Disney Trumpeting New Theme-Park Musical Plan
ANAHEIM (Orange County Register) -– Here's a multimillion dollar question: Can Disney build a bridge between two lucrative but separate worlds - big-budget musicals and theme parks? It intends to do just that. A live show called "Disney's Aladdin - A Musical Adventure," featuring top singer-dancer-actors and high-tech theatrical effects, opens Jan. 17 in California Adventure's 2,000-seat Hyperion Theater (previews began after Thanksgiving). For the first time, a producer and creative team from the classiest realms of the performing arts will bring a Broadway-quality experience to a domain where animatronics, hard-steel rides and cartoon characters traditionally provide the thrills. "We're embarking on a new kind of entertainment," said Anne Hamburger, Disney's executive vice president for creative entertainment for the company's parks and resorts, who was lured from the Tony-winning La Jolla Playhouse, where she was artistic director. Disney's gamble is the latest example in a growing trend of commingling high art and populist spectacle. Las Vegas offers Cirque du Soleil and the Blue Man Group as counterpoints to gambling and burlesque shows; the ever-expanding Guggenheim Museum takes art to new frontiers, and its galleries showcase exhibits (a world-class collection of motorcycles, for example) that challenge the age-old question, "What is art?"
"Aladdin," a 40-minute show based on Disney's popular 1992 animated film, promises a flying carpet and other feats of gee-whiz stagecraft, and it includes a new song, "To Be Free," by "Aladdin" composer Alan Menken. In making a brand-new (if abbreviated) musical from scratch, Disney is following the formula that has proved successful for its Broadway hits, assembling an illustrious creative team from the world of the performing arts. For "The Lion King," it was designer-director Julie Taymor, darling of theater's avant- garde. For "Aladdin," celebrated opera director Francesca Zambello has been hired for the helm; Lynne Taylor-Corbett, one of Broadway's hottest choreographers, is also on board. The show will be the first production under the supervision of Hamburger, who was instrumental in persuading Taylor-Corbett and Zambello to get involved. Like Taymor and Zambello, Hamburger is from the serious side of the divide between high art and popular art. She made her name in New York as a director of daringly innovative theater in nontraditional spaces. Why is Disney going for such rarified talent? "Because they can afford it," said Rick West, editor and publisher of Theme Park Adventure, an online publication that critiques theme park shows. "I think they feel their product is just as serious as 'Rent' or 'The Producers,' so why shouldn't they hire anyone willing to work on the projects if they are available?" Observers from the performing-arts world see the move as pragmatic. "Traditionally, Disney has often sought a level of quality (in its products) that's quite high. I think they've long ago figured out that it's the quality stuff that makes the most money in the long run," said Gilbert Cates, a respected producer-director who heads the Geffen Playhouse and frequently produces the annual Academy Awards broadcast. But what's in it for the artists, besides making the kind of money that those in traditional high art can only dream about? "In my heart, I'm a populist," said Zambello, one of the busiest directors in opera, known for her imaginative and often controversial reimaginings of traditional repertoire. "I'm interested in reaching the broadest number of people with my work. I think a lot of artists, in their heart of hearts, feel like I do. Not all of us are given the opportunity." Disney's "Aladdin" may be the right product at the right time - or another stumble for an organization trying hard to get out of a rut.
Besides those wonderful Angels, Michael Eisner's beleaguered corporation hasn't found a lot to cheer about lately. Persistent illness on one of its cruise ships. A postponed groundbreaking for a mainland Chinese Disneyland. A $140 million flop with the animated film "Treasure Planet." And - perhaps most shocking to followers of the company's fortunes - far smaller crowds than expected for its 2-year-old, $1.4 billion Anaheim theme park, California Adventure. "The company is disappointed with the attendance figures so far," Disney spokesman John McClintock acknowledged. There's one bright spot in Disney's universe: its theatrical shows. "Beauty and the Beast," "The Lion King" and "Aida" have been reliable money-earners on Broadway and on the road. Perhaps that explains why Disney is willing to invest millions (company officials won't reveal how many) in its latest entertainment invention, the mini-musical. Getting people to come to California Adventure and giving them a satisfying experience without breaking the company bank are the musical's goals, Hamburger said. "I think everything we do needs to attract people to the park. Disney is a for-profit corporation. With (a not-for-profit theater) you can do something that's simply art for art's sake. But that's not the way it is at Disney. What I (produce) has to be good art, but it also has to make sense from a business point of view. For me, that's a really refreshing and exciting challenge." Will "Aladdin" boost attendance at California Adventure? "We regard 'Aladdin' as comparable in attractiveness to a major new ride," said Cynthia Harriss, president of Disneyland Resort. As for how long it runs, "We'll look at how many people who come to the park attend the show, and whether those numbers hold steady." McClintock said average "Aladdin" attendance would be more than 1,500. Would a super-successful "Aladdin" mean more Hyperion Theaters and more mini-musicals at other Disney theme parks? "If something is successful, we build on it," Harriss said, although she added that Disney has no plans for more large live-performance venues or "Aladdin"-type park shows. Judging by audience reactions at previews last week, the jury is still out. "It's awesome," said Melissa Hand, 34, of Tempe, Ariz., who saw "Aladdin" with her husband and four children. "The effects were all great - the elephant, the magic carpet." Jennifer Fink, 27, of Salt Lake City was more measured in her praise. "It's pretty good. It's no 'Beauty and the Beast' yet. It needs some work. But it's got lots of potential."
ANAHEIM (Orange County Register) -– Here's a multimillion dollar question: Can Disney build a bridge between two lucrative but separate worlds - big-budget musicals and theme parks? It intends to do just that. A live show called "Disney's Aladdin - A Musical Adventure," featuring top singer-dancer-actors and high-tech theatrical effects, opens Jan. 17 in California Adventure's 2,000-seat Hyperion Theater (previews began after Thanksgiving). For the first time, a producer and creative team from the classiest realms of the performing arts will bring a Broadway-quality experience to a domain where animatronics, hard-steel rides and cartoon characters traditionally provide the thrills. "We're embarking on a new kind of entertainment," said Anne Hamburger, Disney's executive vice president for creative entertainment for the company's parks and resorts, who was lured from the Tony-winning La Jolla Playhouse, where she was artistic director. Disney's gamble is the latest example in a growing trend of commingling high art and populist spectacle. Las Vegas offers Cirque du Soleil and the Blue Man Group as counterpoints to gambling and burlesque shows; the ever-expanding Guggenheim Museum takes art to new frontiers, and its galleries showcase exhibits (a world-class collection of motorcycles, for example) that challenge the age-old question, "What is art?"
"Aladdin," a 40-minute show based on Disney's popular 1992 animated film, promises a flying carpet and other feats of gee-whiz stagecraft, and it includes a new song, "To Be Free," by "Aladdin" composer Alan Menken. In making a brand-new (if abbreviated) musical from scratch, Disney is following the formula that has proved successful for its Broadway hits, assembling an illustrious creative team from the world of the performing arts. For "The Lion King," it was designer-director Julie Taymor, darling of theater's avant- garde. For "Aladdin," celebrated opera director Francesca Zambello has been hired for the helm; Lynne Taylor-Corbett, one of Broadway's hottest choreographers, is also on board. The show will be the first production under the supervision of Hamburger, who was instrumental in persuading Taylor-Corbett and Zambello to get involved. Like Taymor and Zambello, Hamburger is from the serious side of the divide between high art and popular art. She made her name in New York as a director of daringly innovative theater in nontraditional spaces. Why is Disney going for such rarified talent? "Because they can afford it," said Rick West, editor and publisher of Theme Park Adventure, an online publication that critiques theme park shows. "I think they feel their product is just as serious as 'Rent' or 'The Producers,' so why shouldn't they hire anyone willing to work on the projects if they are available?" Observers from the performing-arts world see the move as pragmatic. "Traditionally, Disney has often sought a level of quality (in its products) that's quite high. I think they've long ago figured out that it's the quality stuff that makes the most money in the long run," said Gilbert Cates, a respected producer-director who heads the Geffen Playhouse and frequently produces the annual Academy Awards broadcast. But what's in it for the artists, besides making the kind of money that those in traditional high art can only dream about? "In my heart, I'm a populist," said Zambello, one of the busiest directors in opera, known for her imaginative and often controversial reimaginings of traditional repertoire. "I'm interested in reaching the broadest number of people with my work. I think a lot of artists, in their heart of hearts, feel like I do. Not all of us are given the opportunity." Disney's "Aladdin" may be the right product at the right time - or another stumble for an organization trying hard to get out of a rut.
Besides those wonderful Angels, Michael Eisner's beleaguered corporation hasn't found a lot to cheer about lately. Persistent illness on one of its cruise ships. A postponed groundbreaking for a mainland Chinese Disneyland. A $140 million flop with the animated film "Treasure Planet." And - perhaps most shocking to followers of the company's fortunes - far smaller crowds than expected for its 2-year-old, $1.4 billion Anaheim theme park, California Adventure. "The company is disappointed with the attendance figures so far," Disney spokesman John McClintock acknowledged. There's one bright spot in Disney's universe: its theatrical shows. "Beauty and the Beast," "The Lion King" and "Aida" have been reliable money-earners on Broadway and on the road. Perhaps that explains why Disney is willing to invest millions (company officials won't reveal how many) in its latest entertainment invention, the mini-musical. Getting people to come to California Adventure and giving them a satisfying experience without breaking the company bank are the musical's goals, Hamburger said. "I think everything we do needs to attract people to the park. Disney is a for-profit corporation. With (a not-for-profit theater) you can do something that's simply art for art's sake. But that's not the way it is at Disney. What I (produce) has to be good art, but it also has to make sense from a business point of view. For me, that's a really refreshing and exciting challenge." Will "Aladdin" boost attendance at California Adventure? "We regard 'Aladdin' as comparable in attractiveness to a major new ride," said Cynthia Harriss, president of Disneyland Resort. As for how long it runs, "We'll look at how many people who come to the park attend the show, and whether those numbers hold steady." McClintock said average "Aladdin" attendance would be more than 1,500. Would a super-successful "Aladdin" mean more Hyperion Theaters and more mini-musicals at other Disney theme parks? "If something is successful, we build on it," Harriss said, although she added that Disney has no plans for more large live-performance venues or "Aladdin"-type park shows. Judging by audience reactions at previews last week, the jury is still out. "It's awesome," said Melissa Hand, 34, of Tempe, Ariz., who saw "Aladdin" with her husband and four children. "The effects were all great - the elephant, the magic carpet." Jennifer Fink, 27, of Salt Lake City was more measured in her praise. "It's pretty good. It's no 'Beauty and the Beast' yet. It needs some work. But it's got lots of potential."
