Is there an issue? Send a MessageReason:
None
Changed line(s) 13 (click to see context) from:
* DevelopmentHell: ''Hello''. First, there was the innumerable amount of script changes and song-cutting/adding that went on because of so many people getting involved with the project. Then, there were several technical failures that cancelled preview shows and pushed the release date back. Then, the release date had to be pushed back further, due to it originally being just after a certain 2001 American disaster. (The producers - rightfully - felt that putting on a comedy [[HarsherInHindsight about dead people]] would be [[DudeNotFunny in poor taste]].)
to:
* DevelopmentHell: ''Hello''. First, there was the innumerable amount of script changes and song-cutting/adding that went on because of so many people getting involved with the project. Then, there were several technical failures that cancelled preview shows and pushed the release date back. Then, the release date had to be pushed back further, due to it originally being just after a [[UsefulNotes/TheWarOnTerror certain 2001 American disaster.disaster]]. (The producers - rightfully - felt that putting on a comedy [[HarsherInHindsight about dead people]] would be [[DudeNotFunny in poor taste]].)
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* SelfAdaptation: Creator/RomanPolanski, who co-wrote and directed ''Film/TheFearlessVampireKillers'', returned to direct the play.
Is there an issue? Send a MessageReason:
None
Deleted line(s) 10 (click to see context) :
* AuthorExistenceFailure:
Added DiffLines:
** Steve Barton was set to reprise the role of Krolock, but his tragic suicide in 2001 nixed those plans.
Is there an issue? Send a MessageReason:
None
* AuthorExistenceFailure:
Changed line(s) 11 (click to see context) from:
* CreatorBacklash: After the Broadway version was released, Jim Steinman was disappointed with how the project turned out the way it did.
to:
* CreatorBacklash: After the Broadway version was released, Jim Steinman was Steinman, Michael Kunze and David Sonenberg were disappointed with how the project turned out the way it did.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10 (click to see context) from:
* BadExportForYou: This version is widely considered a {{Macekre}} by fans of the others due to the heavy amount of changes made
to:
* BadExportForYou: This version is widely considered a {{Macekre}} by fans of the others due to the heavy amount of changes mademade.
* CreatorBacklash: After the Broadway version was released, Jim Steinman was disappointed with how the project turned out the way it did.
* CreatorBacklash: After the Broadway version was released, Jim Steinman was disappointed with how the project turned out the way it did.
Is there an issue? Send a MessageReason:
None
Changed line(s) 10 (click to see context) from:
* BadExportForYou
to:
* BadExportForYouBadExportForYou: This version is widely considered a {{Macekre}} by fans of the others due to the heavy amount of changes made
Changed line(s) 13 (click to see context) from:
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the same guy with bigger teeth".
to:
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the "[[Theatre/ThePhantomOfTheOpera The same guy guy]] with bigger teeth".
Is there an issue? Send a MessageReason:
None
Changed line(s) 12 (click to see context) from:
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' and was more than fine with the comic approach,[[note]]Actually a return to form for him after the Phantom was initially a major case of PlayingAgainstType.[[/note]] the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
to:
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' ''Theatre/ThePhantomOfTheOpera'' and was more than fine with the comic approach,[[note]]Actually a return to form for him after the Phantom was initially a major case of PlayingAgainstType.[[/note]] the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 12 (click to see context) from:
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' and was more than fine with the comic approach, the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
to:
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' and was more than fine with the comic approach, approach,[[note]]Actually a return to form for him after the Phantom was initially a major case of PlayingAgainstType.[[/note]] the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 15 (click to see context) from:
** In the StuntCasting department: [[http://jimsteinman.com/posted.htm This pre-opening article]] indicates that instead of Michael Crawford, we could have had Creator/JohnTravolta, Creator/RichardGere, Placido Domingo, or ''Music/DavidBowie''.
to:
** In the StuntCasting department: [[http://jimsteinman.com/posted.htm This pre-opening article]] indicates that instead of Michael Crawford, we could have had Creator/JohnTravolta, Creator/RichardGere, Placido Domingo, or ''Music/DavidBowie''.''Music/DavidBowie''.
----
----
Is there an issue? Send a MessageReason:
None
Changed line(s) 15 (click to see context) from:
** In the StuntCasting department: [[http://jimsteinman.com/posted.htm This pre-opening article]] indicates that instead of Michael Crawford, we could have had Main/JohnTravolta, Creator/RichardGere, Placido Domingo, or ''Music/DavidBowie''.
to:
** In the StuntCasting department: [[http://jimsteinman.com/posted.htm This pre-opening article]] indicates that instead of Michael Crawford, we could have had Main/JohnTravolta, Creator/JohnTravolta, Creator/RichardGere, Placido Domingo, or ''Music/DavidBowie''.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* CutSong: Sarah's DreamBallet called "Die Roten Stiefel" in the original Vienna production was cut in all later versions. It was replaced by "Stärker als wir sind / Das Gebet", except in the Japanese version, which is the only production so far to restore it.
Is there an issue? Send a MessageReason:
Deleted line(s) 6,9 (click to see context) :
* HeyItsThatGuy:
** Hey, that guy who understudied Herbert in Vienna/plays him in the Hungarian production is [[Theatre/{{Elisabeth}} Death]]!
** Oh, and look, in the original Vienna production, [[Theatre/{{ThePhantomOfTheOpera}} Raoul de Chagny]] grew fangs and he's the vampire king!
** In the Vienna revival, Alfred and Sarah are also [[RomeoEtJulietteDeLaHaineALamour Romeo]] and [[ThisIsMyNameOnForeign "Julia"]]. [[spoiler:This makes the ending of ''Literature/RomeoAndJulietAndVampires'' particularly hilarious- it's the same as ''Tanz'' (heroine turns into a vampire in the final scene and turns the hero, and while they run off together, another character's efforts to contain and destroy vampirism instead allows them to spread and take over the world).]]
** Hey, that guy who understudied Herbert in Vienna/plays him in the Hungarian production is [[Theatre/{{Elisabeth}} Death]]!
** Oh, and look, in the original Vienna production, [[Theatre/{{ThePhantomOfTheOpera}} Raoul de Chagny]] grew fangs and he's the vampire king!
** In the Vienna revival, Alfred and Sarah are also [[RomeoEtJulietteDeLaHaineALamour Romeo]] and [[ThisIsMyNameOnForeign "Julia"]]. [[spoiler:This makes the ending of ''Literature/RomeoAndJulietAndVampires'' particularly hilarious- it's the same as ''Tanz'' (heroine turns into a vampire in the final scene and turns the hero, and while they run off together, another character's efforts to contain and destroy vampirism instead allows them to spread and take over the world).]]
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** Oh, and look, in the original Vienna production, [[Theatre/{{ThePhantomOfTheOpera}} Raoul de Chagny]] grew fangs and he's the vampire king!
Is there an issue? Send a MessageReason:
Added trivia about potential American leads.
Changed line(s) 15 (click to see context) from:
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the same guy with bigger teeth".
to:
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the same guy with bigger teeth".teeth".
* WhatCouldHaveBeen:
** In the StuntCasting department: [[http://jimsteinman.com/posted.htm This pre-opening article]] indicates that instead of Michael Crawford, we could have had Main/JohnTravolta, Creator/RichardGere, Placido Domingo, or ''Music/DavidBowie''.
* WhatCouldHaveBeen:
** In the StuntCasting department: [[http://jimsteinman.com/posted.htm This pre-opening article]] indicates that instead of Michael Crawford, we could have had Main/JohnTravolta, Creator/RichardGere, Placido Domingo, or ''Music/DavidBowie''.
Is there an issue? Send a MessageReason:
Alternate casting note added.
Changed line(s) 9 (click to see context) from:
to:
* WhatCouldHaveBeen: Original announcements and promotion for the French production indicated that French pop star Dumè would play Count von Krolock; he was forced to withdraw a month before the opening due to a back injury.
Is there an issue? Send a MessageReason:
cleanliness is next to what I didn\'t get to :P
Changed line(s) 9 (click to see context) from:
----
to:
Is there an issue? Send a MessageReason:
Moved as requested by the little question mark icon thingy.
Added DiffLines:
* ExecutiveMeddling:
** The severe postponing of the Belgian production, which was caused by the producers of the show suing for more government support money and as a result putting the show (which was already in rehearsals and scheduled to open in December 2009) on hold until at least October 2010.
** The Polish production ended prematurely, purportedly because license holders didn't want to jeopardize the Berlin production that was about to open some 600km further away.
** License holders for the show are famed for being adverse to any changes, up to and including already-written additional songs being scrapped because they would change the rhythm of the plot. Apart from the Broadway production, the only one that got away with significant choreography changes is the Japanese one.
** Thomas Borchert is pretty sick of playing Krolock, but the producers of the Vienna revival pretty much refused to even audition any other comers. So guess who got pushed into the part again?
* HeyItsThatGuy:
** Hey, that guy who understudied Herbert in Vienna/plays him in the Hungarian production is [[Theatre/{{Elisabeth}} Death]]!
** In the Vienna revival, Alfred and Sarah are also [[RomeoEtJulietteDeLaHaineALamour Romeo]] and [[ThisIsMyNameOnForeign "Julia"]]. [[spoiler:This makes the ending of ''Literature/RomeoAndJulietAndVampires'' particularly hilarious- it's the same as ''Tanz'' (heroine turns into a vampire in the final scene and turns the hero, and while they run off together, another character's efforts to contain and destroy vampirism instead allows them to spread and take over the world).]]
----
!!The American production includes examples of:
* BadExportForYou
* DevelopmentHell: ''Hello''. First, there was the innumerable amount of script changes and song-cutting/adding that went on because of so many people getting involved with the project. Then, there were several technical failures that cancelled preview shows and pushed the release date back. Then, the release date had to be pushed back further, due to it originally being just after a certain 2001 American disaster. (The producers - rightfully - felt that putting on a comedy [[HarsherInHindsight about dead people]] would be [[DudeNotFunny in poor taste]].)
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' and was more than fine with the comic approach, the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the same guy with bigger teeth".
** The severe postponing of the Belgian production, which was caused by the producers of the show suing for more government support money and as a result putting the show (which was already in rehearsals and scheduled to open in December 2009) on hold until at least October 2010.
** The Polish production ended prematurely, purportedly because license holders didn't want to jeopardize the Berlin production that was about to open some 600km further away.
** License holders for the show are famed for being adverse to any changes, up to and including already-written additional songs being scrapped because they would change the rhythm of the plot. Apart from the Broadway production, the only one that got away with significant choreography changes is the Japanese one.
** Thomas Borchert is pretty sick of playing Krolock, but the producers of the Vienna revival pretty much refused to even audition any other comers. So guess who got pushed into the part again?
* HeyItsThatGuy:
** Hey, that guy who understudied Herbert in Vienna/plays him in the Hungarian production is [[Theatre/{{Elisabeth}} Death]]!
** In the Vienna revival, Alfred and Sarah are also [[RomeoEtJulietteDeLaHaineALamour Romeo]] and [[ThisIsMyNameOnForeign "Julia"]]. [[spoiler:This makes the ending of ''Literature/RomeoAndJulietAndVampires'' particularly hilarious- it's the same as ''Tanz'' (heroine turns into a vampire in the final scene and turns the hero, and while they run off together, another character's efforts to contain and destroy vampirism instead allows them to spread and take over the world).]]
----
!!The American production includes examples of:
* BadExportForYou
* DevelopmentHell: ''Hello''. First, there was the innumerable amount of script changes and song-cutting/adding that went on because of so many people getting involved with the project. Then, there were several technical failures that cancelled preview shows and pushed the release date back. Then, the release date had to be pushed back further, due to it originally being just after a certain 2001 American disaster. (The producers - rightfully - felt that putting on a comedy [[HarsherInHindsight about dead people]] would be [[DudeNotFunny in poor taste]].)
* ExecutiveMeddling: A key reason the Broadway version turned out the way it did was because the producer felt American audiences would reject a European pop opera out of hand (after the subgenre's heyday in the 1980s) and wanted something funny. Combined with hiring Michael Crawford for Krolock, who didn't want to repeat his work in ''ThePhantomOfTheOpera'' and was more than fine with the comic approach, the show was more or less doomed from the start; the details on the production and the differences between it and the original show are [[http://www.carpe-jugulum.com/library/bway2/5.html here]] and [[http://www.carpe-jugulum.com/library/bway2/21.html here]].
* TypeCasting: Michael Crawford's intense fear of being Type Cast was the main reason Krolock was changed into such a comic character. As he put it, he didn't want to be playing "the same guy with bigger teeth".
