Re: Pshychoderelict, Quad on stage, Astley haters banquet

["L. Bird" <pkeets@hotmail.com>]

>"Cool is the realm of the intellectual, and of jazz."
>
>I'll agree about the intellectual part.  The jazz generalization is too 
>broad.  Try Ella Fitzgerald, Billie Holliday, Louis Armstrong, nearly any 
>flavor of blues (which is closely intertwined with blues), salsa, and 
>things can get pretty hot.

Salsa is something else, but I'm beginning to think that jazz is always 
cooler than rock.  I think the hotter mixtures of blues (Stevie Ray) border 
on rock.

Or maybe it's just me.  Attempts to heat up straight jazz tend to annoy me, 
so maybe I don't listen.


>"We'll definitely have to add SEX."
>
>Please define "we".

Us here on this list, since we're making up scenarios.  I dunno what Pete 
will eventually do with it.


>"He's actually produced a storyline here that reads like a soap opera."
>
>True.  Dramatic presentation requires that it be simplified.  He would have 
>to focus on the most interesting conflicts.  Are those internal to Ray, 
>with the media in general?

Hmmm.  Difficult problem about what to cut.  Since I'm in favor of 
emphasizing the erotica, I'll go with the media as represented by the witchy 
girl.  I think this is the main thread in the storyline, and the other 
characters should fall into supporting roles, pulling Ray one way or the 
other.  Good symbolism, Ray courting the media, etc.

Do you think the inner conflict angle could be developed into enough of a 
hook to sell it?


>Of course The Produces has the great hook of nostalgia for WWI and the 
>movie and some great broad humor.  Is sex enough of a hook for 
>Psychoderelict?

Yeah, I'd say so.  Look at the hype about Nicole Kidman on Broadway last 
year.  Supposedly that was a very well-written dramatic piece, but who went 
to see it for that reason?  They sold it with nudity.


>"He had cooled it off considerably from Roger's performance of same."
>
>Definitely.  Of course, the demos were very instrumentally sparse.  I got 
>the impression that the idea was to make it producable in a small theater.

With a small band?  This is definitely reasonable if they're going to 
support experimental productions by little theaters and youth groups.  
Reviews said it was still demanding to sing, though, and presumably to play.


>"and they wanted to heat QUAD up with more of a rock sound.  Think it would 
>play better that way?"
>
>No.  It might sound better that way to my ears, but the larger public wants 
>things more watered down.  That's the idea that got me excited about the 
>Quad-for-stage demos (QFSD).  I think it would be very cool if a large 
>audience heard the music and words from this gorgeous masterpiece, 
>regardless of the arrangements.

I thought Pete's demos were great, if a bit too monotone for a two hour 
production.  It did sound like it was becoming a contemplative piece, 
though.  That's just Pete's style.

Will that sell better than the emotional Who production?  Sometimes I think 
the general public is afraid of emotion, and that it's been a no-no in art 
for some time.  Sentimental shows are okay for children, and the parents go 
to share in that, but they don't want emotional material for adults.  Did 
you go to see the Disney shows, Jeff?  Hot or cool?  Warm?


:)
keets

P.S.  Next, we'll have to do WHITE CITY.  :)