Katyar Kaljat Ghusali (English: A dagger through the heart ) is a 2015 Marathi film based on a play by the same name.
 Directed by Subodh Bhave, the film stars Sachin Pilgaonkar, Shankar Mahadevan, and Subodh Bhave in lead roles.
 The film marks the acting debut for Mahadevan and directorial debut for Bhave.
 The original play premiered in 1967 in Mumbai, where Hindustani classical vocalist Vasantrao Deshpande played one of the protagonists.
 In 2010, the play was relaunched with protagonists essayed by Rahul Deshpande, grandson of Vasantrao Deshpande and singer Mahesh Kale.
 The film's music is composed by Shankar–Ehsaan–Loy, and retained some of the songs from the original play composed by Jitendra Abhisheki.
Lend Me A Tenor is a musical with book and Lyrics by Peter Sham and music by Brad Carroll.
 The musical is based on the 1986 play of the same name by Ken Ludwig.
 There are several notable changes from the play turning it into a full-on musical comedy.
 Changes include, major plot revisions between Tito Merrelli (opera star) and Saunders (opera director), eliminating Frank the Bellhop (one of the lead roles in the play), adding the role of Bernie, the stage manager, expanding the role of Julia into a musical trio of Saunders' three ex-wives, upping the mistaken identity farce from two to the magic number of three and making every character more three-dimensional than the original play.
 Recently revised, the musical now changes the opera within the musical to "I Pagliacci", this change removes questionable elements from Ludwig's play, raising the hilarity to three men running around as opera clowns (Canios) rather than dressed as Otellos.
Krapp, ou, La dernière bande (English: "The Last Tape", German: "Krapp, oder Das letzte Band") is a chamber opera in one act by Marcel Mihalovici with a libretto by Samuel Beckett.
 The libretto is based on Beckett's 1958 play "Krapp's Last Tape", and large portions of the play's script were lifted for use in the libretto.
 Like the play, the opera is a monologue with the only character being that of Krapp.
 The opera was commissioned jointly by the Radiodiffusion-Télévision Française and the Bielefeld Opera, Germany.
 From the very beginning the opera's libretto has existed in three different languages: English (from the original play), French (for the French premiere) and German (for the German premiere).
 It premiered using the French-language version on RTF radio on 15 May 1961 and had its stage debut in Paris on 3 July 1961 at the Théâtre des Nations.
 The original stage production was performed by visiting artists from the Städtische Bühnen, notably American baritone William Dooley singing the title role.
 The work was next performed at the Städtische Bühnen on February 1962 with Dooley singing the role in German.
Orpheus und Eurydike ("Orpheus and Eurydice") is an opera by Ernst Krenek.
 The German text is based on a play by Oskar Kokoschka.
 Kokoschka began writing his play during his convalescence (from wounds received on the Ukrainian front in 1915) and it premiered in 1921, one year before Rilke's Sonnets to Orpheus appeared.
 In 1923 he let it be known that he was looking for a composer to write incidental music.
 Kokoschka's expressionist, psychological treatment of the Orpheus myth, marked by his passion for Alma Mahler, appealed to Krenek so he approached Kokoschka.
Eurydice is a 2003 play by Sarah Ruhl which retells the myth of Orpheus from the perspective of Eurydice, his wife.
 The story focuses on Eurydice's choice to return to earth with Orpheus or to stay in the underworld with her father (a character created by Ruhl).
 Ruhl made several changes to the original myth's story-line.
 The most noticeable of these changes was that in the myth Orpheus succumbs to his desires and looks back at Eurydice, while in Ruhl's version Eurydice calls out to Orpheus (causing him to look back) perhaps in part because of her fear of reentering the world of the living and perhaps as a result of her desire to remain in the land of the dead with her father.
 Ruhl's script has been explicitly written so as to be a playground for the designer of the sets.
Class Enemy ("Klasni Neprijatelj" in local language) is a play produced by the East West Theatre Company from Sarajevo, Bosnia and Herzegovina.
 The play was originally written by a British playwright Nigel Williams, but East West Theatre Company's production was adapted by the show's director, Haris Pašović.
 The original play, set in the South London classroom in early 1980s, was in Pašović's production transported to Sarajevo of 2007.
 The original cast consisting of six high-school boys was replaced by seven characters – three girls and four boys.
 The free adaptation, while keeping the original spirit and main themes, was also inspired by the research conducted in Bosnian classrooms.
Gabriel Möhlich also Mölich (ca. 1590–1640s) was a German Baroque composer and dancing master.
 He graduated from his studies with Heinrich Schütz in 1619 with the publication of his "Geistliche Madrigale" for 4 and 5 voices, Leipzig.
 From 1620 he studied ballet in Paris and in 1638 choreographed Schütz's opera-ballet "Orpheus und Euridice" and ten more Italian "ballette."
Orpheus (full title: Die wunderbare Beständigkeit der Liebe oder Orpheus, "The Wonderful Constancy of Love, or Orpheus") is an opera in three acts by the German composer Georg Philipp Telemann.
 It was first performed in a concert version at the Oper am Gänsemarkt in Hamburg on 9 March 1726.
 The anonymous libretto is based on "Orphée" by Michel du Boulay, originally set by the French composer Louis Lully.
 Most of the work is in German but it also contains passages in French and Italian drawn from famous operas by Handel and Jean-Baptiste Lully.
 The music to these words is Telemann's own, however.
 The manuscript score of "Orpheus" was not rediscovered until the late 20th century.
The opera was commissioned jointly by the Los Angeles Philharmonic Orchestra and the Barbican Centre, and was completed by the composer in eight months.
 Barry himself adapted the libretto from the original play, cutting the text substantially.
 However, Wilde's plot is retained completely, as well as many of his most famous lines.
 The composer has commented: "The text was far too long, and I had to cut around two-thirds of it, but the structure is so strong that I think people will hardly notice.
 I got rid of all the social niceties, which gives a different tone—the butler is not so polite as he was!"
 In describing his technique, the composer has further said in respect of act 3: Everyone's on stage, terrible scandals have been revealed about Miss Prism and the baby, and Canon Chasuble comes in and says "Everything is ready for the christening."
 Everyone just responds with weird vocal slides, there's no text at all.
 He responds by saying, "Your mood seems peculiarly secular" and they do it all again, as if they're animals in a menagerie.
 I was very pleased with that, I thought "I've matched Wilde in madness"
Alma Maria Mahler Gropius Werfel (born Alma Margaretha Maria Schindler; 31 August 1879 – 11 December 1964) was a Viennese-born composer.
 author, editor and socialite.
 She became the wife, successively, of composer Gustav Mahler, architect Walter Gropius, and novelist Franz Werfel, as well as the consort of several other prominent men, notably painter Oskar Kokoschka.
 Musically active from her early years, she was the composer of at least seventeen songs for voice and piano.
 In later years her salon became part of the artistic scene, first in Vienna, then in Los Angeles and in New York.

Question: Who wrote the original play that was inspired by a passion for a Vienne composer, and was the base for the opera Orpheus und Eurydike?
Answer: Oskar Kokoschka