Photo by Michael Northrup. Article by Michael Byrne. "The floor of the cavernous old church sanctuary space of 2640 is a minefield of under-construction props. A new second stage, lower and forward of the old one, bears a fresh coat of gray paint. The rough façade of a small wooden village sits in pieces around the room. Against the rear wall sit nearly 20 freshly fabricated, badass-looking fake guitars. A handheld saw bleats, and somewhere underneath all of this mess is the titular Gründlehämmer, a massive ax with soon-to-be-functional LEDs that is promised to look very, very cool.It's about two weeks out from the premiere and three-night run of the Baltimore Rock Opera Society's (BROS) first ever production, Gründlehämmer. Looking around the space--which has been fully and completely dominated by the production--it's immediately apparent BROS is onto something huge with this; or, more importantly, something that couldn't be huge enough.The four principles of the production--Aran Keating, John DeCampos, Dylan Koehler, and Eli Breitburg-Smith--seem surprisingly relaxed as they chat with a reporter while overlooking the set from 2640's balcony. Things are running late, injuries have mounted, and Gründlehämmer is costing more than double what was originally budgeted, already, but there's no question that the rock opera is going to go off and go off in epic fashion..."

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