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Home , Adam Jacobs, Disney Theatrical Group, Freaky Friday, Freaky Friday (musical), Gavin Lee, James Monroe Iglehart

And so—before you could say “Try the mime, and reached out to gauge her interest. grey stuff!”— (initially (Spoiler alert: She was.) He once said, “With christened Theatrical Productions) , the idea was to redefine what was born. First helmed by Walt Disney Enter- one can do with theater. How do you do a tainment’s , now a Disney Legend, show with animal [characters] in a way that lets DISNEY TAKES the division eventually came under the pur- the audience discover something?” At the time view of Peter Schneider and Thomas Schum- Taymor said, “I was particularly inspired by the acher—Walt Disney Feature Animation execs minimalist ways animals are portrayed in Af- who, as luck would have it, had extensive rican art.” The result was an innovative stage theatrical backgrounds. Together, they spear- production unlike anything audiences had ever headed Disney’s The Lion King on Broadway. seen before. CENTER Schneider left to form his own theater produc- Following The Lion King, Schumacher and tion company in 2001; since then, Schumacher Disney Theatrical Group brought a dazzling has lead what’s ripened into one of the world’s array of musical productions to the Broadway most successful commercial theater enterprises. stage—including , , The Little Mermaid, and . And away from ACT I Times Square, there was a hugely successful “Beauty and the Beast was intended, [with] the stage adaptation of juggernaut original concept, to be very faithful to the High School Musical—as a national tour that movie,” Schumacher says. “[The creative team] first premiered at the Fox Theatre in Atlanta. were all, I think, a bit constrained to make “The minute the house lights went down in it seem like the film. And that’s why you see Atlanta, and [the audience] started screaming, this huge leap with The Lion King, our second I didn’t know what was going on,” remembers production.” the show’s director, Jeff Calhoun. “I mean, I Julie Taymor—then mostly known for was really not prepared for that.” bold, avant-garde theater—was not an obvious “If you think about what we’ve done, By Courtney Potter directorial choice... but Schumacher knew of for the most part, is [we use] material that is her unique work with masks, puppets, and already musicalized,” Schumacher explains. How Disney raises the curtain on productions that touch hearts ll around the

HIGH ATOP the magnificent New OVERTURE Amsterdam Theatre on 42nd Street and Broadway—where Dis- Disney Theatrical Group’s leap onto the Broadway stage reads, ney’s is currently taking audiences to Agrabah eight times appropriately, like a fairy tale of its own. On December 29, 1991, a week—Disney Theatrical Group President & Producer Thomas New York Times critic Frank Rich declared that “the best Broadway Schumacher sits in his office looking to the future... while drawing musical score of [the year] was that written by and from the past. for the Disney animated movie Beauty and the He’s hard at work on multiple projects, including the new musi- Beast.” At Disney Parks’ show director Robert Jess Roth’s urging—“It cal , which will have its licensing premiere this October was Rob’s idea,” Schumacher explains, “he said we should put it on at the Signature Theatre near Washington, D.C. It’s based on the Broadway”—then Disney CEO Michael Eisner and Walt Disney Stu- popular movies of the same name, and on the original book by the dios chairman assembled a team of pros to take late —herself a Broadway player, having written the 2D animation and bring it to theatrical life. Lyricist Howard Ash- Tony-nominated . “She sat in my office, right man had passed from complications of AIDS in early 1991, leaving here,” Schumacher recalls, remembering a fateful meeting just a few composer Alan Menken to wonder whether a stage version of their years ago. At the nearby grand piano, the Freaky Friday creative team beloved project was a good idea. “I had a little trepidation,” Menken (including the Pulitzer Prize-winning composers of Next to Normal, admits, “because I was afraid it was maybe not going to be to and ) had played through a few of the songs Broadway standards... but I should’ve known better.” It was, indeed, for the then-proposed musical version of her story of a mother and a a risk; with a $14 million budget, Beauty was, to that date, the most daughter who switch bodies to—literally—walk in each others shoes expensive Broadway show in history. But its undeniable magic—the for a day. “She had comments and thoughts... but this [story], to her, brilliant songs; colorful costumes and special effects a-plenty; and made perfect sense to musicalize. There’s nothing realistic about the a universal, “feel good” story—helped propel the show into the situation, but everything is realistic about the behaviors. It’s a fable. Broadway-smash stratosphere in 1994. As Menken says, “It ended It’s a fairy tale.” up being a really wonderful, first-class stage musical.” Above: Disney’s Aladdin on Broadway stars Adam Jacobs as Agrabah’s favorite “street rat” with a heart of gold. Right: Beauty and the Beast first took the Indian theatrical world by storm in 2015. 20 DISNEY TWENTY·THREE FALL · 2016 21 Opposite page, top to bottom: Michael Arden stars as Quasimodo in The Hunchback of Notre Dame, which (after a 2014 premiere in San Diego) enjoyed WE’RE NOT TURNING FILMS into musicals; we’re adapting musicals from a successful ’15 run at the in New Jersey; Original cast members Ashley Brown and brought Mary Poppins to life at the New screen to stage. When we put it on stage, you see something altogether new—but Amsterdam Theatre in 2006; , Aladdin’s Tony-winning Genie, in an early rehearsal. This page, clockwise from top to bottom: Disney [you] have something altogether familiar happening to you. That’s the key.” translated Tarzan for the stage with help from visionary aerialists; South African singer Tshidi Mayne has played The Lion King’s Rafiki on stages around the —, president & producer, Disney Theatrical Group world; and original Broadway cast member Kara Lindsay joins the news boys “ in a scene from . it began at Seattle’s , before acher admits. “So we schedule out time—their most powerful thing that we have—this great, several regional productions and an “out-of- approach is so theatrical and so unique”). And great music.” And it’s that music—at the heart “We’re not turning films into musicals; nothing to do with Broadway,” he says. language with local actors. The Lion version that could be done anywhere.” town tryout” in Toronto guided it to the New Anna and Elsa fans, take note: “I’m develop- of so many of Walt Disney’s, and his company’s, we’re adapting musicals from screen Both through its own professional tours, King has been around the world like Menken and his original Newsies cohort Amsterdam in 2014. But the team remained ing with a brilliant team of people,” he successes—that authentically translates these to stage. When we put it on stage, you and through licensing with Music The- this; Aida has been around the world Jack Feldman wrote more tunes, and committed, due in large part to the material— states. “As a group, we’re going to hear it read universal stories for theatrical audiences across see something altogether new—but atre International (MTI), Disney Theat- like this. The other kind is creating a book writer Harvey Fierstein reshaped including several Menken/Ashman songs that by professional actors in a few weeks... really, the globe. “You and I could hop on a plane [you] have something altogether familiar rical shows have indeed gone global. property that is to be mounted by peo- the story. To workshop the show, the were cut from the ’92 film. “Howard was the how could we not? The audience so wants to tonight and see Newsies on tour somewhere in happening to you. That’s the key.” “There’s two fundamental, different ple locally in whichever way they want creative team—including director Jeff great lost talent of our generation,” Menken see the fuller story of Frozen.” America. See The Lion King on Broadway... see And developing a show just for the kinds of licensing,” Schumacher says. to stage or direct it.” A good example: Calhoun (the only director to have says. “Every bit of material that we worked And to think, it all started with a “tale as Aladdin in Tokyo or Hamburg. People always Great White Way, Schumacher says, is “One is a licensed ‘replica’ production; the revamped (and English-language) helmed two Disney musical projects on together—and there’s still a trunk-full of old as time.” “Music is in the DNA of Beauty call us ‘Disney on Broadway.’ But we’re so much shortsighted. “Millions and millions of essentially, it’s the same as the Broad- version of Menken and Schwartz’s from launch)—headed to the Paper Mill wonderful material that we haven’t gotten out and the Beast,” Schumacher notes. “Music is the bigger than Broadway.” people are going to theaters that have way production, just put into the local The Hunchback of Notre Dame. After Playhouse in New Jersey. The results? there—any time that can be brought to the an acclaimed 2014 run at the La Jolla Better than anyone anticipated. As Jeff stage, it’s really a gift to theater audiences. And Playhouse in San Diego, California, the explains, “After our first performance, the fact that we’ve been able to bring it in such title is now available to “ring the bells” we were certain that the audience’s a way that it really supports the movie, but en- inside community and regional theaters overwhelming reaction was [because hances it in such a radical way, is just a blessing. worldwide, thanks to Disney’s licensing it] was filled with friends and family. I credit Chad Beguelin, who wrote the musi- arrangement with MTI. When it sustained night after night, cal’s book, and [director/choreographer] Casey with ‘regular’ people having the same Nicholaw—both of whom totally embraced ACT II reaction—[to have] Newsies catch the this idea.” As Schumacher proclaims, “It’s a big Originally developed specifically for imagination of the public like that, it’s smash, God bless it!” licensing, Newsies—one of Disney almost indescribable.” The production Theatrical’s most recent triumphs—is a moved to Broadway, where a “limited FINALE... AND MANY MORE perfect example of Broadway “kismet.” engagement” became a mega-popular ENCORES TO COME “Every college I would speak two-year run and then a North Ameri- While current shows entertain at home and in at,” Schumacher recalls, “during the can tour. far-flung locales, Schumacher and his troupe Q&A, someone would ask ‘When are Of tantamount importance, of still manage to keep a keen eye on the bright you going to put Newsies on stage?’ course, is the staff Schumacher assem- theatrical horizon. After Freaky Friday’s licens- Alan [Menken, who composed the bles behind each production—whether ing debut, the development pipeline includes a 1992 cult classic’s songs] would get the it goes out for licensing, or premieres in musical version of The Princess Bride (“The team same thing—the people wanted it. So the Big Apple. Disney’s Aladdin had a is so high-end, that just getting them all in the we knew we could create a licensed somewhat circuitous route to the stage; same room is very, very challenging,” Schum-

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