Last week saw tickets for Tim Minchin’s Groundhog Day musical go on sale in London. When it comes to movies being turned into stage musicals I have to admit that Groundhog Day is not the first movie that jumps into my head. If it had been a Magic Mike musical or a musical of underrated Steve Martin gem Leap of Faith then, as these are movies about performances, it would make perfect sense. This got us thinking here at Audiences Everywhere, so we’ve put together a list of ideas for what Tim Minchin should adapt next. Here are five movie musicals that should be made:
Mad Max: Fury Road
Another choice that may not seem obvious but consider how much of a role music plays in the movie. The soundtrack is killer, the convoy of villains is heralded by the sound of their drums, and we can’t forget the guitar playing fan-favourite, The Doof Warrior. Plus a strong silent character like Max is perfect for a role in which he speaks little but puts his real feelings into song and dance. Even some of the dialogue sounds like instant song titles: My Name is Max, What a Lovely Day, Sounds like Hope, The Scales of Justice, and, for the finale, Remember Me.
The idea for this one would be simple: Only have Amy sing. Retain the claustrophobic feeling of the movie on stage as we watch Nick gradually incriminate himself, and then for the scenes of Amy’s holier than thou diary, she can whoosh onto the stage, all sunshine and roses, and sing about her true love with Nick as it goes from sweet to sour. And then, after the interval, we have our mid-story twist and the songs take a much darker turn. Or swap it around and have Nick do the singing in the second half until the finale when they are finally in duet.
Batman v Superman: Dawn of Justice
So you’ve got a movie that has some poorly executed good ideas and a lack of fun? Have you considered making it a song and dance picture? Maybe you should. Batman v Superman definitely needs an injection of glee to help it shake off some of the grim and gritty. I believe music is the way forward. Hell, if Sondheim and Bernstein managed to make race relations in 50’s New York toe-tappingly entertaining in West Side Story, this should be a breeze. I’ve already started collecting song titles: Do you Boogie? You Will, Sing that to Zod’s Snapped Neck, The Doomsday Shuffle, The Martha Mother Mix-Up, and Jar of Pee Jamboree.
John Travolta has singing and dancing chops for days. So many of his iconic roles have utilised them to a tee (see: Grease, Saturday Night Fever, Pulp Fiction) except for in a movie some consider his best, Face/Off. In a stage musical this could be rectified. The trick would be to making sure there was a point to this. Perhaps make one character a tap dancer and the other a ballet dancer. Once they swap faces they have to imitate each other’s style. Or make one a tenor opera singer and the other a scat singer. The options are endless for comedy mix ups. Or, scrap the whole plot line down to just the fact that two people swap faces and, rather than making them cop and criminal, make them come from rival dace crews. That way you could call it Dance/Off. Hello, Broadway, yeah, make the check out to CASH.
First off, it’s all in one setting so perfect for the stage. You put some foliage around and it looks like a jungle and Bob’s your uncle. And then you’ve got a range of characters who could all have differing singing styles and dance moves. The Predator, up above the stage watching them, singing to them like the Phantom of the Opera, and each character taking centre stage, bathed in spotlight for their final song, when they die. Think of the laughter during Blaine’s No Time to Bleed, or the tears during Mac’s He Was My Friend, and the puzzlement during Dillon’s Can I still play Piano if the Predator Shot my Arms off?
Featured Image: Paramount Pictures