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SYNOPSIS
 
BLUE ANGEL CAST OF CHARACTERS 12 or more
 
LOLA LOLA   cabaret singer
DOCTOR IMMANUEL RATH  high school professor
GUSTE the adoptive mother of Lola Lola married to
DR. DEZEPSHUN Impressario, adoptive father of Lola Lola
CHIAVARI COVALLO Beastmater doubles as BLUE ANGEL & STUDENT
GUTTMAN Blue Angel Propietor DOUBLES AS STUDENT
ANGST form leader doubles as BLUE ANGEL
LOHMAN  student doubles as BLUE ANGEL
SEA CAPTAIN doubles as CONDUCTOR & PATRON &HEADMASTER
HEIDI   BLUE ANGEL doubles as * STUDENT
GRETCHEN BLUE ANGEL doubles as POLICEMAN & STUDENT
CLOWN doubles as PATRON
GARZONISSIMO  dwarf, [COULD BE CUT}
 
NOTE: Because roles lend to crossdressing the Blue Angels and Students could be either male or female.  
 
HISTORY OF THE BLUE ANGEL    1
 
Emil Janning wrote to Josef von Sternberg asking him to direct him in his first sound film. Could he meet? At the meeting Jannings brought a group containing producer Eric Pommer and poet Karl Vollmoelller. They agreed to do a film version of Thomas Mann's brother Heinrich's novel Professor Unrath published in 1905. Robert Liebman was assigned to write the script and lyrics; Friedrich Hollander the music. Mann agreed, saying that he had wished he had thought of their film's ending. None of the distinctive features that fill the film are indicated in the novel. Marlene Dietrich was signed to play Lola Lola and filming was completed at UFA's studio in Babelsberg a few miles from downtown Berlin in 1929 including English and German sound tracks. The film  then went on to become a world box office smash and classic. Heinrich Mann would walk through the streets of Berlin and see Lola Lola dolls being sold everywhere.

Today the words BLUE ANGEL are used to describe night clubs, restaurants, air squadrons etc: before the film the words had no existence. It is important to understand the film was never made as a musical but
as a film with incidental music. The music was created to serve the cabaret sequences. A successsful remake of the film was made in Hollywood in l968 followed by another successful film of the same story by Fassbinder. Duke Ellington wrote a score for a Musical called "Pousse Cafe" produced on Broadway but sadly set the story in New Orleans and failed. Andrew Sinclair tried his hand at a musical adaptation but he wrongly made it about Nazi Germany and failed. It opened and closed at the Bristol Rep. England. 1992 Pam Gems went to the Mann novel and combined it with elements of the film and turned out a successful adaptation.Trevor Nunn directed the adaptation which did sell out business at the Royal Shakespeare Company at Stratford. It then toured with the RSC for several years before coming to London"s West End. This production was not a musical ; that is the characters never broke into song. It was a play with incidental music like the film; using cabaret music of the time when the action was in the cabaret. Neither was it like the film instead it was transformed into Theater of Socio-Cruelty dealing with sleaze, blackmail, pimping and class struggle. Unlike Sickinger's version true to the film.....deepened to a love story and a bitter expose of the German character during the days of the Weimar Republic.

Trevor Nunn's production was done on a unit set on small stage so it could travel. When it came to the West End they kept the same set which became dwarfed in a large theater combined with the producer running out of money [ he had four shows running together at the West End and all bellied up together due to undercapitalization ] the play closed in spite of unanimous excellent reviews. After securing the necessary rights Robert Sickinger began writing the book for a musical adaptation of the Blue Angel film in January of 1990 tailoring the script with Madonna in mind. The book completed 1991 Sickinger than sent the script to Gregory Mosher about to leave Lincoln Center [see letters attached] to help secure Madonna for the lead..   At the time there was no score for the musical. Several months   later the script was returned with out comment from Madonna's agency at CAA. In 1993 Sickinger than sent the script to Robert Benedetti Director of Ted Dansun's Production Company at Paramount. Bob Benedetti impressed with the writing, sent it to Jane Berliner at CAA [see letter] where CAA spent months exploring the possibility of a stage production but alas finally passed on the project; with "Madonna is doing "Evita" Sickinger encouraged by the extraordinary interest exhibited by Madonna and Jane Berliner then began writing the lyrics and musical sketches for some of the songs. He was joined by Arica Jans composer of scores for David Mamet's films and the musical "Do Patent Leather Shoes Really Reflect Up" When Jans after completing two songs dropped out because of other committments. Susan Minsky composer of film scores and songs for Broadway musicals joined the project and completed with Sickinger the remaining  songs.           
 
 
 
 
 
 
 
 




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