Many musicals get their narrative strength from conflicted main characters. In the realm of neo-noir science fiction, there are few characters more conflicted than Rick Deckard, the titular Blade Runner. Alongside antagonist, Roy Batty, the pair share an existential criss that are ripe fruit for the sort of soul-searching you find in musicals everywhere. While science fiction is not a genre commonly adapted for musicals, the timeless story of what it means to be human contains all the right themes to make a dramatically compelling and resonant Rock opera. On top of the character drama, there are few grounds more fertile for creative staging than the world Ridley Scott created in Blade Runner. The dramatic beams of light and shadow playing throughout this futuristic Los Angeles would make for a beautiful and stiflingly ominous stage, if the set designer sticks close to the same stylish aesthetic. Show-Stopping Number: "Tears In Rain" - Roy Batty's final solo.
Self-evidently a man who writes for the Internet, Robert also writes films, plays, teleplays, and short stories when he's not working on a movie set somewhere. He lives somewhere behind the Hollywood sign.
