Last night I watched “Good to See You Again, Alice Cooper” at a friend’s house. The film documents the infamous 1973 Billion Dollar Babies tour and is interspersed with comedic shorts. Since I had issue 3 in my stack of things to be read, I couldn’t resist bumping it to the top of the pile.
The comic opens with scenes from a concert at the Philadelphia Spectrum in 1975, which stirred memories of going to concerts in the 70’s, a much more Dionysian era.
In times past, this was your scene, your church, your glory. You drove a crowd into a frenzy, nightly. Then called them back to do it again and again. All carefully designed and planned, a delicate mix of the macabre and the theatrical… the dark, and the delightful… all while walking a line between what was real, and what was show… and what was both to a delicate, deliberate degree.
For me, this perfectly captures the experience of an Alice Cooper performance and what defines stage performance as art. It is the blending of the real and the imagined. You have actual individuals on a stage, and we then project our hopes and fears onto them based upon their actions (act being the root of the word). The fact that real people are before us allows us to suspend belief in a way that film can never quite accomplish. It’s why a Shakespeare play is always better than a film adaptation.
So far, I am enjoying this series. The Alice Cooper persona lends itself well to the graphic novel genre. As a bonus, here’s a clip from the film I watched last night. If you’re an Alice Cooper fan, you should check out the film. Rock on!