In unbelievable happenstance, the screen adaptation of Halo has fallen into the capable hands of DramaTech. This production is unfathomably astounding! The story of the document itself is a true tale of hope. From the pen of Alex Garland and the editorial scope of D. B. Weiss and Josh Olson, this poor manuscript has been handed nothing besides false enthusiasm. Peter Jackson, director of the Lord of the Rings film trilogy, graced Halo as executive producer and Neil Blomkamp, director of District 9 to direct this wonder.
Tragedy then befell the happy family when Blomkamp and Jackson both abandoned this shining epic. However, in circumstances I still cannot completely comprehend, DramaTech has received a copy and becomes this story’s Daddy Warbucks (in a very general sense). Although I must gloss over the finer details of last night’s production for suspense purposes, Halo defies any expectation from any games providing concept of Master Chief’s exploits.
Halo exemplifies all genres and subscribes to none. To parse the long list of what I feel are the most compelling: a coming of age relatable to both sexes, a psychotropic experimental drug trip influencing Master Chief’s actions in a complete reworking of the “character” Cortana, a satire of current political workings in a section exemplifying bureaucracy centered on sending paperwork to central filing, and every single musical number is solid gold.
Yes, the musical numbers are fantastically fabulous. It‘s almost as if the purest essence of Mel Brook’s films took roost in the military power fiction of adolescent males. Usually such fanciful productions would interrupt the performance, but rather the play is scattered into a form of episodic shorts where the musical interludes can act as a conclusion, transition or building moment. From this amalgamation an overarching plot is formed.
Now, this technique is nothing unique, but in an interesting creative development the curtain rises to the epic beginning in media res. I understand this artistic direction is a master of survival and yet this gambit works sublimely from curtain up to curtain down. Of course, this review is only of the private April Fool’s screening last night, the ineffability of DramaTech’s masterpiece will be deprived until the final unveiling.