When a film gets adapted for the Broadway stage, there are many things to consider. What often works on film doesn’t work on stage, and the final results tend to be somewhat hit or miss. Still, many success stories have come out of this process, many of which come from unexpected sources.
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Whether based on gritty horror films,classic ’80s comedies, or even ’30s propaganda films, some of the most unlikely corners of cinema have been adapted for the stage. What’s even more surprising is how good many of them are. Of course, some take a different approach from the films they’re based on; others replicate the movie to the point of outright imitation. But they prove that sometimes, the best ideas come from the most unusual places.
‘Beetlejuice’
Tim Burton’s beloved comedy of a recently deceased couple and their interactions with the family that moves into their home and the bio-exorcist has become an unlikely cult phenomenon. It expands on and ultimately improves the film by shifting the focus away from the Maitlands and more to Lydia andBeetlejuicehimself.
Lydia is mourning her mother’s passing and has become obsessed with death in all its forms. Becoming aDeadpool-esque narrator, Beetlejuice wants to become alive and seen by mortals and will resort to any means to get it. They form an unlikely friendship that resonates surprisingly well, making for a fun and poignant time for all.
‘Back to the Future’
A film as perfect asBack to the Futurehad a lot to prove when brought to the stage, but since the production isset for a Broadway transfer after a hit West End run, it’s safe to say most fans were delighted. Most of the songs are lifted directly from the original film’s score, so any fan of the movie hoping the score would be left intact will not be disappointed.
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The new songs also contrast strongly between the ’80s and the ’50s. But of course, this production’s most fantastic element is bringing the classic DeLorean time machine to life with mind-blowing special effects (it can fly and talk now).
‘Reefer Madness’
This horror-comedy was an off-Broadway hit later made into a cult TV movie starringKristen BellandAlan Cumming. Based on an ill-informed, inaccurate, and downright bizarre public service film from 1936, this musical ramps up the over-the-top characters and ludicrous arguments to eleven. From drug-infested zombies to the son of God singing like Tom Jones to even cannibalism, it doesn’t take itself remotely seriously apart from its message.
Without giving anything away, the ending does make a point about the dangers of films likeReefer Madnessexisting with a humorous but clear message — “when danger’s near, exploit their fear! The end will justify the means!”
‘School of Rock’
The classicJack Blackfilm might not seem too surprising a choice for a musical — it is the story of a slacker who cons his way into a teaching job and coaches his young students into becoming a rock band. But this piece was specifically adapted by musical maestroAndrew Lloyd Webber, famous in the 80s for hits such asJesus Christ Superstar,Cats, andThe Phantom of the Opera. Indeed, an unusual choice.
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But his rock roots provide a well-informed sensibility about the power of music to change lives. His added songs are catchy, but he wisely keeps the film’s climactic number “Teacher’s Pet.” If that isn’t enough, all the kids play their instruments onstage.
A film that is so bad it spawned the Razzie awards and became of the most infamous cult films ever made. A romance of an LA street artist and the ancient Greek muse who makes his dreams come true by opening a roller disco set to the music ofElectric Light Orchestra. It’s not a great film. And the musical knows it.
It delightfully pokes fun at the general ridiculous nature of the film and has cast members roller-skating around the audience. The fourth wall gets broken almost constantly; the set is intentionally cheap — made up of Greek columns and disco balls. Yet, despite its intense self-awareness, it has a genuine, offbeat, and sweet sensibility that makes it an enjoyable time.
‘Spamalot’
Camelotis one of the most famous musicals in history. It codified the legend ofKing Arthurand his knights of the round table, so it only makes sense to follow it with one based on today’s most remembered adaptation —Monty Python and the Holy Grail.
For fans of the film, there arerabbit puppets, dancing grails, coconuts, and insulting Frenchman alike. All the new songs mercilessly mock Broadway tropes, stage tropes, and the Arthurian legend almost simultaneously. There’s more of a triumphant ending than the original (not that it had an ending at all), culminating with a rendition of “Always Look on the Bright Side of Life.”
This show has a record as the bloodiest musical ever made to the point where guests have to bring ponchos if they sit in the first few rows. It brings together the events ofEvil Dead1 and 2 (with a little ofArmy of Darknessat the very end) in a delightfully low-budget spectacle.
As the book of the dead’s influence grows, the stage becomes entangled with dancing deadites, shotgun blasts, and goofy-voiced Kandarian demon moose heads. It playfully mocks the film’s lack of connection to each other (half the cast disappears at intermission) andAsh’s journey from everyman coward to a chainsaw-armed hero.
‘Heathers’
This cult smash was based on the 1989 dark comedy that answered the question, “what wouldMean Girlsbe like ifStanley Kubrickdirected it?”. Not the immediate choice for a musical, but its translation improves the film’s disjointed storyline and makes for a more emotionally fulfilling experience.
What begins as an ’80s high school comedy becomes a violent exploration of the teenage psyche. But it might also be one of the funniest musicals ever made. On top of the dramatic storyline, the show also provides a caring heart that the film seemed to lack, simultaneously making it both disturbing and comforting.
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