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To hear the former Brotopians tell it, Gründlehämmer is just the start. Eventually, BROS wants to take on a board of directors and apply for non-profit status (making it easier to get grants and such). As for Gründlehämmer itself, well, it's hard to say. "For me, success for me would be that something happens next," Koehler says. "We're kind of breaking the tip of the iceberg with something cool here." Baltimore Rock Opera Society members have talked about taking the show on the road--difficult for a massive production like this--to do another run in another city, or possibly doing another set of shows in Baltimore.
But, in the meantime, back at rehearsal, the BROS players are pantomiming an impromptu Cesarean section performed by a blade-tipped guitar to rescue the still in-utereo hero of Gründlehämmer from the womb of his murdered mother. Save for the guitar, it plays like a gnarly Shakespeare scene. And, well, save for the songs, too--that's a whole new kind of magic. Tender folk ballads, hard rock, extreme metal--in Brotopia, this is how things are brought forth. Back in the real world, plants grow with sunlight and water, and rock operas grow with dogged determination, meager savings, unfettered enthusiasm, and an idea that can't be big enough.
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