Interview With A Vampire-Maker
Interview by Karola Menger
Your film "Tanz der Vampire",
released in 1966, quickly became a cult film in Europe. What was your first
thought when you heard, many years later, that a musical version would be made?
Roman Polanski: I thought, why not? My film was really
very suitable for a musical. It's the sort of film that lends itself well to
adaptation for the musical theatre. The idea of a musical stage for it had been
about for ten years and came originally from Andrew Braunsberg, who was a
co-producer on the film.
And how did the idea take
concrete form?
RP: First, Andrew Braunsberg organized a meeting with Rudi
Klausnitzer, the chief of the United Theatre, Vienna. Consequently, I was
introduced to Michael Kunze and we began work on the script. When he'd finished
the lyrics, he began to look for a composer and the other creative people -
such as choreographers and costume designers. That took a long time, about four
years altogether.
The choice of composer was Jim
Steinman. Why him?
RP: Jim Steinman is a very talented composer. He is very productive.
And he knows a lot about musicals. He's worked with Andrew Lloyd Webber. Apart
from that, Steinman's biggest success was Bat Out Of Hell. He
liked the vampire material, it amused him. It reminded him of Bat Out Of Hell (sung by Meat Loaf). He had already proven his talent in this
sort of rock 'n' roll music. We wanted to have a rock 'n' roll touch to the
show, but also something of an operatic style. We made the right choice. And we
consider ourselves lucky that Jim accepted the task.
Most authors hang on to their
scripts like they hang on to life. Was it difficult to let someone else write
the libretto for the musical?
RP: Not at all. Firstly, I'm no lyricist. Secondly, I don't speak
German. And I didn't know how to write words to music. And even if I could - I
still had my film to produce. I am mainly a film director and have no interest
in writing lyrics. Even if I was interested, I couldn't do it as well as
Michael Kunze.
What appealed to you about
staging Tanz der Vampire in Vienna?
RP: I love the theatre and I love music. I led the production for the
stage and I am actually only interested in directing productions, in playing a
real role in the music. I once began with opera. I directed more opera
performances, for example Amadeus. And also The Master Class -
have you heard of that?
By Terrence McNally?
RP: Yes, the play by Terrence McNally. And later I directed the
musical of the same name.
You originally wrote Tanz der Vampire as a sort of parody of vampires…
RP: Yes, but not of the world of vampires, because they don't exist.
It's a parody of the genre, mainly of the cinema. And of Hammer, the British
production company which produced so many vampire films with Christopher Lee,
etc.
But Michael Kunze interpreted Tanz der Vampire as a "story about growing up in a vampire
world." Also, the role of Alfred, which you played in the film, was
developed into a central character. These are fundamental changes. Were you in
agreement with everyone else from the beginning?
RP: Of course, otherwise the musical wouldn't have been made. But it's
clear that, when you adapt a film that depicts a satire of vampire films,
several important changes must be made. By doing that, you can make a theatrical
production. It can no longer be the parody of the film, no longer be the same
fairy story as the film was. The musical production has to be another kind of
fairy story. Also here, the theme must be determined and built up. The characters
must have more depth, they can't be cartoon characters any more like they were
in the film. Also, their psychology must be broken down. As themes for the songs,
you need some sort of relationship between the characters. It is necessary to
develop all aspects of every character.
Tanz der Vampire quickly became
a hit musical in Vienna, with 600 000 visitors in just two years. Did you
expect it to be such a big success?
RP: You always hope for success when you produce a film
or a play. But you can't expect it. You can only hope that success will come. I
really hoped, but I hadn't reckoned on such a great success.
When and from whom did you hear that Stella wanted to bring
the musical to Stuttgart, under your direction?
RP: Rudi Klausnitzer phoned me and told me. That must
have been at the end of 1998. He only told me that Stella would be interested
in it. And six months later he told me that the contract needed to be signed.
At this point in time you already knew that the musical
would be reworked for the Stuttgart production. Why? Has it aged so quickly?
The world premiere was only two years ago…
RP: Why the reworking? Because I am very committed to
the career of this show. I would like its success tp continue, and I'd like to
supervise its development. It's my baby. I believe that, for example, in the
Viennese production, in spite of its success, the set manoeverability in the
first act lacked something in comparison with the second.
How much of a say did you have in the casting for
Stuttgart?
RP: As much as I wanted. We heard the singers and made
some decisions. They didn't sign any singers without me hearing them first.
Allow me one last question: with what expectations do you
give the musical to the German public?
RP: It's up to the public, who expect something from me.
I wouldn't like to disappoint them.
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