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Stephen King Goes To The Theater: The Ghost Brothers of Darkland County

 

When we first saw the advertisement for The Ghost Brothers of Darkland County, we were pretty excited. A collaboration between John Mellencamp and Stephen King has all kinds of potential for coolness. Stephen King is a great storyteller, and for a rock musical in a southern gothic atmosphere, I can’t think of anyone who I’d rather have making the musical contribution than John Mellencamp (to clarify, he wrote the music, but didn’t sing it). The description of the show included the information that this collaboration had been thirteen years in the making. We were very intrigued, and made the tickets to the show our anniversary present to each other.

I am a huge believer in the power of live performance. I love storytelling and I love opera, and once you’ve seen those live, film provides only a pale imitation. I don’t think that is necessarily true of horror, though. Maybe it has something to do with the realism that a horror movie has to have to give you that emotional punch. So I wondered how that would present itself in a musical on stage.

The honest answer is that I’m really not sure whether this lives up to its billing as a collaborative horror musical. The music was tremendous, as I expected it would be, and the acting and singing were fantastic. Both the choreographer and whoever was in charge of lighting deserve awards. But… the plot? Character development? I think Stephen King was taking a nap.

The story is along these lines. In a small town in the South, a rift has developed between two brothers. One brother is an auto mechanic who plays in a local band, whose girlfriend, Anna, has just dumped him for the other brother, a writer who has just sold his first book. Their father, Joe,  meets them at the family’s lakeside cabin to tell them the story of his own brothers as a warning. Decades earlier, his older brothers also turned against each other and both died tragically because of their differences over a girl named Jenna.  Joe’s brothers and Jenna now haunt the cabin, providing commentary and acting out the backstory. There is a creature called The Shape hovering around the edges of events (and often stealing the stage– the actor took his part and ran with it), encouraging all the characters to act on their worst impulses.

The plot is pretty thin, in other words. On stage, sets are often pretty minimal, and that’s the case here. So realism isn’t really an option. You’ve either got to have action or character development to catch your audience. Spectacle, music, and talent (and this show has all three), can carry you pretty far, but to get really invested there has to be movement and change of some kind. And especially with horror, you have to be invested. But we never get to know the characters enough to find them sympathetic, or even care much about their troubles. None of them are particularly likable and their parts just don’t gel together. As a result, the final events, which actually were objectively really horrifying, didn’t pack the emotional punch of, say, the final events of Rigoletto, or Carmen. I feel like the actors made the most of what they were given to work with, particularly the Shape. Mellencamp’s music, played by members of his band, was great, and especially the women had great voices and stage presence (Anna in “That’s Who I Am”, Jenna in “Home Again”, and the boys’ mother, Monique, in “You Don’t Know Me”). Unfortunately, not even lighting that made it look like the actors were dripping in blood was enough to disguise the thinness of plot and character development.

I am likely to buy the musical’s soundtrack (especially as it has Sheryl Crow, Rosanne Cash, Kris Kristofferson, and Elvis Costello singing on it), and I’m not sorry I went, because I will be able to easily picture the acting  that went along with the music, but I can’t say that I think either of us think this is a must-see live performance (although apparently many Stephen King fans disagree). It’s quite possible that as a film, set in the South with realistic detail, that many of the shortcomings of the live performance could be overcome… although, most likely at the expense of the Shape’s impact on the characters and scene. You can’t beat Mellencamp’s music live, though, and that, I think, was worth the price of the ticket.

 

 

Posted on October 21, 2013 by , Reply

The Horror of Science Gone Awry

An article in The Guardian suggested that the absence of the supernatural monster from books generally considered horror fiction could be the end of the genre. I must respectfully disagree. While Becky Siegel Spratford, considered the expert on reader’s advisory in horror fiction, suggests that supernatural forces must be present for a book to be considered part of the horror genre, here at MonsterLibrarian we have always taken a broader view of what constitutes horror fiction (some would argue, I’m sure, that our definition is too broad). In fact, when we started out, with a much smaller number of genre divisions, one of the categories we had was “science gone awry”. It can be as terrifying as any supernatural creature, that’s for sure. We’ve since integrated the titles from that category into other subgenres, because it’s now such a common source of monstrosity. I confess that the books I remember as most terrifying from my own teenage years included not just Stephen King’s early works, but science fiction stories such as Asimov’s “Nightfall”, and medical thrillers, like Robin Cook’s Godplayer and Mutation. The natural world at its most frightening, and the dangerous obsessions of the mad scientist intent on altering, extending, or creating life–these are the stuff of terror, fear, and dread. And they have been for ages.

The advancement of science and the expansion of our world have changed us, and the source of our fears is now much more often the evil we do to each other and to the world around us, and how it rebounds to us. That’s not to say that we have abandoned our fears of attack from outside or supernatural forces, but mad science is hardly new to the horror genre. Critique of social, economic, and political issues isn’t new to the genre either, and the existence of that critique in a text doesn’t determine whether it’s horror–the emotional punch to the gut does that. Horror does not have to be, as the author of the Guardian’s article suggests, drawn from ancient fears and folktales, or from gothic novels. If it’s not somehow situated in the real, or at least the believable, then the fantastical elements are unlikely to succeed. In spite of the occasional moaning and groaning that horror is dead, it’s not. Like so many of the iconic monsters of the genre, as long as there are things to fear, it will rise. And, to answer the question the author poses of where we will find books that really scare us now… well, in a genre as broad as horror, there is a place for everyone to get their literary chills. And if you’d like some recommendations, we at MonsterLibrarian.com are happy to oblige.

Posted on May 18, 2013 by , Reply

This is just to say…

Philip Charles Crawford rocks.  This  unapologetic article, “A New Era of Gothic Horror”, which appeared in School Library Journal, is the kind of thing more librarians need to be reading, and encourages them to give the kind of support that kids and teens deserve when they want or need reading material in the horror genre.

I’d say this is a fresh new voice for the horror genre and for teens, except that he wrote it in 2008, and then apparently went on to focus on graphic novels. But discovering his article gave me the warm fuzzies today.

Thanks, Philip.

 

Posted on May 31, 2011 by , Reply
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