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* PuritySue: Charlie Bucket comes across as this. While the 1971 film and 2013 stage musical tweak his character to make him less-than-perfect though still a good kid at heart, and even the 2005 film's AdaptationExpansion has him earning his happy ending not just by staying out of trouble but addressing Wonka's DarkAndTroubledPast, this version just has him being nicey-nice and self-sacrificing all along. Aside from a desire for more in his life and having a basic ability to dream and imagine [[CreativeSterility that the other kids don't]], he has no real personality and barely affects the goings-on, but is still adored by the good characters. And he doesn't suffer in the early going the way his book counterpart does either (remember, by the time he finds his ticket, he's literally starving).
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* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for [=ArtsAtl.com=] was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...
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* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for [=ArtsAtl.com=] was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent absent, or loses a lot of its impact when sung in this manner, doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...
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* PuritySue: Charlie Bucket comes across as this. While the 1971 film and 2013 stage musical tweak his character to make him less-than-perfect though still a good kid at heart, and even the 2005 film's AdaptationExpansion has him earning his happy ending not just by staying out of trouble but addressing Wonka's DarkAndTroubledPast, this version just has him being nicey-nice and self-sacrificing all along. Aside from a desire for more in his life, he has no real personality and barely affects the goings-on, but is still adored by the good characters. And he doesn't suffer in the early going the way his book counterpart does either (remember, by the time he finds his ticket, he's literally starving).
to:
* PuritySue: Charlie Bucket comes across as this. While the 1971 film and 2013 stage musical tweak his character to make him less-than-perfect though still a good kid at heart, and even the 2005 film's AdaptationExpansion has him earning his happy ending not just by staying out of trouble but addressing Wonka's DarkAndTroubledPast, this version just has him being nicey-nice and self-sacrificing all along. Aside from a desire for more in his life, life and having a basic ability to dream and imagine [[CreativeSterility that the other kids don't]], he has no real personality and barely affects the goings-on, but is still adored by the good characters. And he doesn't suffer in the early going the way his book counterpart does either (remember, by the time he finds his ticket, he's literally starving).
Is there an issue? Send a MessageReason:
None
Changed line(s) 1 (click to see context) from:
* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for [=ArtsAtl.com=] was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...
to:
* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for [=ArtsAtl.com=] was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...bored...
* PuritySue: Charlie Bucket comes across as this. While the 1971 film and 2013 stage musical tweak his character to make him less-than-perfect though still a good kid at heart, and even the 2005 film's AdaptationExpansion has him earning his happy ending not just by staying out of trouble but addressing Wonka's DarkAndTroubledPast, this version just has him being nicey-nice and self-sacrificing all along. Aside from a desire for more in his life, he has no real personality and barely affects the goings-on, but is still adored by the good characters. And he doesn't suffer in the early going the way his book counterpart does either (remember, by the time he finds his ticket, he's literally starving).
* PuritySue: Charlie Bucket comes across as this. While the 1971 film and 2013 stage musical tweak his character to make him less-than-perfect though still a good kid at heart, and even the 2005 film's AdaptationExpansion has him earning his happy ending not just by staying out of trouble but addressing Wonka's DarkAndTroubledPast, this version just has him being nicey-nice and self-sacrificing all along. Aside from a desire for more in his life, he has no real personality and barely affects the goings-on, but is still adored by the good characters. And he doesn't suffer in the early going the way his book counterpart does either (remember, by the time he finds his ticket, he's literally starving).
Is there an issue? Send a MessageReason:
None
Changed line(s) 1 (click to see context) from:
* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for ArtsAtl.com was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...
to:
* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for ArtsAtl.com [=ArtsAtl.com=] was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...
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* AudienceAlienatingPremise: Critic James L. Paulk's review of the Atlanta Opera's staging for ArtsAtl.com was fairly positive. But it pointed out that this show effectively has an alienating premise and execution: Adults who love opera would likely find an adaptation of ''Literature/CharlieAndTheChocolateFactory'' too kiddy, while kids wouldn't appreciate the many [[GeniusBonus musical jokes referencing adult operas and styles]] in the score and find proceedings too slow-going. (That much of the book's snarkier humor is absent doesn't help.) The result, according to Paulk, was a show that didn't sell a lot of tickets and had many families leaving at intermission -- which is to say, kids didn't want to stick around for the actual tour of the factory! He also thought the show was too long for said kids at 2 and 1/2 hours with intermission -- interesting in light of the success of [[Theatre/CharlieAndTheChocolateFactory the 2013 stage musical adaptation]], which has a similar runtime but not the same problem with kids getting bored...
