Death Note AU Where Everything Is The Same Except Instead Of Kira, The Culprit Is Referred To As "Murderer

Death Note AU where everything is the same except instead of Kira, the culprit is referred to as "Murderer McMurderFace"

I know L was itching to do it

[Eroica Musical Rant] Dorian Red Gloria, Earl of Gloria, Codename: Eroica

(Series masterlist)

Somehow I am the least mad at what they did to him ...

Dorian Red Gloria, the Earl of Gloria, otherwise known as Eroica the Phantom Thief, is one of the most vibrant characters ever written in manga, and my personal favorite. A respected English aristocrat, a revered art thief, Dorian’s aspiration is to live a life full of – capital R – Romantic splendor, defined by thrill, desires and adventures, bordering on hedonism.

Agile, dynamic and fun, Dorian steals not for money but for said vision, as he thinks stealing art is the most Romantic profession – to the displeasure of his long-suffering accountant and countless museum curators around the world. Extremely intelligent, spontaneous, and armed with complete fearlessness, he outsmarts and baffles even the most cold-blooded, hard-boiled, thoroughly-trained international superspies. Other than those attributes, Dorian’s power is derived from being a people person. He has a charisma and wit that can persuade, trick, or provoke anybody.

With my love for this character, I went into this musical expecting to be severely disappointed. I thought at best he would be a gay stereotype, and at worst, boring. But to my surprise, Dorian in this musical is actually fairly decently played. Most of his scenes and lines are kept, and the actor himself does bring some life into the role. He sings, he dances, he delivers the sass required. And I think the decision to have him sing enka in the tank scene is still in-character.

Direction

My only criticism would be that, compared to the original manga, Dorian is not depicted and portrayed with nearly enough power. First of all, the actor is frequently seen very relaxed, and unfortunately, it translates to slight slouches in his posture. But more importantly, due to various factors like staging, writing and productions, some scenes, while kept, were changed massively.

Let’s take this scene where Dorian supplies Klaus with a key piece of information. The chapter leading up to this scene in the manga starts out with Dorian throwing a gala for his fellow crime lords, and Klaus being tasked with maintaining security for a peace conference between the USA and the USSR taking place nearby. Upon hearing that there is a gathering of some of the most powerful underground figures in that proximity, Klaus intrudes on Dorian’s soiree to warn them not to do anything that might disrupt the conference. Dorian reassures his alerted guests, and informs Klaus that they have no such intention.

It is then that a KGB and a CIA agent rush in to tell Klaus that they received a lead that could hint at a neo-Nazi plot aiming to bomb the conference. An argument soon breaks out amongst the uninvited guests and Dorian promptly kicks them all out. Afterwards, Dorian’s close friend Volvonte offhandedly muses that he remembers something about a neo-Nazi of some sort having borrowed money from his organization some time not so long ago – a piece of information crucial to Klaus’s investigation is now, accidentally, in Dorian’s hands. But the party resumes, and it is only later, once everything is done and cleared, that Dorian thinks to call Klaus before going to bed. He is in bed, phoning Klaus like it was a booty-call. He flirts, Klaus tries to hang up, Dorian supplies the piece of information, then flirts some more and ends the call with a big, fat, sloppy kiss over the telephone. So what is significant about this set-up?

For one, Dorian has no obligation to tell Klaus this information that would not only save a peace conference, but many lives, including Klaus’s. The casual manner with which he treats this key piece of information is also important. He doesn’t urge Volvonte to tell him more, he doesn’t rush to tell Klaus, and he doesn’t communicate with Klaus in the manner of subordination, taking the time for pleasantry and flirtation. A casual bedtime conversation for Dorian, in this case, is a matter of life and death for Klaus. Dorian holds the power.

In the stage show, while the context is the same, details are removed, while other unnecessary ones are added. Due to the rushed pace that the show is written with, Dorian’s feelings for Klaus in this arc is intensified, giving him a motivation to tell Klaus the vital piece of information, as he is now deeply worried about Klaus. This level of care at this point in the story is not seen in the manga. Because of this newly-slotted motivation, his nonchalance is diminished, resulting in a serious exchange where it appears as though Dorian also has stakes in the matter, almost like he is working for Klaus. And because he is not in bed, his “advice” to Klaus comes off less as banter and more like sincere advice, and it presents him as naggy, as opposed to flirtatious and funny. That kiss is also waaaayyy too timid.

Costume

When it comes to costume, Dorian in this musical still exceeds everyone else by a mile. I was concerned when promotional materials only show him in one outfit, but thankfully, they had others made as well. Most of them look glamorous enough to look like they could maybe be part of Dorian’s wardrobe (and he might have worn a few of them while extremely intoxicated because this is the 70s).

However, that is not to say they were perfect. Knowing that this is a small production with limited budget, I will look past the fact that even Dorian’s costumes look pretty cheap in terms of material and tailoring. Especially if you compare them to the Takarazuka Revue’s adaptation of Eroica’s spin-off, El Halcon. But what will always be a sore thumb in my eyes is his rubber-looking rubber-sole jagged platform boots.

Why couldn’t we have given him well-fitted heel leather boots? Manga Dorian is on heels even while scaling walls. And heels would certainly look better when he dances. My problem with the ill-fitted rubber sole boots is that they throw the outfit’s proportion and silhouette totally off balance, shortening his legs, the opposite of what you want for a 1970s look. Considering the actor himself is tall enough to pull off a 1970s shōjo manga type look with loooong legs, these boots definitely did him quite dirty.

Speaking of which, Dorian’s inspiration is Robert Plant. Therefore, I definitely would have loved to see the outfits taking more inspiration from the decade, the rock scene, and Robert Plant himself. Manga Dorian’s fashion is a showcase of Aoike’s love for rock’n’roll, European classic arts, and fantastical shōjo manga aesthetics.

It expresses Dorian’s character as someone who romanticizes the fictionalized past and at the same time, poses as a contradiction to convention and norm.

The outfits given to Dorian in this production don’t exactly hold such punch, some of them seem repetitive, while others pale in comparison to his manga counterpart. And that is without mentioning that godawful wig that's somehow both too flat and too frizzy (in a nylon way).

Overall, Dorian in this production worked and I am not mad about him. I would say that most of the criticisms I have for Dorian is the result of staging, writing, and costuming, and none for the casting itself. I do think Nakayama Yuki did, honestly, a good job.

I love this so much 😭 the chronology really expresses Near's complex emotions throughout this whole experience

@nearsbday : DAY 2 - "MEMORY"

Near through the years 🧩

Have you given any thought to the fact that perhaps a Japanese stage showing in Japan for a Japanese audience will perhaps not be a complete and totally faithful match to the English translated interpretation of the series and characters? 10k words and yet most of your critiques are nitpicks based off your personal interpretation and vision for the project, when you have seemingly no context as to what this type of Japanese stage production usually entails. I'm not sure what exactly your vision was, but I don't believe it's anywhere close to the reality of stage productions in Japan. You bring up Takarazuka which is yet another indicator you have absolutely zero clue about what you're criticizing, as it is entirely separate from this type of stage in not only genre but also production, direction, and budget. I also don't think you have any concept of what the adaptation process actually entails; very frequently unnecessary characters and details are removed, glossed over, or combined. This doesn't equate to a "character assassination". A visual gag in a stage based off a manga which is primarily a comedy before anything else, especially in the early chapters, is not going to single handedly destroy the characterization of a character who, in the original work, is not even present. And bringing in an actor's age and physical acting choices in reference to a character you had never previously seen actually move? I'd like to see your ideal production of this work, though I'm not sure I'd have the time or patience for what would surely be a 3+ hours long, terribly unfunny and boring action play, based off your ideas of what have been done "wrong." Having your critiques is entirely valid, but waiting to drop a 10k word essay into the main tags while having absolutely zero cultural context for the genre of production you're speaking on while the stage is actively running and fans are attending just makes you seem like an overly negative, disrespectful elitist, sorry. Things will simply differ from a 10+ year old English translation when the story is presented in its source language to an audience of native speakers who will pick up on language specific comedy and tones. Really, I'm sorry, but you and the alleged others who dislike this stage play are not and will not be the target audience. Maybe Japanese 2.5d musicals are just not for you.

Hi!! Thanks for taking the time to ask me a question, I love how passionate you are about my rant. Really really appreciate the fact that you've spent god knows how long reading it making a thoughtful response 💖

One thing I'd like to clear away is that I read the manga in its original Japanese, the Showa Japanese so to say. I put the English translation here and there for people who might not read Japanese but still want to understand the screenshot. But sorry to everyone that I was not consistent.

Regarding my opinions on the musical I want to clarify that personally speaking I still believe Eroica could very well work as a musical. And like I said, I do not mind characters being different, Dorian was a bit different and he did good. I also wouldn't have minded if they wrote a new story while keeping the spirit of the OG work. However this particular production stripped it of whatever energy and humor it's got which is a real shame because Eroica is ... well, Eroica.

And thanks again btw, for wanting to see an Eroica musical staged by me. I'm sure it's not likely because licensing is such a bitch but good faith good faith 🤞🏻 It will be 12 hours long and everyone will be singing in avant garde made-up language wearing hooded capes

Hopefully most fans will be able to catch the show this second run around, it's an experience for sure, whether you think it's good or bad

[Eroica Musical Rant] Klaus Heinz von dem Eberbach, Major, Codename: Iron Klaus

(Series masterlist)

Onto the deuteragonist and the most popular character in this series, Major Klaus Heinz von dem Eberbach. I have a slightly more complicated relationship with this character than I do with Dorian which can only be described as “problematic fave.” A complete opposite to his pursuer on the surface, he is stoic, strict and severe. A man who finds purpose in work, and beauty in technology.

Klaus is NOT charming. He is crude, and prone to throwing insults. He is quick to anger and instills fear in his subordinates, which, while makes him look dominant and powerful, results in cases where his agents are too afraid of him to actually do the right thing. Klaus is FLAWED. Yet despite all of his shortcomings, he is also extremely capable, highly dedicated, and honestly, pretty fucking cool. And sometimes, his humanity bleeds through the cracks and it makes him all the more endearing.

Klaus considers Dorian to be the very antithesis of his life philosophy, but he can’t refute they share similar values and characteristics. Both are “professionals” who uphold their own kind of self-respect and pursuit of excellence, even if their goals differ. And slowly but surely, Klaus harbors begrudging respect for Dorian.

Aoike Yasuko describes their relationship in an interview as “having faith in each other, but can’t trust each other.” Their interactions are tense and potentially explosive, with each taking turn poking the bear, each word spoken is ammunition. Whether it’s flirtation or argument, they have a matched energy that just keeps them at each other’s throats. Yet, when they get to actually talking, everyone can see that they’re very intellectually compatible. It’s not really enemies-to-lovers, but rather enemies-AND-lovers, and I’m living for it.

Compared to Dorian, Klaus in this stage show was not translated to a … satisfying degree.

Casting

I am usually not one to notice the age of actors who portray adapted characters. But without sounding mean, I think the decision to cast a 45-year-old actor to play Klaus is a bit off. Murata Mitsu is a good fit. He has very sharp, striking features and there is an air of intimidation about him.

However, Klaus in the first run of the series is young. The official data describes him as being in his late twenties to, at most, 30 years old. In one of the final arcs of the original run, it is remarked that he appears around 30, contrary to what James says. Do I think makeup and costume succeeded in making him look late-20s, at most 30? Not at all. The direction he’s given too, makes him much more suited to post-hiatus Klaus, rather than volume 1 to 3, young Klaus.

What is the impact of this? As mentioned, Klaus at this point in the story is supposed to be a young man. He’s dynamic and energetic, like Dorian, but also much more openly expressive than later on. He doesn’t hide his emotions, his stoicism tends to be a result of things not fazing him, rather than suppressed and controlled feelings. So having someone who’s both notably older and directed to act older is jarring in a story written with a younger character in mind.

Even more than that, it has detrimental effects on the relationship between stage!Dorian and stage!Klaus. Manga!Dorian is in his mid-20s, and Nakayama Yuki (32) looks young, and is made up well enough to look like he’s in his 20s. So we have one side of the duo appearing and acting 20s, and another side appearing and acting 30s or 40s. Making the relationship between Dorian and Klaus restrained and almost like a tired parent-rebellious child dynamic. One of the things people have noted about Eroica’s long run is that it feels like Klaus and Dorian are growing up together. So having this disconnect where you have Dorian from the beginning of the original series and Klaus from the post-hiatus series is just WRONG.

Direction

The direction given to Murata Mitsu makes the character very, very, very stiff. Like they were trying to CARICATURE the character. Most of Klaus’s feelings and reactions are removed, and we never get to see the humanity under the tough guy. Which is a shame because without that, Klaus is just a boring shell of an archetype.

The first example is right in his introduction. Klaus has a habit of yelling whenever something annoys him, even if it’s minuscule, even if his agents aren't responsible for it. While it inspires fear , it’s actually quite humorous because it’s about the only time that he gets very emotional and this sassy side comes out. So while Klaus does have authority, the point of those yelling monologues, in my opinion, is to humanize him and use him as comedy. Like don’t you know someone who always takes things so seriously, they’re so exacerbated at minor inconveniences, it’s hilarious? Schadenfreude.

Unfortunately, it’s not done that way in the musical. Instead, his “BAKAMONO” is echoed across the theatre, as he steps forward, like it was some kind of superpower, some magical command, some hypnotizing trick. And not an outburst of frustration. Of course, just by giving him a superpower doesn’t mean taking away his humanity, and manga Klaus himself often does the unthinkable, like firing a magnum with only one hand.

However, like I’ve said before, when Klaus yells, it is a hint of emotions. By altering the scream into some kind of cool magical command, it removes whatever humanity he’s depicted with. In the manga, at times, that kind of anger-first reaction is actually what makes the situation harder for him, literally and emotionally. Because sometimes Klaus’s worst enemy is himself. The point is, Klaus is already capable of so many super-human feats. To be able to keep his emotions completely neutral in the face of adversity would make him perfect. And perfection has no place in Eroica. He is also nowhere as sassy, which sucks because he is probably one of the funniest characters, unintentionally so. It’s a shame that none of that quips were really delivered with that signature sadistic snark.

But it’s not just the direction given to Murata Mitsu that makes Klaus boring, it’s how characters react to Klaus that also paints this picture of a “perfect man” who can do no wrong and just takes a special someone to soften his heart. Which I don’t think Dorian is, they were made to provoke each other and that’s funny. And the best example of this is the most iconic automobile chase in history.

The set-up of this scene is simple. Dorian successfully rescues Caesar Gabriel – the second time that he has outdone Klaus – and is speeding off on his red Lamborghini with his boy-toy for 2 chapters. Whether he anticipates Klaus’s pursuit or not, he seems to be confident that Klaus won’t be able to catch up to him. Bang! There goes an explosion just missing the car by an inch. Scared absolutely shitless, Dorian and Caesar look behind to find Klaus who has whipped out a fucking TANK to chase after them on the Autobahn.

This is the scene where the audience – and Dorian – get to see a side of Klaus that is wholly unrestrained and completely driven by the frustration upon realizing he’s been bested the second time in a matter of days by the man he claims to despise. It’s significant because Dorian has been pretty open and freely expressive since his introduction. While Klaus is the opposite, reserved and closed off. But this is the first time that Klaus expresses himself in his own logic that does not, in any way, obey common sense (or even military protocol). And he is just as batshit insane as Dorian. Sure, the Lamborghini is gaudy and you can say Dorian is unusually flamboyant, but what does a tank racing down the Autobahn say about Klaus?

In the musical, this scene doesn’t hold as much impact because it tries to present Klaus as “cool” for bringing a tank into a personal chase, instead of the absolute absurdity that it is. You have his 3 agents singing about how cool he is, his military might and cheering for him. It's a huge missed opportunity because musical Klaus has been trying so hard to stay so stiff for the first part of the show.

This is when the hinge is supposed to come off. This is when the crazy starts to come out. With the screws already coming loose, it makes more sense that when he ends up trapped on a cliff with Dorian – [because running a tank over a raggedy bridge is a bad idea who knew] – he’s able to let himself go a little further and open up.

Dorian already provoked his crazy to a point where he's already exposed so much of himself, now sharing his own sense of beauty and value isn't such a big leap. Making him “just cool” during the Autobahn race skips a step in the leading up to the revelation that Klaus has a soul, and is unproductive in terms of characterization. The actual conversation in the tank though, was surprisingly well-done, but we will talk more about that in a later section.

Costume

Klaus’s style is not nearly as elaborate and niche as Dorian’s. In essence, he dresses professionally in suits and military jackets, but still with hints of the decade’s influence. In the early volumes – which both arcs are taken from – he is often seen in cuffed, slightly flared trousers; sometimes, he might don a waistcoat; and on occasions, a trench-coat. Because Klaus’s wardrobe is sartorial, the tailoring is absolutely crucial. These fits have to fit right. They must be able to give the actor the silhouette of the character. And for Klaus, that means emphasis on his height and his build.

Klaus is the tallest character in the series, and – like all characters in the 1970s – are drawn with mile-long legs. While not disproportional, his legs definitely should appear as though they’re longer than his torso, as it was the look du jour, and the look Aoike Yasuko gave him.

You would think that tailoring a pair of slightly flared cuffed trousers that would make someone who already stands at 186cm look tall wouldn’t be such a high ordeal. But alas, they didn’t even try. Instead, they gave him ugly, untailored, slightly baggy pants. Where are the flare pants? Where are they? It wasn’t considered too gaudy for your hems to flap just a little when you walk, so why couldn’t Klaus have gotten the flare pants that would’ve made his legs a mile long?

Then there’s build. Unlike Dorian who’s toned but slender with a slight dip around the waistline, Klaus is rectangular, and Aoike Yasuko often puts emphasis on his shoulders, chest and arms, as those are features that perform masculine energy. So how does one emphasize those features? GOOD. TAILORING. Which, by the way, is also a crucial point in any military-esque, military-inspired design. What is disappointing about this military and suit jackets is that they seem way oversized for Murata Mitsu. Who, again, is 186cm tall. And thus, it swallows him up instead of adorning his physiques.

Overall, it's honestly quite a shame ...

[Eroica Musical Rant] The Case of the Missing Caesar Gabriel and the Character Assassination of Tyrian Persimmon

(Series masterlist)

When the Eroica Stage Show Twitter began announcing their casting choices, there was one in particular that shook an entire fandom: Tyrian Persimmon.

Or rather, it wasn’t so much about who played him, and more about the fact that he is played. Although Tyrian is the protagonist of El Halcon and Nanatsu no Umi, Nanatsu no Sora, by the time of Eroica, Tyrian is long dead and almost entirely forgotten, save for a very flattering portrait.

And that’s all Tyrian ever is in Eroica: a gorgeous painting, a MacGuffin. He, as a character, plays no role at all in this story. So why, for the love of Aoike, is there an actor playing Tyrian? For about a month leading up to the performance, my Eroica discord was confused and concerned as to wth they would use Tyrian for. Like is he going to pop out of the painting and sing? Are they trying to ride off the success of the Takarazuka Revue’s El Halcon?

After having watched the full show and spent sleepless nights contemplating, turns out the answer has to do with a character we’ve all sorta forgotten about as a fandom: Caesar Gabriel.

Caesar Gabriel

If you remember reading Eroica for the first time, you might remember that the first chapters were told from the perspective of and in relation to Caesar Gabriel – super-genius university professor at age 18, Art History expert, who's extremely frail, innocent and naïve. It was through Caesar that we as the audience were introduced to the fascinating specimen that is Dorian Red Gloria AKA Eroica. Who takes an interest in him, and whisks him away in a dramatic – illegal – fashion before letting him go, already hopelessly in love.

In the second chapter, Iron Klaus, it was due to Dorian’s effort to bargain and rescue Caesar from Klaus that they end up with a tank on their tail. Thus, beginning Dorian and Klaus' enemies-and-lovers relationship. Afterwards, Caesar is never seen or mentioned again.

So, although Caesar Gabriel might have been written purely as a functional character, his role is important in those chapters.

Caesar fills the role of the proxy through which Dorian is introduced in all of his … Gloria? By using a second-person point-of-view, Dorian first comes off as mysterious, unpredictable, and almost other-worldly. Audiences get to see Dorian’s IMPACT first, and it draws them in to this wildly charismatic character before diving into him in later chapters and arcs.

By removing a functional character, the musical has to compensate the plot-holes that the character filled. And they did that, by reviving Tyrian Persimmon from the painting. But hey before any Tyrian stan gets too excited, they gave him the personality of Caesar Gabriel. Let me tell you why this is bad.

First of all, because Caesar is the POV for the 1st chapter of the manga, it’s almost impossible to reconcile his absence. So, they skipped it. Which … fine, whatever. The big issue, though, comes up in Dorian’s plan to get the 2-in-1 painting.

In the second chapter, Iron Klaus, Dorian and Klaus meet for the first time and decide that they despise each other. Klaus refuses to sell Dorian The Man in Purple. So Dorian, being Dorian, decides that if he can’t obtain it the legal way, he has no qualm with obtaining it the illegal way. Sensing that Dorian might try something, Klaus orders tight-knit security to protect his family’s cultural treasure. Which Dorian and his gang manage to by-pass by mingling into the security unit and filling every room with sleeping gas. Eroica’s first heist is resounding a success.

However, Klaus still has “custody” of Caesar, and he calls Dorian to demand an exchange of “hostages,” to which Dorian gives his verbal agreement. On the day, though, tension is high, and Klaus begins suspecting the unknown guard stationed around the premise. Another guard rushes over and yells that the first one is Eroica, and in the commotion that ensues, the actual Eroica – revealed to have disguised as the second guard – grabs Caesar and speeds off in his red Lamborghini. Eroica’s second heist is a success – for now.

With the removal of Caesar, the plan becomes convoluted. In the musical, Dorian - using the strategy from the first heist - disguises himself as an art appraiser. With every agent out of sight, he fills the room with sleeping gas, which knocks Klaus out. Dorian, James and Bonham take the painting and drive away, feeling victorious.However, he quickly discovers that the painting is a fraud intended to trick him. Hence, Eroica’s first attempt is a failure.

He makes a U-turn - using the strategy from the second heist - disguises himself as a security guard, frames another as fake and steals the real painting right in front of Klaus and his agents. An extremely flimsy patchwork of the second heist, that also makes Klaus’s unit and instincts look slow and weak.

While in the manga, the structure of Iron Klaus is as follows:

Attack (1st heist) => bargain => attack (2nd heist) => to retaliation (tank)

In the musical, it goes like this:

Failed attack (1st attempt) => fix (2nd attempt) => lukewarm retaliation (tank)

There is no tension, no excitement, where it’s supposed to be a confrontation, where 2 characters are one-upping, mind-gaming, out-maneuvering each other. Now, it’s just a single over-complicated mess, because the 2 MacGuffins – Caesar and painting – have been reduced down to 1.

Towards the end of the manga chapter, Dorian willingly gives Klaus back the painting in exchange for Caesar’s well-being. But he steals the tank. The symbolic meaning of his actions can be read as Dorian being satisfied with Klaus’s self-expression. And to show his respect for one with a different viewpoint, he keeps the symbol of Klaus’s ideal beauty, while leaving Klaus his own.

Klaus certainly doesn’t view it as such, but like I said, different viewpoints. It’s a great note for 2 characters who have recently gotten tangled up into each other to part, promising much more to come. But in the musical, Dorian’s heist of the painting is, ultimately, a sadly failed plan, as Dorian is forced to give up on The Man in Purple. And although he does steal the tank, it seems less like a conscious action, and more like an attempt to provoke Klaus.

Tyrian Persimmon

So, in the Aoike Cinematic Universe, Tyrian Persimmon – or The Man in Purple – is Klaus’s ancestor who lived in the Elizabethan period. In Eroica though, he’s been loooooong dead, and it seems that not a lot is known about him. Although his painting is a MacGuffin, Tyrian himself doesn’t play any role, and if one only reads Eroica, it’s just a really nice painting, and that’s all it has to be. The interesting bit comes from a meta viewpoint.

If you have read El Halcon and Nanatsu no Umi Nanatsu no Sora, you would know, that Tyrian was a vile motherfucker. Murderer, rapist, traitor, and so ambitious he cares about nobody’s life but his own. Almost every character who crossed path with him died some kind of gruesome, unjust way. He’s irredeemably terrible even if entertaining. So, what’s the significance of this in the context of Eroica?

In Eroica, everyone fawns over Tyrian’s portrait like he was a god-sent beauty. It is even said that on first glance, Klaus might look like The Man in Purple but he lacks a certain “grace and charm,” attributes that could be considered heroic, or even angelic. The magnetic power of the portrait drew many of the conflicts in Eroica as characters seek to possess his image. But those who worship his beauty knows not the monster beneath the canvas. For an audience looking for meta-reading though, the fact that the portrait is still eliciting so much trouble is a reflection of Tyrian’s own life as the bane of existence. Even Klaus once wonders if they were being played like puppets in the sadistic theatre of The Man in Purple. This combined dramatic irony is severely damaged when the portrait is suddenly personified like a character.

And what’s worse is that, not only did they reanimate the portrait for the musical, they tried to give him a caricature Caesar Gabriel’s personality. This … vile, manipulative, murderous narcissist is now a bubbling, naïve and confused 18-year-old coddled child. It’s comical in the worst moments.

Like in the tense scene of the Autobahn chase, all my attention was directed to Tyrian trying to chase his hat which had flown off the vehicle, while trying to hold the portrait frame around his face. Or during, what I still maintain as the best scene in the entire musical, the cuddling in the tank scene, the budding bond between the two main characters are constantly distracted by Tyrian’s antics.

And to top it all off, they didn’t even give him his PUMPKIN PANTS!!