Fridge Brilliance
Original version and replicas/non-replicas- Alfred says twice that Krolock spoke of Sarah during Vor dem Schloss. Except... Krolock didn't mention her at all. Jumping from what he actually said, which was "Follow your hidden instincts," to "Sarah must be here in the castle!" is quite the logical leap. However, it seems to be scripted (in that it's consistent with multiple actors) that Alfred smiles at Krolock's "Search with me for the black grail/I'll teach you how to love," line. It's possible that Krolock showed Alfred a vision of Sarah, and because of the Mind Manipulation Alfred remembered it as Krolock insinuating that Sarah is in the castle.
- Not quite. This actually comes from a case of being Edited for Syndication. Over the years since its 1997 opening, Tanz has been progressively reduced from its original running length at the behest of producers seeking to avoid overtime pay for the orchestra mandated by the musicians' union. (Seriously; Michael Kunze says as much
in a fan Q&A.) In the original longer version of Vor dem Schloss, Krolock was much more explicit as to what he meant, telling Alfred that "the object of your longing is nearer to you than ever." Switching Alfred's later reference to a response to "Follow your hidden instincts" was merely papering over an edit to the material. That said, this is an interesting interpretation of the show as it can be seen currently.
- Not quite. This actually comes from a case of being Edited for Syndication. Over the years since its 1997 opening, Tanz has been progressively reduced from its original running length at the behest of producers seeking to avoid overtime pay for the orchestra mandated by the musicians' union. (Seriously; Michael Kunze says as much
- It is a fact that the whole musical recycles Jim Steinman's previous songs, like Krolock's The Eleven O'Clock Number being "Objects in the Rear View Mirror (May Appear Closer Than They Are)". The original song is divided in a three-part act, as Meat Loaf reminisces about his life: summer/childhood, winter/adolescence, spring/love. This structure is kept in "Die Unstillbare Gier", albeit reducing the three parts to two. Krolock uses each stanza to remember a past victim: his first one (1617), the pastor's daughter (1730) and Napoleon's page (1813). However, notice that Krolock uses only one stanza for two of his victims (the pastor's daughter and Napoleon's page), while he describes his first killing with two. This implies that the memory of his first victim has indeed touched him more than the others, thus he dedicates two stanzas to their memory. The First Cut Is the Deepest, indeed - or, in this case, The First Bite Is The Deepest.
American version
- What would make the American Dance of the Vampires more tolerable, one may ask. Then it dawned: the production is actually the live-action adaptation of a cartoon. This would explain the endless jokes, the silly puns and Krolock's more clownish behaviour.
