The cult phenomenon Doctor Horrible’s Sing-Along Blog, a quirky musical web series created by Joss Whedon, has captured hearts worldwide with its blend of superhero satire, catchy tunes, and relatable characters. For theater enthusiasts and educators, the question of bringing this internet sensation to the stage has often arisen. In recent discussions among theater professionals, the topic of securing performance rights for Doctor Horrible has resurfaced, revealing both the history and current status of staging this unique show.
Initial inquiries into performing Doctor Horrible’s Sing-Along Blog are not new. Stacey Drenk, a theater director, recently sought information regarding the rights for a student-directed production. Her search, however, led to dead ends, with broken links on platforms like MTI’s page, a common resource for theatrical licensing. This challenge is not unique to current inquiries, as the path to legally staging Doctor Horrible has proven to be complex.
Patrick Cassidy, a technical director, shed light on the evolving availability of these rights. Online records indicate that as far back as 2011, the creators of Doctor Horrible’s Sing-Along Blog ceased granting performance rights for both the original show and its musical commentary counterpart, Commentary! The Musical. This information suggests a significant shift in licensing availability over a decade ago, potentially impacting anyone seeking to stage the production in recent years.
However, there’s a fascinating history of Doctor Horrible gracing the stage. John Monteverde, a seasoned theater producer, recounts his experience as possibly the first individual to bring Doctor Horrible’s Sing-Along Blog to a live audience. His production, featuring “Horrible, Hammer and Penny at Curtain Call,” was even documented in a book, though the specific page remains a humorous mystery to him. Monteverde’s journey began with an interest in adapting “Once More With Feeling,” the musical episode of Buffy The Vampire Slayer, for the stage. Interestingly, reaching out to Joss Whedon’s sister-in-law, Maurissa Tancheroen (also known as Groupie #1 within Whedon’s fanbase), led him not to Buffy rights, but to Doctor Horrible.
Whedon, holding the rights to Doctor Horrible, offered royalty-free performance rights specifically for youth theater productions, a testament to his support for young artists and arts education. There was a caveat: the rights extended only to the main show, not the musical commentary tracks associated with the video release. Monteverde’s positive experience working with Whedon highlights a period when access to staging Doctor Horrible was more readily available, especially for educational purposes. He even suggests contacting Maurissa Tancheroen as a potential avenue for current rights inquiries, though her current involvement remains uncertain.
In conclusion, while past productions of Doctor Horrible’s Sing-Along Blog demonstrate its stage viability and Joss Whedon’s past willingness to support youth theater adaptations, the current landscape for performance rights appears restricted. Information from 2011 indicates a halt in granting these rights. For those passionate about bringing Captain Hammer, Dr. Horrible, and Penny to the stage, further investigation into the current rights holders and any potential shifts in policy would be necessary. The history of Doctor Horrible on stage, however, serves as an inspiring reminder of the show’s theatrical potential and its enduring appeal beyond the digital realm.
