A Clockwork Orange REMIXED

Remix a movie like you would a song. It’s a simple idea, really.

INT – Theater, Day. A harried publicist enters house left. He is disheveled, mid-thirties, and would be the spitting image of Stanley Kubrick, if Kubrick was a nervous Asian. The theater is completely white, blindingly bright, and has a subliminal whiff of fresh milk.

PUBLICIST
I know what you’re thinking. You’re thinking we took the screenplay and then carefully and tastefully adapted the film for the stage – A Clockwork Orange: Xeroxed. Uh … no. Tasteful? Nope. You’re way, way off, amigo. That would be a yawn farm, a snore orgy. A snorgy. This ain’t no uninspired regurgitation. This production takes the ethos of hip hop sample pirates, who mine source materials and then imagine completely new worlds with them. We do the same thing but for film, create a completely new narrative, and then in a blink, abandon everything.

Enter twins holding hands. One has the body of Nicole Kidman, the other Tom Cruise. They both have heads of Peter Sellers.

TWINS (simultaneously)
Silence, Asian Kubrick-esque publicist! It’s you who’s the snorgy. Also, you fail to mention the seamless and stunning integration of several live disciplines: movement, acting, media capture, media playback. Imagine several moving screens playing different streams of film, interacting with dancing actors, while the audience is encapsulated in a cocoon of light and deconstruction. It’s like Cirque du Soleil, if it was curated by Stan Brakhage and did not suck. In fact, it rules! A Clockwork Orange: REMIXED cannot be missed by any art snob or proto-hipster worth their insouciance.

Everyone dances demurely. FIN.