Discussion Theatre / TanzDerVampire

White-Haired Pretty Boy was renamed to White Hair, Black Heart. It's not clear if he fits the trope or not.

• White-Haired Pretty Boy: Herbert in most productions, though the level of whiteness seems to vary. Sometimes it's pure white, sometimes it's dark with heavy white streaks, sometimes the streaks are blond rather than white, sometimes it's blond with white streaks, sometimes it's just a very light solid blond. The personality to go with the trope is more variable, though it's happened. Averted completely by the Japanese production, in which he had long jet-black hair instead, and at least one amateur production presented him as actually having closely cropped mousy-blond hair that he did his best to keep anyone from knowing about, preferring wigs instead (as a side effect of apparently being mentally stuck in the eighteenth century).

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Hilfe, bitte...

The following entry included Conversation In The Main Page.

• The Cover Changes the Meaning: The show's failure to change the lyrics from the original songs in many cases is part of what killed it. Compare "God is dead/He will no longer be sought out/We live forever, drawn closer to the sun/But afraid of the light" to "I've been looking for an original sin/One with a twist and a bit of a spin..."
  • I think you're looking for "God has left the building/But we still must live on/Yearning for light, but/Afraid of the sun..." (It's okay if you missed it. Only a portion of that verse survived in the final Broadway show. Yes, it's as bad as it sounds, trying to cram that many words into the melody.)

I've redone it as follows:

• The Cover Changes the Meaning: The show's failure to change the lyrics from the original songs in many cases is part of what killed it. Compare "God is dead/He will no longer be sought out/We live forever, drawn closer to the sun/But afraid of the light" to "I've been looking for an original sin/One with a twist and a bit of a spin...", or perhaps "God has left the building/But we still must live on/Yearning for light, but/Afraid of the sun..."

But I can't be certain if that's accurate, having never seen the show or its Broadway version. Is that what the person who added the second-level bullet meant, and if not, could someone correct it?

That was the amazing part. Things just keep going.

I take issue with this particular bit: "(Indeed, the American producers fired Jim Steinman from the project for protesting their Executive Meddling.)" Sure, that's the way Jim tells it (though his initial story was that he quit, if you read stories in the New York Post around the time of DOTV's closing), but without saying Jim's name, Michael Kunze seems to be fairly certain Jim was at least partially to blame: https://www.youtube.com/watch?v=1SMEXLTPOc8. I know there's not exactly a diplomatic way to put it, but maybe we could change the wording on this a bit?

To be fair, in the same video clip, Kunze does blame himself (and Michael Crawford) as well; he only showed up at a time when nothing could be changed for the better, and Crawford did try to get the best bits as the star of the show. But Steinman is not innocent, by a long shot, and anyone who was there at the time can attest to that.

Suggestions?

Edited by grabaham Came for the Jim Steinman-related entries. Stayed for the tropes.

I'm thinking about dividing the present-tropes section into two parts - the German/other languages production, and the Broadway production. There are a lot of tropes completely new in the English version, and it would be cleaner to keep them distinct from the other productions. Naturally, tropes in both versions would stay in the "original" version section.

If no one objects, I will start it soon.

Any particular feelings about this?

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