|the rest of the whole thing :)|
||Jacqueline 03:16 am MST 02/26/17|
|In reply to:||Whole piece for those too lazy to visit links ;) - Jacqueline 03:10 am MST 02/26/17|
|MEAT'S BEEF WITH BRUCE|
‘Everybody’s always compared Bat Out Of Hell to Springsteen, but my voice doesn’t sound anything like Springsteen’s,’ says Meat Loaf.
‘I had to learn how to sing in a rock style. I really have an operatic voice.
‘I had to work hard to sing Bat Out Of Hell. That’s three-and-a-half octaves. People have no idea how tough that is.
‘The one thing I know is that Max Weinberg and Roy Bittan [Bruce Springsteen’s E Street Band members] played drums and piano on Bat Out Of Hell, and Bruce was mad about that.
‘So when Springsteen does his benefit stuff, or gets together with a bunch of people, I’m never invited.’
‘The only thing that I have said to them is, “When you bring it to Broadway, let me do the father [Falco]”. I’m not taking anything away from the guy who’s doing the father, but when it comes to Broadway, let me do that.’
He leaves a dramatic beat.
‘We’ll just have to see if the play’s a hit.’ e
Jim Steinman’s ‘Bat Out Of Hell: The Musical’ previews at Manchester Opera House until April 8 before moving to the London Coliseum in June.
Read more: http://www.dailymail.co.uk/home/event/article-4249844/Bat-Hell-Musical.html#ixzz4ZmjjAlbQ
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> Operatic rock songs, roaring motorbikes and a starring
> role for Meat Loaf... maybe! Event gets exclusive access
> behind the scenes of Bat Out Of Hell: The Musical
> It’s a rarely aired fact that the Princess of Wales was a
> massive Meat Loaf fan. Were she still with us, Diana would
> have undoubtedly been making discreet enquiries about
> attending the premiere of Bat Out Of Hell: The Musical.
> It is poignant that the 20th anniversary of her death
> comes 40 years after the first release of the Wagnerian
> rock album that she so enjoyed.
> Meat Loaf, who isn’t yet appearing in the rock ’n’ roll
> opera but has been cheerleading for his songwriting friend
> Jim Steinman, composer of those seven songs that shook the
> world, takes up the story.
> ‘Diana had been to four of my shows,’ says Meat at his Los
> Angeles home. ‘She was a fan – I did not know this. They
> would sneak her in after the lights went out.
> ‘I met her at the Pavarotti and Friends concert [in
> 1995],’ the awestruck singer continues. ‘I was standing
> right with her, and she turned to me and she said, “I’m
> hungry,” and I said, “You know what? If you said right now
> to somebody, I want a chicken leg, I guarantee you’d have
> one in two minutes.”
> ‘She was so down-to-earth and funny. I really liked her.
> And when she told me she’d been to four shows – wow, I
> couldn’t believe it.’
> While the princess was hot on The Loaf, he’s not so sure
> about the Queen singing along to his operatic
> blood-and-thunder anthems.
> ‘I don’t think the Queen will come,’ he sighs. ‘She
> doesn’t like me because I didn’t behave properly at It’s A
> Royal Knockout [in 1987].
> ‘I told Prince Edward: “When you walk in the room, my knee
> hurts. I’m not standing up, dude.”
> ‘He said, “That’s cool. You haven’t got to,” and I said,
> “And I’m going to call you Ed, or Edward,” so I called all
> the royals by their first names. Fergie was there. She
> called me Meaty, and I said, “Well, if you’re going to
> call me Meaty, what am I going to call you?” She says,
> “Flower,” so I went around calling her Flower all
> Bat Out Of Hell, the 43-million selling testament to
> creator Jim Steinman’s wild imagination, is a modern
> phenomenon. One of the biggest selling records of all
> time, it still shifts over 200,000 copies a year.
> ‘What’s funny is that everybody hated it to death when it
> first came out,’ says Meat, who is rarely given to
> understatement. ‘I knew nine people who liked it, and that
> was counting me and Jimmy.’
> The UK, Lady Diana included, bought into Meat Loaf’s
> overblown blend of Spector, Springsteen and Wagner from
> the start. He has enjoyed a special relationship with
> Britain since he first appeared on BBC2 in 1978, eyes
> bulging above a generously overfilled dress shirt, his
> lank locks and crimson hanky sodden with Texan sweat. Bat
> Out Of Hell remained in the UK charts for 474 weeks.
> It is fitting, then, that the musical will play first in
> Britain, opening at Manchester Opera House before swooping
> down to the London Coliseum in June.
> Bat Out Of Hell: The Musical is a tough show not to love.
> Steinman began developing the project 50 years ago, the
> teenage opera having begun as Neverland, a futurist rock
> retelling of Peter Pan, in the late Sixties.
> It’s been through some changes since then. ‘I’ve got at
> least four drafts sitting here in my drawer,’ Meat Loaf
> The latest version features 17 celebrated Meat Loaf songs,
> including You Took The Words Right Out Of My Mouth, Bat
> Out Of Hell, Two Out Of Three Ain’t Bad and I Would Do
> Anything For Love (But I Won’t Do That).
> Event has been given exclusive access as the spectacular
> revs up, to experience the sights and sounds, and speak to
> its key players.
> The lead characters, Raven and Strat, will be played by
> Belfast-born Christina Bennington, 25, and Andrew Polec,
> 28, a high baritone from Pennsylvania.
> Cast together in a mind-warping wasteland, love for our
> latter-day Romeo and Juliet, will not come easy.
> Blond and gym-honed, Polec bares scant resemblance to the
> well-nourished chap with the perspiration issues who
> toured Bat Out Of Hell in the late Seventies. In his time,
> Meat Loaf was as unlikely a sex symbol as Jeremy Corbyn.
> ‘You never thought, “Everybody’s going to want to sleep
> with that guy,”’ agrees Polec. ‘Until you saw the power
> and passion he brought. He didn’t have a six-pack but he
> still took his shirt off and rolled around on stage. I
> wish I’d been old enough to see those shows.’
> Bennington recollects hearing Bat Out Of Hell as a child,
> her father bellowing along in the car. ‘He won’t be doing
> that during the shows,’ she promises.
> The behind the scenes personnel on Bat Out Of Hell are no
> less impressive than the leading players. Canadian
> choreographer Emma Portner recently worked with Justin
> Bieber, having starred in his Life Is Worth Living video.
> Lighting design is by the legendary Patrick Woodroffe, who
> has illuminated the Rolling Stones’ stages for the past 35
> years. Among the group of prestigious producers is Tony
> Smith, who has managed both Genesis and Pink Floyd.
> Director Jay Scheib, 47, a professor of music and theatre
> arts at the Massachusetts Institute of Technology admits
> that Bat Out Of Hell wasn’t in his musical sphere as a
> teen. He was ‘heavily into The Cure and Joy Division’ but
> acknowledges that the Meat Loaf album was the soundtrack
> for a lot of people growing up.
> ‘It’s all about these songs,’ Scheib explains. ‘I want to
> get to the heart of what they’re expressing and then put
> that on stage. Although the music is 40 years old, the
> story still speaks to us all today.’
> The script tells the tale of the never-ageing Strat and
> his wayward gang The Lost, who roam the streets of a
> dystopian Manhattan under the rule of the ruthless Falco.
> The temperature rises when Strat falls for Falco’s
> daughter Raven. Cue a slew of chest-beating paeans to
> love, rebellion and destiny.
> Visually, the show will combine live and video
> performances with state-of-the-art lighting. With live
> motorcycles and that relentless rock ’n’ roll rhythm, it’s
> a full-throttle ride with a sidecar-full of social
> conscience, as epic but intimate an experience as the
> songs themselves.
> Steinman, who has suffered a heart attack and two strokes
> in recent years, and has been too unwell to travel,
> watches rehearsals on Skype then rewatches the videos each
> evening, prior to a weekly telephone conference with
> Scheib. ‘They can be long conversations,’ Scheib says,
> rather pointedly.
> Scheib is more than aware of the opera world’s snobbery
> towards rock operas and musicals, and the disdain this
> project may attract from the high-art crowd. ‘There’s the
> feeling that some musicals aren’t “serious”,’ he says.
> ‘It’s not considered fine art. It’s “commercial” and
> “spectacle” without the content of some operas, whereas
> some opera can be wildly lacking in content.’
> Yet musicals are notoriously high-risk. Even with songs by
> U2’s Bono and The Edge, Spider-Man: Turn Off The Dark, the
> most expensive Broadway production in history, closed
> after two-and-a-half years in 2014, enmeshed in a tangled
> web of technical problems, financial woes and health
> ‘Of course it is high-risk,’ breezes Scheib. ‘But crossing
> the street – particularly for an American in London – is
> ‘If you thought about the risk all the time then you would
> just be trying to please those people who don’t want it to
> work,’ adds Bennington.
> ‘I wrote Jimmy an email,’ recalls Meat. ‘“How’s the play
> going?”. He writes back: “Well, I’m seeing it every day
> but it may close in two weeks”, and then he put “LOL”.
> ‘I wrote back, and made the letters giant, really huge: ‘I
> don’t think it’s going to close in two weeks. LOL.’
> The laughter stops and he suddenly turns deathly serious.
> ‘For Jimmy’s sake, I hope it’s a huge hit because it’s
> been literally 50 years and… it could kill him. I’m not
> kidding. If it fails, I dread the day.
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