Nuovi musical Disney Opzioni

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Disney tapping new sources for family musicals
Sunday, September 21, 2008 3:28 AM
By Michael Grossberg


Disney has built its Broadway brand with family shows inspired by some of its best-known animated films.

Yet the mostly charmed circle of stage life -- which started with Beauty and the Beast in 1994 and The Lion King in 1997 -- is about to expand.

Beyond the animated titles, the company is seeking more-varied sources for a new cycle of family-oriented musicals, according to Thomas Schumacher, president and producer of Disney Theatrical Productions.

Schumacher discussed the past and future of Disney while visiting Columbus to help oversee a backstage revamping of The Lion King.

The second tour in central Ohio continues through next Sunday in the Ohio Theatre.

"The sweet spot of the business is Disney musicals for the broadest-possible family audiences," Schumacher said.

Hitting that spot, he said, remains the goal.

As the culture shifts, however, Disney is changing to come up with material that connects with new generations and a new era.

Among the new musicals in development:

• Peter and the Starcatchers -- Author Rick Elice (Jersey Boys) and director Roger Rees are adapting the Peter Pan prequel, billed as a play with music, from a 2004 novel by Dave Barry and Ridley Pearson about the young orphan battling pirates in a high-seas adventure. The first workshop production will run Feb. 13 to March 8 at La Jolla Playhouse in California.

• The Man in the Ceiling -- Author-cartoonist Jules Feiffer (Little Murders) and composer-lyricist Andrew Lippa (The Wild Party) are adapting Feiffer's 1995 book about a boy cartoonist who dreams of becoming a successful artist. The show recently had its first reading.

• The Hunchback of Notre Dame -- Disney's first original foreign-language production, which ran from 1999 to 2002 in Berlin, is being revamped for its U.S. premiere. The 1996 animated film inspired by Victor Hugo's novel was rewritten for the stage and directed by James Lapine (Into the Woods). Songs by Alan Menken (Beauty and the Beast) and Stephen Schwartz (Wicked) were added as well.

Following in the footsteps of Disney's first "original" musical, Elton John's pop adaptation of Verdi's Aida, Schumacher is seeking more books and live-action films as sources for new shows because not every animated film can or should be adapted for the stage, he said.

"Animated movies are a form of haiku. You create a series of visual images and thematic concepts and move through it very quickly in 74 minutes," he said.

Moreover, most fairy tales are too similar -- and skimpy -- in plot and character to justify a worthwhile two-act production, he said.

Even with director-designer Julie Taymor's imaginative puppetry and stagecraft for The Lion King, the 88-minute film was expanded into a live show running close to three hours only with a deepening of the characters and their stories, Schumacher said. He shepherded the animated film during his former tenure as president of Disney's animated-film division and later guided its Broadway incarnation.

"Who is Nala and why did she leave Pride Rock? In the movie, she just leaves," Schumacher said.

"The stage version shows that she left because of the drought, . . . and because Scar is making advances on her. Nala sings Shadowlands to explain that she can't stay anymore."

Using the next Disney musical slated to tour as an example, Schumacher said Mary Poppins works well onstage because its story -- a blend of the original novel and the 1964 film -- expands the dynamics of a family that was broken.

Other than The Lion King -- the 1998 Tony winner for best musical -- most Disney musicals have met with a mixed to negative critical response in New York.

From Ben Brantley's January review of The Little Mermaid in The New York Times: "Loved the shoes. Loathed the show. OK, I exaggerate. I didn't like the shoes all that much. But the wheel-heeled footwear known as merblades, which allow stage-bound dancers to simulate gliding underwater, provides the only remotely graceful elements in the musical blunderbuss."

Meanwhile, reflecting the Broadway community's still-wary response to Disney's "invasion" of its turf, the Tony awards have often overlooked Disney musicals or relegated them to lesser design nominations.

Even so, The Little Mermaid and other Disney shows have found an audience.

"The Disney name is a hefty thing," Schumacher said. "We also have a global theater business. We have 17 productions running right now, and only three are on Broadway."


Disney stage musicals and how they have fared in New York or on tour:

• Beauty and the Beast -- 5,461 performances, 1994-2007

• The Lion King -- 4,501 performances to date, opened Nov. 13, 1997

• Aida -- 1,852 performances, 2000-04; toured Columbus in 2003

• Tarzan -- 486 performances, 2006-07

• High School Musical -- limited to a 2006-07 U.S. tour with no Broadway run (the stage version of the TV musical played 42 cities, including Columbus)

• Mary Poppins -- 773 performances to date, opened November 2006; national tour to begin in 2009 in Chicago

• The Little Mermaid -- 293 performances to date, opened Jan. 10

Sources: Disney Theatrical Productions, Broadway reports

[Beast]

Per ora si tratta solo di speculazioni, ma c'è la possibilità che i Muppes invadano Broadway con un musical!

SPECULATION: MUPPETS MAY TAKE MANHATTAN VIA THE BROADWAY STAGE

It will be the quintessential example of life imitating art, but we have learned that Disney Theatrical may have intentions of bringing the Muppets to the theater with possible Broadway and national tour.

It was the third Muppet film, Muppets Take Manhattan (1984), in which Kermit the Frog wrote a musical titled ‘Manhattan Melodies’ and gained aspirations to bringing it to the Great White Way. Hilarity ensued and so did the Muppet Babies.

The speculative news comes once more via secretive domain name registrations. Amongst several new registrations are THEMUPPETSONBROADWAY.COM and THEMUPPETSONTOUR.COM. Although there is nothing in the actual registrations to tie them directly to Disney, we have reasons strong enough to report them as likely being legitimate.

The real question is just how Disney Theatrical plans on bringing The Muppets to stage, particularly Broadway, without cheapening (in a non-Muppety way) the experience. While puppets commanding the stage isn’t unprecedented (take ‘Avenue Q’ for example), it’d be difficult to replace any of the core puppeteers who are identified with each character with others. Unlike ‘Avenue Q,’ the Muppets also tend to keep the puppeteers hidden when performing, so while track is possible, it will ultimately cheapen the experience and takes out the potential bonus of improv. What could happen is a limited run with performances by the actual talent, coupled with a small national tour, but it would be hard to expect much more than that.

Other possible titles being worked on for the stage by Disney Theatrical include 101 Dalmatians (101dalmatiansonbroadway.com and 101dalmatiansontour.com), Bedknobs and Broomsticks (bedknobsandbroomsticksonbroadway.com, bedknobsandbroomsticksontour.com, bedknobsandbroomsticksthemusical.com) and Pinocchio (pinocchioonbroadway.com and pinocchioontour.com). Similar registrations were also made for ‘Bell, Book and Candle,’ which has been staged before and does not appear to belong to Disney Theatrical, but is now apparently being worked into a musical version which could simply be a licensed project not yet announced (bellbookandcandleonbroadway.com, bellbookandcandleontour.com, bellbookandcandlethemusical.com).

Fonte: StitchKingdom

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