I love the “Five for Friday” feature over at The Comics Reporter, but I very rarely remember to respond when the question goes out. This is because I’ve usually shut down the computer and curled up with Mr. Hendrick by the time the call goes out. I even forget when I’ve suggested the week’s topic in a previous Five for Friday; in this case, I suggested Tom ask contributors to “Name Five Comic Properties That Should Be Adapted Into Broadway Musicals.” So here are my choices:
Antique Bakery, by Fumi Yoshinaga (DMP): I think just about anything by Yoshinaga would translate well into a musical, because her characters could just as easily burst into song as they burst into monologue. I do think Antique Bakery would be a great starting point, as it’s got four solid male leads and a whole bunch of Tony-bait supporting roles in the mix. The leads also lend themselves to different musical styles for solo pieces, and their number holds promise for bizarre barbershop sequences. I admit that food-based stage productions are hell for the props crew, but there are ways around that.
Polly and the Pirates, by Ted Naifeh (Oni): Given the quantity of apparently horrible family-friendly stage musicals Disney has unleashed on Broadway in recent years, it’s probably cruel to suggest an adaptation of this delightful but underappreciated mini-series. Still, it’s got a lot of things going for it: a spunky ingénue part in the title character, a big chorus of rowdy pirates, an exciting plot, and some fun staging and design opportunities.
10, 20, 30, by Morim Kang (Netcomics): Swinging in the other direction in terms of production scale, this look at the lives of three different women muddling through three different decades of life (teens, twenties, and thirties) would make a nifty chamber piece that would be very portable to university and community theatres. All you really need are interesting characters with distinct voices, I think, and this book has them.
Palomar, by Gilbert Hernandez (Fantagraphics): Hernandez’s Palomar stories have an embarrassment of riches for composers, lyricists, librettists, and directors. A cast bursting with great characters, a community that could easily function as a formidable chorus, a lovely setting with just enough of a magical-realism quality to justify the bursting-into-song aspect, and a magnificent “Big Lady” lead role in Luba all suggest a musical that would write itself.
Dragon Head, by Minetaro Mochizuki (Tokyopop): Okay, this is probably me just being perverse, undoubtedly influenced by that PBS special on the Lord of the Rings musical that aired on PBS. In my defense, history has shown us that Broadway will adapt anything – ANYTHING – into a singing-and-dancing extravaganza, so I see no reason for them to shy away from this post-apocalyptic treasure. And someone’s probably still got that helicopter from Miss Saigon lying around, so there’s a cost savings right off the top. It could be Carrie: The Musical or it could be Sweeney Todd, and I think it’s worth it either way.
