Blog Post #4: Adapting Book 2

                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.