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* AttemptedRape: on the jailbait Nadine; in the poem the rapist is never named, [=LaChiusa=] makes it Jackie. (It can't be Jackie in the poem because he passes out cold immediately before the scene in question. However, in [=LaChiusa's=] version, the act comes across as... ''very much'' in-character for Jackie.)
* BadGirlSong: "Queenie was a Blonde" and "Look at Me Now" (for Kate) in the Lippa version. The [=Lachiusa=] has its own "Queenie was a Blonde", as well as, much later on, "Lowdown-Down" -- which obviously doesn't serve to introduce Queenie and is much gentler than most songs of this type, but establishes exactly what she thinks about her own lifestyle.

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* AttemptedRape: on On the jailbait Nadine; in the poem the rapist is never named, [=LaChiusa=] makes it Jackie. (It can't be Jackie in the poem because he passes out cold immediately before the scene in question. However, in [=LaChiusa's=] version, the act comes across as... ''very much'' in-character for Jackie.)
* BadGirlSong: "Queenie was a Blonde" and "Look at Me Now" (for Kate) in the Lippa version. The [=Lachiusa=] [=LaChiusa=] has its own "Queenie was a Blonde", as well as, much later on, "Lowdown-Down" -- which obviously doesn't serve to introduce Queenie and is much gentler than most songs of this type, but establishes exactly what she thinks about her own lifestyle.



* CompositeCharacter: Sally, Madelaine True's blissed-out lover in the [=LaChiusa=] version. Marche's poem mentions a Sally as an afterthought among the guests, of whom we know only that she's accompanying a man who goes by Butter and Eggs, and that she was in the chorus of a musical. Later on, Marche describes another girl who sits "White:/Aloof:/Like stone", staring into the distance without a motion or a word, whom Madelaine True unsuccessfully approaches. It seems [=LaChiusa=] modelled his Sally after this character while borrowing the name from the other guest, which also makes this a very minor case of PromotedToLoveInterest.

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* CompositeCharacter: Sally, Madelaine True's blissed-out lover in the [=LaChiusa=] version. Marche's poem mentions a Sally as an afterthought among the guests, of whom we know only that she's accompanying a man who goes by Butter and Eggs, and that she was in the chorus of a musical. Later on, Marche March describes another girl who sits "White:/Aloof:/Like stone", staring into the distance without a motion or a word, whom Madelaine True unsuccessfully approaches. It seems [=LaChiusa=] modelled his Sally after this character while borrowing the name from the other guest, which also makes this a very minor case of PromotedToLoveInterest.


* AdaptationalBackstoryChange: since the source material is a poem, the musicals have quite a lot of leeway to play around with the characters' backstories. Oddly enough, both musicals completely change some of the scant backstories the characters ''are'' given.

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* AdaptationalBackstoryChange: since Since the source material is a poem, the musicals have quite a lot of leeway to play around with the characters' backstories. Oddly enough, both musicals completely change some of the scant backstories the characters ''are'' given.



* AllMusicalsAreAdaptations: the 1994 reissue of the long-out-of-print poem directly inspired both [=LaChiusa=] and Lippa, resulting in the DuelingShows. In Lippa's version, the trope also occurs in-universe when the brothers d'Armano announce their newly-written musical ''Good Heavens'', which is based on Literature/TheBible.

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* AllMusicalsAreAdaptations: the The 1994 reissue of the long-out-of-print poem directly inspired both [=LaChiusa=] and Lippa, resulting in the DuelingShows. In Lippa's version, the trope also occurs in-universe when the brothers d'Armano announce their newly-written musical ''Good Heavens'', which is based on Literature/TheBible.


->Queenie was a blonde, and her age stood still\\

to:

->Queenie was a blonde, and her age stood still\\still,\\


->Queenie was a blonde\\
And her age stood still\\
She danced twice a week in vaudeville.

to:

->Queenie was a blonde\\
And
blonde, and her age stood still\\
She And she danced twice a week day in vaudeville.

Added DiffLines:

* AdaptationalBackstoryChange: since the source material is a poem, the musicals have quite a lot of leeway to play around with the characters' backstories. Oddly enough, both musicals completely change some of the scant backstories the characters ''are'' given.
** Jackie in the poem is a rebellious PreachersKid. The Lippa musical doesnít mention his backstory at all but adds a plot point about his tongue having been cut out, while the [=LaChiusa=] version makes his father a high-class banker. Neither musical mentions his ''multiple prison terms for rape'' either, although heís still a rapist in [=LaChiusa's=] play.
** Mr. Black is stated to have an air of good breeding about him in the original, and he seems fairly unfamiliar with the world of the party's other guests. Neither musical stays very close to this description- Lippa's Black retains the "clueless newcomer" characterization, but heís a nobody recently arrived from Chicago here. The [=LaChiusa=] Black is even further removed from his poem counterpart, as heís Kate's lonely boy toy who is implied to live off the grace of whatever woman heís seeing at the moment, making him something of a SpearCounterpart for Queenie herself.


* MonsterClown: Burrs. Amusingly, Art Spiegelman depicts Burrs with a long face and rather pointed jaw, like [[TheJoker another]] comic-book monster clown.

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* MonsterClown: Burrs. Amusingly, Art Spiegelman depicts Burrs with a long face and rather pointed jaw, like [[TheJoker [[ComicBook/TheJoker another]] comic-book monster clown.


* DepravedBisexual: In the [=LaChiusa=] musical, Jackie attempts to rape Mae's inebriated teenage sister.

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* DepravedBisexual: In Jackie in the poem is a convicted rapist, and in the [=LaChiusa=] musical, Jackie musical he attempts to rape Mae's inebriated teenage sister.


-->'''Dolores:''' It's called, ''Good Heavens!''\\

to:

-->'''Dolores:''' It's called, called ''Good Heavens!''\\


-->'''Dolores:''' It's called, "Good Heavens!"
-->'''Man:''' Dolores, I'm a very, very busy producer.
-->'''Dolores:''' You gotta give 'em a chance!
-->'''Man:''' Well, can they write a tune? Can they inspire a nation? Y'know, "c'mon kid, c'mon kid, Alexander's Ragtime Band..." Now there's a great tune for ya. Can they touch [[Music/IrvingBerlin Irving?]]
-->'''Dolores:''' (Putting her hand on his crotch) ''I'' can touch Irving.
-->'''Man:''' ...His name's George.

to:

-->'''Dolores:''' It's called, "Good Heavens!"
-->'''Man:'''
''Good Heavens!''\\
'''Man:'''
Dolores, I'm a very, very busy producer.
-->'''Dolores:'''
producer.\\
'''Dolores:'''
You gotta give 'em a chance!
-->'''Man:'''
chance!\\
'''Man:'''
Well, can they write a tune? Can they inspire a nation? Y'know, "c'mon kid, c'mon kid, Alexander's Ragtime Band..." Now there's a great tune for ya. Can they touch [[Music/IrvingBerlin Irving?]]
-->'''Dolores:''' (Putting
Irving?]]\\
'''Dolores:''' ''[putting
her hand on his crotch) ''I'' crotch]'' I can touch Irving.
-->'''Man:''' ...
Irving.\\
'''Man:''' ...
His name's George.


Added DiffLines:

* SubvertedRhymeEveryOccasion: Lippa's Burrs pulls one of these in "Make Me Happy" while threatening Black and Queenie with a gun:
-->We've got a situation:\\
Shit or get off the pot!\\
Whaddaya say? You wanna give her away\\
Or do you wanna getó\\
On your knees?


* PreachersKid: In the poem, Jackie is the son of a preacher who was disowned by his father for being too much trouble. Neither musical uses this backstory, with the Lippa not talking about his past at all and the LaChiusa changing his estranged father to a wealthy banker.

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* PreachersKid: In the poem, Jackie is the son of a preacher who was disowned by his father for being too much trouble. Neither musical uses this backstory, with the Lippa not talking about his past at all and the LaChiusa [=LaChiusa=] changing his estranged father to a wealthy banker.

Added DiffLines:

* FieryRedhead: Kate's introduction in the poem describes her as a beautiful, but dangerous and capricious redhead who loves parties, dirty jokes, and men.


Added DiffLines:

* PreachersKid: In the poem, Jackie is the son of a preacher who was disowned by his father for being too much trouble. Neither musical uses this backstory, with the Lippa not talking about his past at all and the LaChiusa changing his estranged father to a wealthy banker.


* ICallHimMrHappy: One of the guests in Lippa's version is quick to correct Dolores about the proper name for his penis.
-->'''Dolores:''' It's called, "Good Heavens!"
-->'''Man:''' Dolores, I'm a very, very busy producer.
-->'''Dolores:''' You gotta give 'em a chance!
-->'''Man:''' Well, can they write a tune? Can they inspire a nation? Y'know, "c'mon kid, c'mon kid, Alexander's Ragtime Band..." Now there's a great tune for ya. Can they touch [[Music/IrvingBerlin Irving?]]
-->'''Dolores:''' (Putting her hand on his crotch) ''I'' can touch Irving.
-->'''Man:''' ...His name's George.



* LoveDodecahedron: Queenie/Burrs/Black is the LoveTriangle whose violent resolution makes up the climax of all versions of the story. However, in all versions (especially Lippa's), Kate also intervenes with designs upon Burrs, forming a Love Square. Meanwhile, in [=LaChiusa's=] version, Jackie tries to lure Oscar d'Armano away from Phil, and there are a couple of allusions to funny business between Kate and Eddie, to the anger of his wife Mae. But both of these [[BetaCouple Beta Couples]] tenderly reunite over the course of the song "Golden Boy".

to:

* LoveDodecahedron: Queenie/Burrs/Black is the LoveTriangle whose violent resolution makes up the climax of all versions of the story. However, in all versions (especially Lippa's), Kate also intervenes with designs upon Burrs, forming a Love Square. Meanwhile, in both the original poem and [=LaChiusa's=] version, Jackie tries to lure Oscar d'Armano away from Phil, and there are a couple of [=LaChiusa=] also puts in some allusions to funny business between Kate and Eddie, to the anger of his wife Mae. But both of these [[BetaCouple Beta Couples]] tenderly reunite over the course of the song "Golden Boy".

Added DiffLines:

** Lippa's version also has Burrs applying his clown makeup as part of his SanitySlippage, although in this case it happens at the beginning of "Let Me Drown" in an attempt to make it look like he's enjoying himself.


Provides examples of the following:

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Provides !!Provides examples of the following:following:
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* YouHaveToHaveJews / [[ButNotTooBlack But Not Too Jewish]]: Gold and Goldberg. Jews make good theatrical producers, but they note other examples of Jews who have had to RaceLift themselves to success. Gold insists Goldberg change his name to the catchier and more marketable "Golden."

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* YouHaveToHaveJews / [[ButNotTooBlack But Not Too Jewish]]: Gold and Goldberg. Jews make good theatrical producers, but they note other examples of Jews who have had to RaceLift themselves to success. Gold insists Goldberg change his name to the catchier and more marketable "Golden.""
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