If I
were to adapt The Book Thief by
Markus Zusak, I would want to adapt it as a musical. This adaptation would make
the most sense because of the type of story presented in the novel. It is set
in Mulching, Germany during World War Two (a classic setting for theatrical
productions) and focuses on a young girl who loves literature (very Bell from
Beauty and the Beast). The characters are very dynamic and could be involved in
quite a bit physical comedy as well as some intense scenes. With some strong music
and a dynamite set, this story could easily be transposed into one of the
better Broadway musicals.
Just
like every adaptation, there are certain thing that under no circumstances should
be allowed to change. Some scenes can’t be messed with. For instance, the scene
where Leisel Meminger awakes to nightmares and wets the bed. This scene needs
to stay the same because not only does it start the initial relationship
between her and Papa, but it is also the first time that she learns about
literature and reading. This is a pivotal moment that propels the whole story forward
as she strives to learn more. Another
scene that must remain the same is the history between the Vandenberg’s and
Hans Hubberman. While this did not take place while in the story of Leisel
Meminger, it is important to the story and must be shared. Lastly, Death must
still narrate the story. Not only does it provide interesting comment and
insight as to all of the events surrounding Leisel, but it provides a creepy foreshadow
that is a necessary tone throughout the book.
Some subplots
or characters may need to be cut. For example, the story of Rudy Steiner
pretending to be Jesse Owens. While it is a comical story that gives us insight
into the mind of Rudy, it may not be necessary and could be omitted if need be.
Another subplot could be the story of Leisel and Rudy steal the food basket
from Otto Sturm. It gives a nice little story as to the adventures and exploits
of Leisel’s thieving career, but it is not necessary to tell the story, the
main story, which is how Max Vandenberg came to the Hubberman house. Only
scenes concerning Max’s story and Leisel’s love for books/ her journey of acquiring
books should be the focus of the musical.
It may
be considered to start the story with Leisel and her mother at her brother’s
funeral, rather than the narration of Death explain her story. While Death can
still narrate, this is a better spot to raise the curtains and begin the story.
It might also be considered to have two different actors play the role of Hans
Hubberman, an old Hans and a young Hans. This will minimize costume changes and
make up changes for the character of Hans. I also think it important to mention
that Leisel must be her young age and not played by someone much older. Her
innocence and young attitude are what giver her character life. Also, the
musical needs to have darker music with less vibrato and upbeat tunes.
As for
casting, I would want professional actors to star in this wonderful musical. I
would ask Geoffrey Rush (Actor who played Hans in the movie) to consider
playing the part of Hans in the musical. He played Hans perfectly then and I am
quite confident he could do it in the production. I think all actors should be
close to the age of the characters in the story. Age and facial expressions are
what will truly bring this musical together. The great characterization in this
story is what makes it so perfect to adapt into a Broadway production.
As for
soundtrack, the music needs to mostly be somber or hopeful. It needs to be dark
(to reflect the times) but have a certain level of innocence in it (to reflect
Leisel’s journey). When we reach the story of Max, the musical needs to have
music more related to the themes of danger and worry. I really think the music
of composer Dexter Britain and his Collection of work called: The Score would fit well with this story
and the emotions conveyed to the audience. More music would have to be written to
accompany some scenes and someone would have to write some lyrics so it would
actually be a musical.
My book
also manages to capture a lot of interesting history regarding the era. I would
want some of this to come through in the musical, perhaps by giving Death (the narrator)
some of this information to share with the audience. I would really want to try
and capture this from Death’s eyes, stopping dialogue at various intervals so
Death can give his input. I also think
it is important that the audience gets to see Death, a treat we don’t get from
the book.
