Plot
The play is performed as a backer's audition by Bud Davenport and Doug Simon, the authors of a musical about Johannes Gutenberg, which they are pitching to producers who might put their show up on Broadway. Because the minimally-talented and starry-eyed authors don't have a cast or an orchestra, Bud and Doug play all of the roles themselves, wearing hats with the characters' names on them and frequently switching said hats to indicate different characters. Minimal props, such as a cardboard box, pencils, and a chair, are used as well.
Since Bud and Doug's research into the life of Gutenberg (aka a quick Google search) revealed that information on his life is "scant", they take a historical fiction approach, by which they mean that they just made stuff up.
In the play-within-a-play, Johann Gutenberg is a wine presser in the medieval German town of Schlimer, a happy and cheery place except for the fact that the town is horribly dirty and depressing and no one except Gutenberg can read. Intent on saving the townspeople from their own ignorance, Gutenberg turns his wine press into a printing press (he accomplishes this in one night). His beautiful (but dim) assistant Helvetica is in love with him, but Gutenberg is unaware of her feelings. Meanwhile, the show's villain, Monk, an evil monk who worships Satan, attempts to keep ignorance alive so he can control the townspeople through inaccurate readings of the bible and seeks to destroy the printing press. The inept show-within-a-show parodies various musical theater conventions, such as the cheery opening number, a high-octane rock song for the act one finale, kicklines, emotional ballads and an irrelevant "charm song" about biscuits sung by two supporting characters.
Despite their ineptitude, Bud and Doug's high-energy and optimistic performance of their show may be enough to launch their dreams of stardom.
Read more about this topic: Gutenberg! The Musical!
Famous quotes containing the word plot:
“The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.”
—Franz Grillparzer (1791–1872)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)