and Laird created and published them as an independent comic in 1984. When Playmates bought the rights to a toy line the Turtles expanded into a global franchise. Eastman and Laird struggled to keep creative control and got buried in an avalanche of property rights contracts and lawsuits.

In the early 90's some actors in creepy animatronic suits toured the states dancing to pre-recorded songs. A "behind-the-scenes" look at the tour was released on VHS. The composers of these songs seem uneager to take credit.

The live singing arrives as an 11 o'clock power ballad for news reporter April O'Neil. Good lord is that... yes it is!... That's Broadway's Sherie Rene Scott playing April! And what on earth have they done to her hair?

It's a Bird... It's a Plane... It's Superman! v.1

Superheroes and musicals have been an uneasy match. Musicals are often about big characters pursuing big dreams. In a superhero narrative that’s usually the role of the villain. This week we'll look at three super hero musicals. The libretto for It’s Superman keeps Clark and Lois busy with new love interests while three villains drive the plot.

Benton and Newman’s Superman is an Adam Westy / Lil’ Abnery lug with big ego. In today’s era of angsty superheroes it’s interesting to see Superman’s act two angst played for broad laughs.

The writers never came up with anything compelling for Superman to sing. The breakout song, “You’ve Got Possibilities,” goes to a villain’s girlfriend as she tries to seduce Clark Kent. Some have suggested that song should go to Lois, while Lois’ ballad “What I’ve Always Wanted” should go to Clark. The 2010 revisal had other plans. More on that tomorrow.

Fun Home

My seven part Pride series concludes with Fun Home. Alison Bechdel's graphic memoir was brought to the Public Theatre lab in 2012 and given an official Off-Broadway production in the 2013-2014 season.

Drawing a comic based on a celebrated comic artists' work was intimidating but I was not the first. Check out Hazel Newlevant's fantastic comic summary of the show here.

New Yorker Article: Watching Sondheim Watch Fun Home
New York Times Review
Background Reading

Annie Warbucks

Bring Back Birdie didn't dissuade Charles Strouse from attempting another sequel. Annie 2: Miss Hannigan's Revenge was going to be a triumphant comeback for Dorothy Loudon. Her Tony Winning Miss Hannigan would break out of jail, replace Annie with a doppleganger, and take on wacky disguises as she attempted to seduce Oliver Warbucks for his money. One disastrous out-of-town try out later the show cancelled its Broadway engagement.

In 1993 Annie Warbucks settled for Off-Broadway. The show replaced Miss Hannigan with two new villains. Donna McKecknie's gold-digger got the best reviews and the show lasted 200 performances.

The cast album has some fun moments, and this wouldn't be the last time Annie would receive a sequel or a re-imagining.