#youtube seems to think i need to run away to the wilderness and i can't disagree

[last-starry-sky]

oooh another idea: reader who gets lost and stumbles into one of those "fake towns" that the military uses for training.

Just . . . the terror of running out of gas and discovering that there's not another single soul around you - not in the gas station, or the little businesses that line the main street, even the homes are open and empty - and you've got no cell service. idk, maybe they keep a (scoped) eye on you as you wander around, looking in building after building, hope draining with every door you open.

The image of four huge men covered in armor and tactical gear suddenly surrounding you as you collapse against your dead car, exhausted with dried tears streaked down your cheeks, telling you you're not s'possed t' be here. come with us lives rent free in my head.

[dross-the-fish]

Tanz Vs Dance, further gripes and headscratching.

Bc I truly cannot wrap my head around some of the decisions made for this adaptation.

I particularly want to talk about what they did to "Die Roten Stiefel/Das Gebet" As Sarah is leaving the inn Michael Crawford shows up in drag for some reason to give Sarah her boots. Sure, whatever, let's just get on with it.

The part that follows is pretty similar to the European version, Sarah and Alfred sing to each other, Sarah expresses her desire for adventure in the great wide somewhere, she gives Alfred the slip and runs off into the wilderness. If I had a criticism of this segment it would be that Sarah seems a little more interested in Alfred compared to the German version and the lyrics are kind of clumsy. But all in all it's not terrible.

Cool

But then we get to the prayer.

I will never understand why at the end of the Broadway version of "Die Roten Stiefel/Das Gebet" they have Rebecca cross herself catholic style and Sarah isn't even on stage.

In the European Version Rebecca and Sarah both pray at the same times. Sarah drops to her knees and she and her mother both cover their heads....

bc they're Jewish. Not coded or implied, but explicitly the Chagall family is Jewish. That's why crucifixes don't work on Sarah's father when he's turned.

That's not even mentioned in the Broadway version now that I think on it. Are they NOT Jewish here???

The lyrics are also really different in English, to the point that the meaning of the song has changed. Which is a real shame because this is one of the very few scenes in the Broadway version that doesn't suck. Mandy Gonzales had the chops to be a good Sarah and when they actually DO SOMETHING with the set and choreography it looks nice.

But whatever praise I give to this show I immediately have to take back because the whole prayer scene is a complete fuck up. It's the closer for the first act, and 2 major characters aren't present. The staging is boring as hell and they drop the momentum by cutting to Crawford half-assing his number.

Inexplicably after "Das Gebet" the Broadway version cuts straight to "Vor Dem Schloss" but it's Count Spaghettio singing it to Sarah, like he's trying to seduce her. But he literally did that in the opening act and then again during the invitation to the ball. Dude we get it, she just needs to "turn her face away from the garish light of day and listen to the music of the night..."

Why the fuck did they cast him, he is the worst thing about this musical DX

In the original "Vor Dem Schloss" is not about Sarah, it's about Alfred. Alfred and the professor show up to try and rescue Sarah. When they get there the Count sasses off at Abronsius, invites him and Alfred to stay, then the count tries to tempt Alfred over to the dark side. This is foreshadowing and subtle set up for the upcoming "Carpe Noctem" number, again, build up and pay off.

Unfortunately I couldn't find an isolated clip of this scene with English subs, but a fully subbed version of the play is on youtube for anyone to check out.

Regardless, the whole atmosphere is different and I think they did the broadway version a disservice by cutting out most of the interactions between Von Krolock and Alfred.

I can understand some changes being made for the sake of an adaptation but when you do alter scenes, cut songs and take moments away from characters you have to make sure you're not creating any gaps. The scenes in Tanz aren't just filler, you can't switch them around and give them to the wrong character without breaking the story.