Character
C.B was (in London) and is (in Bochum) one of the more prominent characters. He was the overall bad guy and lynchpin of the plot, manipulating champion engines Greaseball and Electra. In the UK tour he became a less prominent character (technically ensemble, demoted along with Buffy and Ashley), so that Electra and Greaseball had to plot things for themselves. He did, however, still manipulate them, but it was not as obvious and while all of his songs had been removed to keep him cheap ensemble, the introduction to 'Wide Smile, High Style', in which all the plotting is done, remained. Presumably it is close enough to dialogue to not count as a solo.
In June 2008 his role was reduced in Bochum, with 'Dein Freund' cut (apparently to make room for Pearl's newly translated ballad 'Dann pfeift er mir zu '/'He'll Whistle at Me'), along with its reprise in 'Bummellok'. Greaseball and Gang now participate in 'Mein Spiel', disappearing just in time for Electra and Components to come on and do their dance. C.B. is the most evil person on the rails (save Greaseball).
C.B starts off one of his songs with a small anecdote describing heroes going bad; 'All those heroes you love to trust, in the end they all go bust! Robin hood kept all the money, piglet poisened pooh-bear's honey! ET has no flying permit, Donald Duck has eaten Kermit! Bambi set the woods alight! And the Red Caboose has done no right!'
Read more about this topic: CB The Red Caboose
Famous quotes containing the word character:
“When I think of some of the Persians, the Hindus, the Arabs I knew, when I think of the character they revealed, their grace, their tenderness, their intelligence, their holiness, I spit on the white conquerors of the world, the degenerate British, the pigheaded Germans, the smug self-satisfied French.”
—Henry Miller (1891–1980)
“PLAIN SUPERFICIALITY is the character of a speech, in which any two points being taken, the speaker is found to lie wholly with regard to those two points.”
—Lewis Carroll [Charles Lutwidge Dodgson] (1832–1898)
“An actor rides in a bus or railroad train; he sees a movement and applies it to a new role. A woman in agony of spirit might turn her head just so; a man in deep humiliation probably would wring his hands in such a way. From straws like these, drawn from completely different sources, the fabric of a character may be built. The whole garment in which the actor hides himself is made of small externals of observation fitted to his conception of a role.”
—Eleanor Robson Belmont (1878–1979)