Renamed Musicals
  • • Les Miserables: Breadsticks Meme Gone Wrong ft. The Only Cop in France.
  • • Miss Saigon: Americans Fuck Shit Up, the musical!
  • • Legally Blonde: This is Harvard, not a Stripper Bar.
  • • Wicked: Misunderstood Green Girl and Sparkly Witch Hide Lesbian Feelings
  • • Little Women: That Story Where All the Girls Fall in Love
  • • Book of Mormon: Spooky Mormon Hell and Crude Gay Humor Clash w/ Sparkly Tuxedoes.
  • • Shrek: Don’t Judge a Book By It’s Cover; Another Show About Diversity.
  • • The Last Five Years: How Not to Adult: A Manual
  • • Joseph and the blah, blah, blah: Fifty Shades of Bible Humor
  • • Suessical: Always Trust that Weird Voice you Hear PS Elephants Can’t Fly
  • • Songs for a New World: I’m Sure There’s a Story Here Somewhere…
  • • Thirteen: Puberty Sucks Plus Jewish Jokes and Weird Sexual Tension
  • • Matilda: We’ll Fight Like Twenty Armies and We Won’t Give up ft. Miss Honey’s Self Esteem Issues.
  • • Spring Awakening: Why Sex Ed Matters, the musical!
  • • Next to Normal: The Story of a Sexy Ghost
  • • Avenue Q: Horney Puppets Use the Internet for Porn and Then Build a School For Monsters.
  • • Children of Eden: Bible fanfiction.
  • • The Drowsy Chaperone: Hallucinations of a Man in a Chair
  • • Violet: Sutton Foster and a Sob Story ft. Indecipherable Accents
  • • Anything Goes: Into the Woods, Except on a Ship
  • • How to Succeed: A Dummies Guide to Making an Ass Out of
  • Yourself
  • • Once on this Island: Why Gods Should Not Interfere With Humans
  • • Into the Woods: Fairytale AU on Crack
  • • Fun Home; Gay Tears, the musical!
  • • In the Heights: Everybody has Issues in the Barrio.
  • • Chess: East West Relations Under Different Masks and Various Plots
  • • RENT: Diversity, Death, and Drugs.
  • • Annie: My Life Sucks: By Me.
  • • Sweeny Todd: Revenge Means Killing Everybody
  • • Young Frankenstein: It Runs in the Family.

I watched Young Frankenstein for the first time a couple nights ago. (Spoilers for both YF and the original below).

Obviously, Young Frankenstein is a comedy, while the original was a tragedy. But the most interesting thing for me is how clearly Mel Brooks understood the source of the tragedy in the original.

Frankenstein is a story about (among other things) parental abandonment. Victor creates a “son” but abandons him, and does not give him a father’s love. Adam’s primary motivation throughout the book is to find some place he will be accepted and someone who will love him. But Victor fears annd hates him and can’t offer that support.

From this perspective, it’s clear that the most important scene in YF is the one where they’ve recaptured the monster and are holding him in a cell, and Gene Wilder/Frederick Frankenstein announces that he will go in “and show him that he is loved!” This is clearly a very clear, specific decision to not make his grandfather’s error.

And indeed, it works! Frederick convinces the monster that he is loved, and this support—and his willingness to risk his life to help his creation—is what turns the story from the tragedy it almost is, into the comedy it becomes.

I have to imagine Mel Brooks knew exactly what he was doing. Props to him.