Jim On Film
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The Broadway Problem
With Broadway shows costing upwards of $10 million and with most shows not even recouping
costs, producers and investors tend to find titles with name recognition to produce.
Whereas in the past, musicals were created from non-musical plays (such as Hello,
Dolly! and My Fair Lady), books (such as The Pajama Game and Oliver!),
or original ideas (such as Anything Goes and The Music Man), now, Broadway
looks to Hollywood for ideas. Right now, the two most popular shows are The Producers--based
on the 1968 Mel Brooks movie--and The Lion King. The musical with the most Tony
nominations this year is Thoroughly Modern Millie, adapted from the classic Julie
Andrews film. Other shows, including Beauty and the Beast, The Full Monty, Sweet
Smell of Success, and the revival of 42nd Street, are all based on films. In
the recent past, Broadway has also seen new musicals based on Saturday Night Fever,
Footloose, and Big. Stage adaptations of The Witches of Eastwick and Chitty
Chitty Bang Bang have both found homes in London, and Elton John is working on a
musical adaptation of Billy Elliott, just one of many film-based musicals in the
works. Furthermore, not only is Mama Mia comprised of previously-written music, but
there are talks of Billy Joel using his music to create a new musical.
While some of these shows have proven to be very successful, others have not been. Either way, when Broadway stages are consumed with film-based adaptations and musicals centered around already-composed music, it leaves little room for new voices, new ideas, or fresh stories.
The Disney on Broadway Problem I
The theatre world in New York fears Disney. Yes, they gave great honor to The Lion King,
but the Best New Musical nomination shut-out for the undeniably popular Aida
signifies that Disney has yet to prove themselves as a legitimate production organization.
If film-based musicals represent the loss of new voices, the "Disneyfication" of
Broadway (as it is sometimes called) represents, to the established authority, the loss of
Broadway. Despite the overwhelming potential to form a new audience base by reaching those
who might only attend a first show if based upon a movie like The Lion King, Disney
is seen as the anti-art--a company with limitless resources ready to turn the beloved 42nd
Street into Dopey Drive, complete with Mickey in costume and rides for the kiddies, a
company ready to take away theatre-space and audiences from traditional Broadway
producers.
The Disney on Broadway Problem II
Disney recently announced its latest projects in development. Among them are a concert
entitled When You Wish, conceived and to be directed by Tina Landau (who directed
the charming revival of Bells Are Ringing in 2001) and best of all, is set to have
some of the greatest Broadway stars singing some of the greatest Disney songs ever
written.
Also among the list are adaptations of Pinocchio (to be directed by Julie Taymor), Mary Poppins, The Little Mermaid, and Tarzan. The sole new project is Hoopz, an autobiographical musical about the Harlem Globetrotters.
Just as they are doing with straight-to-video features, the string of live-action films based on Disney classics, and now with the films based on theme park attractions, Disney/Hyperion Theatricals is preventing itself from being a dynamic creative force in the world of Broadway musicals and has reduced itself to repeating success for financial gain. Based on a non-film source, Aida proves that Disney is more than capable of creating spine-tingling Broadway musicals without having to rely on past successes.
The Disney on Broadway Solution
This is a difficult subject to approach because Beauty and the Beast and The
Lion King are both immensely enjoyable and breathtaking shows. Not only have they
provided many great Broadway performers with a steady income for considerable stretches of
time, but they have also become the first Broadway show for scores of families who might
not otherwise pay the money to attend. It is sure that Broadway’s future audience
will come largely from these two shows. Besides that, if and when other Disney film
adaptations reach the stage, they are sure to be just as good.
But Disney has the resources to do more than reinvent past accolades. They can and should direct their energies to bringing to life the amazing stories that have yet to be told--perhaps musical adaptations of non-musical sources, musical versions of historical people or events, or best of all, new stories. While Disney is still the leader in quality, full theatrical animation, they have resorted to being a follower in (among other things) the world of theatre.
Disney Theatricals also needs to look to new voices to bring their stories to life. So far, Disney has generally relied upon those who have brought past success, such as Alan Menken, Time Rice, Elton John, and writer Linda Wolverton. Of course, Disney should maintain its own group of creative talent, but there is a whole world of new artists whose talents they can either tap or discover. But by consistently looking to past projects for future success, Disney is automatically looking to the same group of writers and composers, leaving them only to utilize new directing, acting, and design talent.
Disney will never earn the complete respect of the Broadway community until it becomes a leader in presenting truly original theatrical productions. They should not settle for creativity in presentation only but set high standards of creativity in all areas of production. Instead of finding the artistic means to bring to life a certain film setting on the stage, Disney should find new stories with which to explore these artistic expressions. Walt Disney built his studio on a foundation of creation and innovation, and while its previous theatrical efforts should not be discounted, Disney Theatricals owes it to itself and its audience to not discount its own abilities.
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-- Jim Miles
Jim On Film is published every other Thursday.
The opinions expressed by our guest columnists, and all of our columnists, do not necessarily represent the feelings of LaughingPlace.com or any of its employees or advertisers. All speculation and rumors about the future of Disneyland and the Walt Disney Company are just that - speculation and rumors - and should be treated as such.
-- Posted May 16, 2002
Copyright Jim Miles. Licensed to LaughingPlace.com.