|If Meat was going to play a role|
||rockfenris2005 01:26 am MST 02/27/17|
|In reply to:||the rest of the whole thing :) - Jacqueline 03:16 am MST 02/26/17|
|Personally, I'd like to see it as some kind of godly disembodied voice figure, where he doesn't have to turn up every night, and they just record it in the studio.|
> 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
> ‘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:
> Follow us: @MailOnline on Twitter | DailyMail on Facebook
> > 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
> > weekend.’
> > 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
> > guffaws.
> > 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
> > setbacks.
> > ‘Of course it is high-risk,’ breezes Scheib. ‘But crossing
> > the street – particularly for an American in London – is
> > high-risk.’
> > ‘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.
> > http://www.dailymail.co.uk/home/event/article-4249844/Bat-Hell-Musical.html
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