Moreover, as much as all musicals are collaborations, it seems as though there is unique pressure on everyone involved with a NYMF production to join forces and work extremely well together to create and tweak the piece. This certainly happened for the evolution of “Rare Find” in Love Sucks. It was great to see such changes in about half an hour, where everyone was contributing in one way or another. The director watches the song performed, and suggests tweaks and small changes that will encompass more of the characters and be a truer reflection of what is happening and what they are feeling. The actors are asked to improv a bit, and the composer comes up with some new chords to fit with what is being changed, and ensures that the song still works, sounds good, and fits its punk genre, and does not get too pop or heavy metal. And this all happens in the course of about half an hour. The time crunch seems to have a positive effect on everyone, as they are very much aware of how much they need to work together to allow the show to come together in such a brief time.
Shakespeare has been adapted to many mediums – movies, classic musicals, etc. But I can’t think of too many punk rock musicals that have been adapted from Shakespeare. It’s perhaps a bit of a risky move, but certainly has the potential to be very successful. It’s always fun to see how Shakespeare’s characters and situations get transformed to modern time (or in this case, the ‘70’s). However it turns out, one of the classic themes of Love’s Labour’s Lost certainly seems to stay intact:
“There is no evil angel but Love.”
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