Ben There, Done That

Friday, Sept. 3, 2004 | 5:05 a.m.

WEEKEND EDITION

September 4 - 7, 2004

What: "We Will Rock You."

When: 9 p.m. Fridays, Sundays and Mondays; 7 p.m. and 10:30 p.m. Tuesdays, Wednesdays and Saturdays; 5 p.m. Sundays. Dark Thursdays.

Where: Paris Las Vegas' Le Theatre des Arts.

Tickets: $80.50, $97 and $113.50.

Information: 946-4567.

Deep in the bush country of Western Australia, in the wine-producing region along the Margaret River 300 miles south of Perth, Ben Elton talked by telephone from his home about "We Will Rock You" at Paris Las Vegas.

The 45-year-old Elton wrote and directed the musical, in collaboration with Queen, one of the top rock groups in the world in the '70s and early '80s.

Elton, a stand-up comedian, has written seven novels, four plays and several TV series in his native England. He has starred in and directed films. And he has written three musicals, including "The Beautiful Game," with Andrew Lloyd Webber; "Tonight's the Night," featuring the songs of Rod Stewart; and "We Will Rock You."

"Rock You" premiered in London in 2002, in Australia and Spain in 2003 and in Las Vegas last month. A fifth production is scheduled to debut shortly in Germany.

The Vegas version, while adhering to the original plot, is somewhat different from the London version, which has been a big hit since it opened. During his interview with the Sun, Elton discussed the changes.

Las Vegas Sun: Did you have any problems Americanizing the production?

Ben Elton: At first it was a very daunting process -- it's 35 minutes shorter than in Australia and England. I had to make some music cuts, cut the length of some songs, organize a much shorter version of the story.

I decided to use the screen more, which slickens things up. Slapping a policeman onto the screen shaved many minutes from the story.

Sun: Were you concerned that the story might not work in the United States?

Ben Elton: It is an English show -- it really is very British. I just knew it wasn't going to work (in America). The context is very, very different. There was no guarantee at all that it would work. But they wanted it for Vegas, so I knew if it had a real chance then I had to go back to basics.

Sun: You've adapted the production to other audiences -- in Australia and Spain. Was Vegas more difficult?

BE: In Vegas there was a much bigger customization than ever before. I had to cut it by a half hour, down to a 90-minute turnaround. I had to go to America to make this an American show. We decided to set it in Vegas.

In the English production the guitar is buried at Wembley Station, where Queen made "Live Aid" in 1985. In the American version the guitar is found in the decaying gates at Graceland. Being able to thread the Elvis legend throughout the American version was great. It seems so perfect.

Sun: What else did you do to Americanize the production?

BE: There are different references. For example in Vegas there is a character Puff Daddy -- he is called McCartney in Britain. Paul McCartney is a huge figure in America, as well, but there is a different public perception. I think he is held in more respect in America. We decided on using Puff Daddy because he sees himself as a cut above the rest.

You have to find the right name. I spoke to a lot of people -- waiters and others. "Hey, have you ever heard of this person or this song?"

Sun: What were some of the other references?

BE: We came up with "Grandma Got Run Over by a Reindeer" as one of the song references in the story. It's a basic core joke, only with a different reference. I do it everywhere, find local differences. For the German production, I had find out what the German (bad) songs were.

We shall change the references from time to time. For example, Clay Aiken may be forgotten in a short while and we will have to find a new reference.

Sun: Did it bother you to tinker with your successful production?

BE: The basic reconstruction initially was an enormous frustration, but it became a joy. It was an opportunity to rewrite a success not many get.

It was a huge kind of effort to turn it into an American show. I was very, very relieved, indeed, that I, an Englishman, could successfully do an Americanization.

Sun: Was it difficult to find a cast?

BE: Casting -- 90 percent of directing is casting. Casting is crucial. We worked extremely hard on the casting process. I needed people who could do comedy and who could sing. We came up with a sparkling cast. They are so good -- even the covers (understudies). There is such a lot of quality and depth in the company.

Sun: How long do you expect the production to be in Vegas?

BE: Hopefully forever. The Paris spent a lot of money.

Sun: What are your thoughts now that the show is up and running?

BD: Frankly, the truth is I discovered that, even though it is a tight show in London and Melbourne, there was a lot one could lose.

What I did was, I discovered that the tighter storytelling gave me more opportunity for comedy -- and placing some of the story in Vegas, it's like wheels within wheels: a story about Vegas taking place in Vegas. Frankly, I think it's a better show. Rarely does a writer such as myself get to rethink a success.