Intuitively she felt his admiration like a keenness in her own breath. She felt not intimidated by his attention but protected. Mother's Younger Brother (who, in our production comes off much more lackadaisical, aimless privileged upper class white boy) is actually a creepy stalker who follows Evelyn Nesbit everywhere, including watching her through the door of an apartment one night, where he's discovered masturbating and then ejaculates all over Evelyn "like falling ticker tape." For some reason, she knows that he's following her and finds his stalking comforting rather than creepy: He had learned where she lived and what her daily routine was, but he never approached her.Here are some things that happened in the book that do NOT happen in the musical: The text was not even split up with dialogue because there's literally no indented dialogue in the book-all of it is incorporated into the sentences/paragraphs. There are sometimes as many as two or three pages that run together as one paragraph. Let me tell you friends: Doctorow never met a paragraph break that he liked. And then there were noticeable omissions. There were certain points while reading the book where I could see direct pieces had been lifted and put into the musical. Profound observation, I know, since this is true of any adaptation, of course. In many ways, the musical is a completely different experience from reading the book, and in other ways, it is the same. They're an amazing musical theatre team, having written some of my other favourites including current Broadway hit Anastasia, the forthcoming Broadway revival of Once On This Island (they wrote the original too, obvs), and perennial classic Seussical. The musical was written over 20 years ago by Stephen Flaherty and Lynn Ahrens.
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