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Stephen King and John Mellencamp: The Musical!?!
In one of the weirder collaborations in the history of musical theater, the king of horror and heartland rocker are--we kid you not--working on a haunted musical, according to Billboard.
"Our goal is someday to end up on Broadway," Mellencamp tells the trade paper.
Based on an idea by Mellencamp, the still-untitled show focuses on a couple of estranged brothers, both around 20, who wind up with their father in a cabin inhabited by ancestral apparitions.
"What has happened is that the father had two older brothers who hated each other and killed each other in that cabin," Mellencamp tells Billboard. "There's a confederacy of ghosts who also live in this house. The older [dead] brothers are there, and they speak to the audience, and they sing to the audience. That's all I want to say, except through this family vacation, many things are learned about the family, and many interesting songs are sung."
Mellencamp took the idea to the horrormeister, who quickly signed on. "I was in Florida, so John came down and told me the plot," King tells Billboard. "It was kind of a ghostly thing, which is why he thought of me, I guess. I liked the story."
The latter-day Rodgers and Hammersteins are currently pounding out the musical book and score. Mellencamp says he already has finished four tunes, including ones called "My Name Is Joe" and "You Don't Know Me."
While the show is unlikely to feature a kick-line of high-stepping ghouls, Mellencamp says he does plan on having singing spirits. "I plan to have every person sing from their generation," he says. "This is what I'm thinking right now, but it may not work out this way. When the 18-year-old sings, he'll be rapping at you. When the people in their 70s are singing, they'll be singing in the style of Broadway or the style of Sinatra or country. I intend to cover any type of music that Americans have invented."
Of course, just because the musical is the brainchild of two proven superstars, Mellencamp and King aren't banking on instant success. After all, the 1988 multimillion-dollar musical adaptation of King's Carrie died a quick death (after an un-whopping five performances) on Broadway. In fact, it still stands as one of the biggest flops in stage history, behind the stage version of Big and Paul Simon's hyped musical theater foray, 1998's The Capeman, which lost $10 million.
"We talked about Capeman. John and I both agree that maybe it didn't work, but that this might," says King.
"That's really part of my attraction about working with him. He has a lot of courage and ability to go in there and say, 'This isn't supposed to work, but we're going to do it anyway.' "
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