tag:blogger.com,1999:blog-54142511662016489822024-03-16T11:52:47.693-07:00Fairy Tale FanboyRaphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.comBlogger59125tag:blogger.com,1999:blog-5414251166201648982.post-8861771479486769842020-05-15T11:45:00.001-07:002020-05-31T02:54:38.482-07:00Frozen Closes on Broadway – What Next for Disney Theatrical?<div class="separator" style="clear: both; text-align: center;">
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<br />
The COVID-19 Pandemic has caused the worlds of film and
theatre to grind to a near-total standstill. Of the various fairy-tale related
entertainments mentioned in the <a href="https://fairytalefanboy.blogspot.com/2020/01/2020-fairy-tales-preview-part-one.html">Fairy Tale Fanboy</a> <a href="https://fairytalefanboy.blogspot.com/2020/01/2020-fairy-tales-preview-part-two.html">2020 preview</a>, several have
been delayed to later in the year (the live-action <b>Mulan</b>) moved to 2021 (<b>Raya and
The Last Dragon</b>) or cancelled entirely (The UK Premiere of <b>Rogers & Hammerstein’s
Cinderella</b> in Manchester). Out of all the sectors of the arts and entertainment,
theatre is probably the worst affected by the COVID-19 Crisis for a variety of
reasons. Major theatres have a reputation for being cramped and crowded, the
high running costs of plays and musicals mean it is financially impossible to perform
to a reduced capacity, and actors are arguably in even greater danger of
contracting the disease than audience members. With Broadway theatres left closed
for months as a result, several major productions were bound to shut down permanently
and yesterday, Disney Theatrical head producer Thomas Schumacher announced that
the Broadway production of <b>Frozen</b> <a href="https://www.nytimes.com/2020/05/14/theater/frozen-broadway-closing-virus.html">would not return</a> when Broadway reopened. The
production, based on Disney’s 2013 hit of the same name, had been playing at the St James
Theatre for two years, completing 825 performances and 26 previews by the time
it closed. <b>Frozen</b> adapted the story of Anna and Elsa for the stage, with the
classic songs from the film (Including 'For The First Time In Forever' and 'Let It
Go') joined by new songs such as 'Monster' and 'What Do You Know About Love?'.
Though it was probably not Disney Theatrical’s strongest production, the news that
<b>Frozen</b> was closing still feels like a devastating blow. It is the first major
Broadway musical to close permanently because of the COVID-19 pandemic (<b>Beetlejuice</b>
was forced to shut <a href="https://www.playbill.com/article/beetlejuice-officially-closes-at-the-winter-garden-theatre-after-broadway-extends-shutdown">three months earlier than planned</a>, but its closure had been
announced months before lockdown) highlighting how precarious the theatre
industry truly is. With all theatre producers having to tighten their belts,
Schumacher has decided to focus on preserving the long-running Broadway
adaptations of <b>The Lion King</b> and <b>Aladdin</b>, ensuring that those two will be able
to survive months (and possibly years) of instability for New York’s major
theatres.<br />
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<br />
From a financial perspective, the decision to close <b>Frozen</b>
is probably the correct one. To tell the truth, <b>Frozen</b> would have probably announced
its closure by the end of the year, even if Broadway was operating normally. Of
the three Disney productions on Broadway, it was the lowest earner by some
distance, and its long-term prospects were looking fragile for months. Despite being a big hit in its
first year, the mixed reviews and underwhelming performance during the 2018 awards season (it only received <a href="https://time.com/5259012/2018-tony-nominations-list/">three Tony nominations</a> in a very weak year) took their
toll on <b>Frozen</b>, and it was falling to earnings <a href="https://www.broadwayworld.com/grosses/FROZEN">as low as $800,000</a> – a huge
problem for a family blockbuster based on a relatively recent hit movie. The
production recently made several updates (including more colourful staging and
<a href="https://www.playbill.com/article/watch-frozens-ciara-renee-and-mckenzie-kurtz-perform-i-cant-lose-you">a new song</a> called “I Can’t Lose You”) to bring it in line with the <a href="https://www.latimes.com/entertainment-arts/story/2019-12-03/frozen-musical-tour-song-i-cant-lose-you">better-received</a>
touring adaptation, but it is unlikely those would have raised interest enough
to draw casual audiences. The musical relied heavily on the summer tourism to generate
most of its profits, but the recent confirmation that Broadway theatres would
be closed until <a href="https://www.cbsnews.com/news/broadway-shows-new-york-closed-september/">at least September</a> (and probably later) meant that this major
period was lost. Ultimately, Broadway is a business, and decisions are governed
by what will make the most money and lose the least. In this context, it is no surprise
that Schumacher chose to cancel <b>Frozen</b>, which was unlikely to recover from the losses
caused by lockdown.<br />
<br />
However, it still feels crushingly unfair. <a href="https://www.broadway.com/buzz/197764/ciara-renee-mckenzie-kurtz-ryan-mccartan-to-join-frozen-on-broadway/">The new cast</a>
(including Ciara Renee as Elsa and McKenzie Kurtz as Anna) had been in their
roles for only three weeks when lockdown begun, and they have been told that
they are unable to return to their roles because of a disaster entirely outside
their control. Ryan McCarthan, who had just taken over in the thankless role of
Prince Hans, <a href="https://www.broadwayworld.com/article/BWW-Review-Disney-on-Broadway-25th-Anniversary-Concert-Livestream-Brings-Out-Broadways-Biggest-Stars-for-a-Good-Cause-20200423">recently hosted </a>the online screening of last year’s Disney On
Broadway concert, and dismissing him after his hard work there feels like an extra
cruel insult. In addition, <b>Frozen</b>’s status as the only female-led Disney
adaptation on Broadway (in contrast to the very masculine worlds of <b>The Lion
King</b> and <b>Aladdin</b>) means that cutting it so quickly feels a little regressive in
an age where theatre is striving for greater diversity and representation. The
closure also feels insulting for the Frozen fandom, which is famously
passionate and loyal. Elsa and Anna are icons for many (such as those
struggling with mental health issues) and these fans deserve respect and
recognition. It would be good if Disney Theatrical and the <b>Frozen</b> Broadway team
provided these fans with a parting gift, such as a reunion concert for the lost
cast or a filmed version of the production for streaming.<br />
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<br />
<br />
Cancelling its run on Broadway does not mean the end for
<b>Frozen</b> on stage. <span style="mso-spacerun: yes;"> </span>The touring production
may be currently suspended, but it will certainly resume when things get better
for theatres. No longer having to compete with the Broadway version gives the touring
production to enjoy the advantage of being the “definitive” version of the
<b>Frozen</b> musical, and we should not rule out the possibility that the newer
<b>Frozen</b> Broadway cast members will join it on future stops. International
productions in Germany, Australia and Japan are opening <a href="https://broadwaynews.com/2019/03/19/frozen-to-bring-productions-to-australia-london-and-germany/">in the next year</a>, but
the main attraction for <b>Frozen</b> fans will probably be the West End production,
which will open in the prestigious Theatre Royal Drury Lane. In fact, it is
likely that Schumacher closed <b>Frozen</b> on Broadway in order to focus on these productions,
as he announced that the early closure would allow the sets and costumes to be
used elsewhere. In the longer term, the closure of <b>Frozen</b> means that it could
be opened up for regional and amateur productions, joining the <a href="https://www.mtishows.com/disneys-frozen-jr">abridged versions</a> <b>Frozen Jr</b> and <b>Frozen Kids</b> in the MTI Shows stable. <b>The Little Mermaid</b>
and <b>Tarzan</b> were even less successful than <b>Frozen</b> but have proven popular in
licensing. Combined, the touring, international and licensed versions of <b>Frozen</b> will make
more money for Disney Theatrical than the Broadway production ever could.<br />
<br />
With <b>Frozen</b>’s run on Broadway now over, discussions will
turn to which productions come next for Disney. The St James Theatre is not owned
by Disney, so the owners will not necessarily replace <b>Frozen</b> with a Disney
production. However, Schumacher has revealed that several other Disney Theatrical
projects are in the pipeline. At the moment, we aren’t sure which of these (If
any) will make it all the way to New York, but they will certainly provide more
entertainment for Disney fans.<br />
<br />
<b></b><br />
<b><u>Hercules</u></b><br />
<u></u><br />
During summer 2019, Disney teamed up with Public Works NY to
stage an adaptation of their 1997 animated film <b>Hercules</b> at the open-air
Delacorte Theatre in Central Park. The production blended Disney pizazz with
community theatre charm, with several Broadway big names in the lead roles (Jelani
Aladdin as Hercules, Roger Bart as Hades, James Monroe Iglehart as Phil) and dozens of ordinary New Yorkers in the supporting cast. The production
proved a huge success and was one of Disney Theatrical’s <a href="https://nypost.com/2019/09/02/central-park-hercules-is-a-heartfelt-wake-up-call-for-disney/">most acclaimed musicals</a>
in years. It is therefore no surprise that Disney Theatrical have confirmed
plans for an expanded two-act version.<br />
<br />
Alan Menken and David Zippel are returning to write for this
production – having added five extra songs for the Delacorte Theatre
production, they could expand the soundtrack further and make it even stronger. Robert Horn, who
wrote the Tony-Award winning book to the musical <b>Tootsie</b>, has been added to the
writing team. This is a good appointment – Horn’s witty script was one of the
most acclaimed aspects of <b>Tootsie</b> (“I live in an apartment so small I count the
litter box as a guest bathroom. My phone no longer recognizes my face ID unless
I’m crying.”) and he is perfectly suited to the task of bringing one of Disney’s
most comedic films to a wider audience. Lear DeBessonet, who directed the original
production, will return to direct the new one, hopefully allowing Disney to
maintain the balance between professional spectacle and amateur charm which
made the Delacorte Theatre run so successful.<br />
<br />
<b></b><br />
<u><b>Beauty and the Beast</b></u><br />
<b></b><u></u><b></b><br />
Opening on Broadway in 1994, <b>Beauty and the Beast</b> was the
first Disney Theatrical production and ran for an impressive 13 years. The 2017
live-action adaptation renewed interest in the story, and it will now become
the second Disney Theatrical musical (after <b>Mary Poppins</b>) to enjoy a major revival
production. The original creative team (screenwriter Linda Woolverton, composers
Alan Menken and Tim Rice) will return, but we don’t know whether they will make
any changes. Will they stick to the romantic approach of the original Broadway
production, adopt the more lavish style of the live-action version, or do
something different with the “Tale as old as Time”?. The production <a href="https://www.playbill.com/article/beauty-and-the-beast-to-premiere-in-country-in-year">will premiere</a> at a major “overseas” venue before returning to America, and it could demonstrate
that the stage version of <b>Beauty and the Beast</b> can be considered an iconic
musical in its own right.<br />
<br />
<br />
<b><u>Aida</u></b><br />
<u></u><br />
Something of a cult favourite, <b>Aida</b> is the only major Disney
theatrical musical not based on a pre-existing Disney film. Adapted from the Verdi
opera of the same name, it allowed Disney Theatrical to take a darker and more
dramatic approach, winning four Tony Awards and running for a solid four years.
After several touring and regional productions, it is no surprise that Disney
Theatrical want to create a major new take on <b>Aida</b>. David Henry Hwang, who co-wrote
the original book, has revised the script to consider new research about the lives
of ancient Egyptian rulers. The original plan was that this version would
premiere in New Jersey’s Paper Mill Theatre in January 2021 and tour the USA,
but Disney Theatrical have <a href="https://www.broadwayworld.com/article/Re-Imagined-AIDA-Will-Not-Premiere-at-Paper-Mill-Playhouse-Plans-Underway-for-German-Production-in-2022-20200515">postponed it,</a> and are instead planning to stage the
production in Germany.<br />
<br />
<br />
<b><u>The Princess Bride</u></b><br />
<u></u><br />
An adaptation of this classic 1987 film has been in
development for a while, but it is closer to Broadway than ever, with David
Yazbeck (<b>Dirty Rotten Scoundrels</b>, <b>Tootsie</b>) writing the songs and Bob Martin (<b>The
Prom</b>) co-writing the script. A workshop for <b>The Princess Bride</b> was due to take
place <a href="https://www.broadwayworld.com/article/BWW-Exclusive-Thomas-Schumacher-Reveals-Next-Steps-for-HERCULES-AIDA-More-20200226">this spring</a> but has presumably been delayed. However, we can still expect
it to reach the stage soon – iconic characters like Princess Buttercup, Inigo
Montoya and Vizzini are perfectly suited to the world of theatre…<br />
<br />
<br />
<b><u>The Jungle Book</u></b><br />
<u></u><br />
Given the enduring popularity of the 1967 animated film and
the Rudyard Kipling novel it is based on, it is no surprise Disney are
interested in bringing <b>The Jungle Book</b> to the stage. They sponsored a <a href="https://www.nytimes.com/2013/06/23/theater/the-jungle-book-comes-to-the-stage.html">2013 stage adaptation in Chicago</a>, directed by Mary Zimmerman and<span style="mso-spacerun: yes;"> </span>choreographed by Christopher Gatelli (<b>Newsies</b>)
<span style="mso-spacerun: yes;"> </span>With <b>Hadestown</b> legend Andre De Shields
in the cast, the production was well-received and played in Boston, but did not
go any further. However, after the 2016 live-action adaptation proved a
success, Disney are going to take a second shot at bringing <b>The Jungle Book</b> to
the stage. Gatelli is returning to direct this new version, with Rajiv Joseph writing
the script. The iconic Sherman Brothers songs (Including “The Bear Necessities”)
will remain, with Richard Sherman adding new ones.<br />
<br />
<u></u><br />
<b><u>Bedknobs and Broomsticks</u></b><br />
<b></b><u></u><br />
Disney's 1971 film Bedknobs and Broomsticks followed the same winning formula as Mary Poppins seven years earlier (right down to the Sherman Brothers songs and featuring David Tomlinson as one of the main protagonists) but has a family-friendly charm of its own and deserves to find a wider audience. Blending magic,
fantasy and wartime adventure, it can easily be updated for modern
sensibilities without losing its classic feel. <span style="mso-spacerun: yes;"> </span>A musical adaptation of <b>Bedknobs and
Broomsticks</b> was meant to premiere in Chicago in 2019, but the <a href="https://www.chicagotribune.com/entertainment/theater/ct-ent-six-chicago-shakespeare-1221-story.html">production was cancelled</a> after director Rachel Rockwell suddenly died. However, the project
will now premiere in Britain, with Candice Edmunds and Jamie Harrison directing
it.<br />
<br />
<br />
<b><u>Night At The Museum</u></b><br />
<b></b><u></u><br />
Acquired by Disney in their purchase of 20<sup>th</sup>
Century Fox, 2006 family film <b>Night At The Museum</b> is an odd choice for a
theatrical production, but could work pretty well. With an all-star cast headed by Ben Stiller, <b>Night At The Museum </b>did not
quite live up to the promise of its fascinating concept (Items in a museum come
to life when the doors are closed) but it spawned two sequels and retains a fanbase.
Disney legend Alan Menken (also working on <b>Beauty and the Beast</b>, <b>Hercules</b> and
the live-action <b>The Little Mermaid</b>) <a href="https://www.theatermania.com/new-york-city-theater/news/alan-menken-working-on-enchanted-seque_90849.html">announced this project</a> a few months ago,
but no other members of the creative team have been revealed. This project is still
pretty far away, but the idea of bringing a museum to life on stage is full of
promise, and it would be great if Disney Theatrical go through with this
adaptation. <br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1tag:blogger.com,1999:blog-5414251166201648982.post-55177994024018432032020-01-06T16:30:00.002-08:002020-01-09T11:35:11.562-08:002020 Fairy Tales - A Preview (Part Two) <span style="background-color: white; color: #222222; font-family: "arial" , sans-serif;">(Read Part One Of This Article </span><a href="https://fairytalefanboy.blogspot.com/2020/01/2020-fairy-tales-preview-part-one.html" style="font-family: arial, sans-serif;">Here</a><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif;">)</span><br />
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<span style="background: white; color: #222222; font-family: "arial" , sans-serif;">As 2020 starts, it's time to look at the culture
and entertainment ahead of us in the next 52 weeks, and a lot of this will be from
or inspired by classic fairy tales, myths and legends, and children's stories.
There are so many interesting things for fairytale fans to enjoy this year that
this article is being split into two parts. The first part focused on movies
and TV. The second part of this article will focus on theatre, literature and
the arts. YA books, musicals and even art exhibitions are among the attractions
which will entertain fairy tale fans in 2020…<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial" , sans-serif;"><b><u><span style="font-size: large;">Art and Literature</span></u></b></span></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>All The Stars and Teeth (published February 4<sup>th</sup>)</u></b></span></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u><br /></u></b></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr69FMcjqBJZH85gv7he86CoVUrNgOyli2y_Uz8Rl6OlI4X9AIpzlTsF2Nl48QCxZ5lwU9d6Mg0LVuWjXL1GpAdGCfyroF9e_NQ4oMqwz3f-gLKN3qQBTzEtGJHI8aQHQsnyzLEmZQZ8A/s1600/Stars+and+Teeth.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="664" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr69FMcjqBJZH85gv7he86CoVUrNgOyli2y_Uz8Rl6OlI4X9AIpzlTsF2Nl48QCxZ5lwU9d6Mg0LVuWjXL1GpAdGCfyroF9e_NQ4oMqwz3f-gLKN3qQBTzEtGJHI8aQHQsnyzLEmZQZ8A/s320/Stars+and+Teeth.jpg" width="207" /></a></div>
<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u><br /></u></b></span></span>
<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">Every year, authors and publishers provide plenty
of fantasy epics aimed at the Young Adult audiences. With their grand worlds
and distinctive characters, they are incredibly popular with their fandoms, and
several go on to become major franchsies. One which could enjoy major success
in 2020 is <b>All The Stars and Teeth</b>, by newcomer Adalyn Grace. She began her
writing career working in the story team for the epic animated series <i>The Legend of
Korra</i>, and the lessons she learned there are in full evidence in <b>All The Stars
And Teeth</b>. The novel tells the story of a princess named Amora Montara, who
needs to master an especially dangerous form of “soul magic” if she wants to
become heir to the throne of her kingdom. When she loses control of this magic,
she has to go on an epic sea quest with a pirate in order to prove she is
worthy of being a future ruler. Amora has to deal with a variety of obstacles, including
a stowaway, scary and vengeful mermaids and a mysterious Dark Magic which is
endangering her kingdom. <span style="mso-spacerun: yes;"> </span><b>All The Stars
and Teeth </b>is one of the most anticipated YA books of 2020, as it has <a href="https://www.curtisbrown.co.uk/client/adalyn-grace/work/all-the-stars-and-teeth#!">received endorsements</a>
from popular YA fantasy icons like Tomi Adeyemi (the woman behind the <i>Children
of Blood and Bone</i> series) and Hafsah Faizal. Grace is apparently starting work
on a sequel, and we can expect plenty of epic novels from her in the future. </span></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>Girl, Serpent, Thorn (Published May 12th)</u></b></span></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u><br /></u></b></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEpIps1uofpuyT2nC28FoIrhucSg0FnTVqIrrM8CLd_fTlv4zIBnVWMOWaYn3eZ40mRxOWpp3BiuHcCeBnhyf7ncoQb6QqshqUSShbJy7EWyGI4OYhSqqZS2ic6vDCOcKMqmBoLH51vNs/s1600/Girl+Serpant.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="982" data-original-width="646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEpIps1uofpuyT2nC28FoIrhucSg0FnTVqIrrM8CLd_fTlv4zIBnVWMOWaYn3eZ40mRxOWpp3BiuHcCeBnhyf7ncoQb6QqshqUSShbJy7EWyGI4OYhSqqZS2ic6vDCOcKMqmBoLH51vNs/s320/Girl+Serpant.jpg" width="210" /></a></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><b><u><br /></u></b></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">With her 2017 novel <i>Girls of Snow and Glass</i>,
Melissa Bashardoust put an eerie and imaginative feminist spin on <i>Snow White</i>,
which gained considerable attention from fairytale and YA fans. Second novels
are always a challenge, but Bashardoust is using her second novel, <b>Girl,
Serpent, Thorn</b>, to cement her position as a major new talent. The story is set
in a Persian-inspired Kingdom, and concerns a princess named Soraya. Since
birth, Soraya has been afflicted by a curse which renders her poisionous to the
touch. As a result, she has been unable to leave her palace, but when her twin
brother gets married, Soraya finds the lack of freedom unbearable, and seeks
out a demon who could allow her to venture into the wider world. Needless to
say, this decision generates a variety of problems for Soraya, who soon finds
herself wrestling with the destructive consequences of her powers. The premise
has echoes of Nathaniel Hawthorne’s short story <i>Rappaccini's Daughter</i> and the
Indian myths which inspired it, but promises to provide something original by telling
the story from the perspective of the female lead, and making her attempts at
coming to terms with the curse into the focal point of the story. It seems like
<b>Girl, Serpent, Thorn </b>will further demonstrate that Bashardoust is one of the
biggest <span style="mso-spacerun: yes;"> </span>rising stars in the YA genre. </span></span><br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>Ray Harryhausen: Titan of Cinema (Runs May 23rd – October 25th)</u></b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8b9pP1YDpAU8HUXqg_xj7gr_wZM1I_7Ds18wWXPuK9x7sFasbcGW12mswLMNoKM8pme1yDkFf4WByTciRyiZAdayXfGwY8HBKSCqNn5oQuxyt8XmjO_LC6VGKNw6ECCuBjk2Vpy7S8s/s1600/HarryhausenGodfatherList.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD8b9pP1YDpAU8HUXqg_xj7gr_wZM1I_7Ds18wWXPuK9x7sFasbcGW12mswLMNoKM8pme1yDkFf4WByTciRyiZAdayXfGwY8HBKSCqNn5oQuxyt8XmjO_LC6VGKNw6ECCuBjk2Vpy7S8s/s320/HarryhausenGodfatherList.jpg" width="320" /></a></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><b><u><br /></u></b></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">Ray Harryhausen was the special effects guru who worked on a variety of epic fantasy and adventure films between the late 1940s and early 1980s. He specialised in stop motion animation, using it to create a variety of memorable monsters in blockbusters like <b>Jason & The Argonauts</b>, <b>The Adventures of Sinbad</b> and <b>Clash of the Titans</b>. Harryhausen became a <a href="https://www.creativeboom.com/inspiration/ray-harryhausen/">formidable influence</a> on all the filmmakers who watched his movies as children, including Tim Burton, Steven Spielberg and Peter Jackson. In order to mark 100 years since his birth, the National Galleries Scotland will be holding a retrospective of his work. <a href="https://www.nationalgalleries.org/exhibition/ray-harryhausen-titan-cinema">The exhibition</a> in Edinburgh's Scottish National Gallery of Modern Art will be dominated by <a href="https://www.rayharryhausen.com/ray_harryhausen-_titan_of_cinema/">Harryhausen’s creations</a>, with impressive work from conservation teams keeping these rubber models in good condition decades after their creation. Harryhausen’s drawings and artwork will also be showcased prominently, demonstrating the extent of his talent and vision. In addition, Harryhausen’s collection of books and tools will be showcased, revealing the amount of research and effort which went into creating his creatures. The National Galleries Scotland also promise to provide insights into Harryhausen’s life and the artists who inspired his unique approach. The artistic skills of special effects experts are often overlooked, so the Scottish National Gallery of Modern Art exhibition makes a valuable case for recognising the creatives who bring fantasy worlds and characters to life on the big screen. </span></span><br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>Alice: Curiouser and Curiouser (Runs June 27th – January 10th 2021)</u></b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2NJCF2WTmDxfnia_thbipDpu8XBDUiCqc2LDo46wieF_s678JPIAFYGRbgEx_H2Nac_wUtkitYc-ubafPKewsaVqacZL44b9bYLyZo83rH4_Cqkd5baY9Dp4QpUveO2pMQnSQhqDDoNk/s1600/V+and+A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2NJCF2WTmDxfnia_thbipDpu8XBDUiCqc2LDo46wieF_s678JPIAFYGRbgEx_H2Nac_wUtkitYc-ubafPKewsaVqacZL44b9bYLyZo83rH4_Cqkd5baY9Dp4QpUveO2pMQnSQhqDDoNk/s1600/V+and+A.jpg" /></a></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">In recent years, London's prestigious V&A Museum have provided exhibitions on major topics ranging from ranging from Opera and <i>Winnie the Pooh</i> to David Bowie and video games, but their examination of <i>Alice In Wonderland</i> promises to provide audiences with an entirely new and unique experience. Veteran stage designer Tom Piper is designing the <b>Alice: Curiouser and Curiouser</b> exhibition, taking advantage of the underground exhibition space to really give audiences a trip down the rabbit hole into <a href="https://londonist.com/london/museums-and-galleries/alice-in-wonderland-exhibition-v-and-a-2020">an exciting and mysterious immersive world</a>. The exhibition will contain an incredible 300 items, showing how Lewis Caroll created <i>Alice In Wonderland</i> and exploring its impact on films, theatre, art and other aspects of popular culture. With illustrations for the original tale and costumes from theatrical versions sitting alongside paintings by the likes of Salvador Dali and Peter Blake, it promises to provide <a href="https://www.vam.ac.uk/exhibitions/alice-curiouser-and-curiouser">a fascinating insight</a> into how <i>Alice In Wonderland</i> has inspired artists and creatives over the decades.</span></span><br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>Cinderella Liberator & 3 New Fairytale Books (published in the UK in October) </u></b></span></span><br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><b><u><br /></u></b></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">Last year, the feminist commentator Rebecca Solnit moved into children’s fiction with her feminist fairytale <b>Cinderella Liberator</b>. She created a modern update of the age-old <i>Cinderella </i>story, maintaining the theme of a girl escaping her miserable existence, but updating it for an audience sick and tired of traditional romantic clichés. The story starts in the traditional way, with Cinderella going to the ball and losing her glass slipper, but instead of becoming a princess, Cinderella does something different and far more impressive with her life. Solnit honours the roots of her story by illustrating it with silhouettes created by the legendary fairy tale illustrator Arthur Rackham. This combination of old and new has unsurprisingly proved popular with fairy tale fans, so <b>Cinderella Liberator</b> is being published all over the world. However, to mark its arrival in Britain, publishers Vintage Books are providing a truly special treat. In addition to handling the UK publication of <b>Cinderella Liberator</b>, Vintage Books are publishing <a href="https://www.thebookseller.com/news/vintage-release-feminist-fairytales-series-1104171#">three more feminist spins</a> on classic fairy tales, each written by an acclaimed British author. Kamila Shamsie is providing her own spin on <i>The Ugly Duckling</i>, and <i>Oranges Are Not The Only Fruit</i> author Jeanette Winterson is adapting Hansel & Gretel Most excitingly, <i>Noughts & Crosses</i> author Malorie Blackman, one of Britain’s best-loved writers, is creating a new take on <i>Bluebeard</i>. All three of these fairy tales are perfectly suited to feminist reinterpretations, and Shamsie, Winterson, and Blackman will all bring something unique and interesting to the table. Instead of providing one modern fairytale, Vintage Books will be providing four, and <b>Cinderella Liberator</b> and the three (currently unnamed) new books will really liven up autumn for British fairy tale fans. </span></span><br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><span style="font-size: large;"><b><u>Theatre</u></b></span></span></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>Formulae and Fairy Tales American Tour (performances begin February 5th)</u></b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJFWjzEYm9F2iVteErlRrbF3P2Ahr9Fs2xlADtuaHUPxbFnxHHSo6IhUhzBW6X6L8XqJ6We5YggvID4Tauf3JOcxSdd5NAlnIOnpn2tLPKgR90P4_25Ds5lwr66KhhBw0BQobbq60Bpw/s1600/Forumulae.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsJFWjzEYm9F2iVteErlRrbF3P2Ahr9Fs2xlADtuaHUPxbFnxHHSo6IhUhzBW6X6L8XqJ6We5YggvID4Tauf3JOcxSdd5NAlnIOnpn2tLPKgR90P4_25Ds5lwr66KhhBw0BQobbq60Bpw/s1600/Forumulae.jpg" /></a></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><b><u><br /></u></b></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">Established in 2007, Invertigo Dance Company
have become one of America’s most interesting dance companies, with their
creative approach and focus on making dance accessible and modern. Their
fascinating new production, <b>Formulae and Fairy Tales</b>, is going on tour in 2020
after an acclaimed world premiere in LA last year. The first performances of
the tour will be at the Phillips Center in the University of Florida Performing
Arts, and more will be announced soon. <b>Formulae and Fairy Tales</b> is <a href="https://www.stageandcinema.com/2019/09/05/formulae-and-fairytales/">based on the tragic story </a>of the legendary code breaker Alan Turing, who was gay at a time
when homosexuality was illegal. After being imprisoned and forced into chemical
castration, he committed with a poison apple, a method of death which fairy
tale fans will instantly recognise from Snow White. The question of why a man
whose life was based on codes and numbers would be so obsessed with the <i>Snow
White</i> story is at the centre of this production, which highlights the contrast
between Turing’s technical world and the fantastical, sinister world of fairy
tales. Director Laura Karllin makes <a href="https://www.invertigodance.org/repertory/formulae-fairy-tales">innovative use of projections </a>to represent
the AI and computer technology which Turing pioneered, and highlights the power
of symbols in both technology and stories, with the forbidden apple
unsurprisingly taking centre stage.<b> Formulae and Fairy Tales </b>represents proof
that American ballet can tackle big ideas and topics in creative and original
ways, and we can expect it to gain further accolades throughout 2020 – it
wouldn’t be a surprise if the ballet also makes it beyond America…</span></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>The Prince of Egypt in the West End (Runs February 5th - September 12th)</u></b></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gmhC1O6ZSlommdP5pdR3NCovW98MZJU1Qls6v-oJNviMWrR5mlG2zUgj33As2R96fnS2THN8MY82tqz9zsuuh3VjoKQr1CBuFQULoyRzcQxvPTten8nVMtIkpZSvhJBniP4dkbDW-Qk/s1600/PrinceOfEgypt_LEAD_31-05-19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="456" data-original-width="684" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2gmhC1O6ZSlommdP5pdR3NCovW98MZJU1Qls6v-oJNviMWrR5mlG2zUgj33As2R96fnS2THN8MY82tqz9zsuuh3VjoKQr1CBuFQULoyRzcQxvPTten8nVMtIkpZSvhJBniP4dkbDW-Qk/s320/PrinceOfEgypt_LEAD_31-05-19.jpg" width="320" /></a></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">Released in 1998, <b>The Prince of Egypt </b>is one of
the finest Dreamwork's animated films. A take on the legendary Biblical story
of Moses, it highlighted the epic nature of the story whilst developing the
individuals who are at the centre of the events. With incredible images, fully
formed characters and a strong soundtrack (including the Oscar-winning “When
You Believe”), it proved that Disney were not the only studio who could create
great animated musicals. Given the success of Disney’s theatrical musicals, it
is not a surprise that Dreamworks are trying to break into the same market, and
<b>The Prince of Egypt</b> is their second stage production after <i>Shrek: The Musical</i>.
<b>The Prince of Egypt</b> shows how Moses, a Jewish child raised in the Pharaoh’s
palace, must go up against his adoptive brother Rameses in order to rescue the
Jewish people from slavery in Egypt. The musical premiered in California in
2017, and has enjoyed two productions at Denmark, but the London production (taking
place at the massive Dominion Theatre) will be the biggest outing yet for the
musical. There will be new sets and costumes, and iconic composer Stephen
Schwartz (<i>Pippin</i>, <i>Wicked</i>, <i>The Hunchback of Notre Dame</i>) has added ten extra
songs, including one for Moses called “Footprints in the Sand”, which is making
its debut in this production. <b>The Prince of Egypt</b> is only having a limited
32-week run, so fans need to book tickets quickly if they want to see it in
London. However, if it does well, we can expect further major productions all
over the world, plus touring and amateur licensing, which could make <b>The Prince
of Egypt </b>into a major money-spinner for Dreamworks…</span></span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><u><b>A Monster Calls and The Lion The Witch and the
Wardrobe tour the UK (At various UK theatres throughout 2020)</b></u></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fMZ2343O-QWz9sIKfilttRVJTebf6H4g1Poq6c8Ak79RjhVL9N5E3QMq-qhxDE_sc711fjHi02wDeSg9uur8xQG7SqWFbGLTMyghQUkXo017sH6VE-3ZsjP5j4j-csMiZyUQ4VlV5UA/s1600/new-AMC.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9fMZ2343O-QWz9sIKfilttRVJTebf6H4g1Poq6c8Ak79RjhVL9N5E3QMq-qhxDE_sc711fjHi02wDeSg9uur8xQG7SqWFbGLTMyghQUkXo017sH6VE-3ZsjP5j4j-csMiZyUQ4VlV5UA/s320/new-AMC.jpg" width="320" /></a></div>
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<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">With her acclaimed versions of stories like <i>Jane
Eyre</i> and <i>Peter Pan</i>, Sally Cookson established herself as an expert in adapting
classic literature and children’s stories for British theatre, and her status
has grown even more in recent years. In 2018, her adaptation of Patrick Ness’
heartbreaking novel <b>A Monster Calls</b> premiered at the Old Vic, receiving
critical acclaim and <a href="https://officiallondontheatre.com/olivier-awards/year/2019/">winning an Olivier Award</a>. Cookson applied a minimalistic
and imaginative approach to the tearjerking story of a troubled boy visited by
a mysterious monster, and it will be great to see her production gain a second
life. <a href="https://www.oldvictheatre.com/whats-on/2020/a-monster-calls-2">The tour starts</a> at Chichester's Festival Theatre on February 6th, and will take the production
across the UK, concluding on June 13th at the Theatre Royal Plymouth. Cookson is
famous for her collaborative approach, so we can expect the new cast and crew
to edit the production whilst also staying true to the powerful messages about
how stories help us deal with grief, fear, and the uncertainties and
contradictions of life. <b>A Monster Calls</b> won’t be the only Sally Cookson play
travelling through Britain in 2020. In November, her adaption of <b>The Lion, The
Witch and the Wardrobe</b> (currently playing at the Bridge Theatre in London) will
also begin<a href="https://www.westendwilma.com/news-the-lion-the-witch-and-the-wardrobe-uk-tour-december-2019/"> a four-month tour</a> at Aylsebury's Waterside Theatre on November 20th, with a high-profile stop in Manchester's Lowry Theatre across the Christmas period. Both tours will provide plenty of
entertainment for theatregoers whilst we wait for Cookson’s next innovative
productions.</span></span><br />
<u><span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b>Once Upon A One More Time premieres in Chicago (Runs April 14th – May 17th)</b></span></span></u><br />
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<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif;"><b>Once Upon A One More Time</b> is a jukebox musical
dedicated to millennial guilty pleasure Britney Spears, using the songs of the
pop princess to tell a unique story about fairy tale Princesses. It centres on
a group of classic fairy tale princesses (Snow White, Cinderella, etc) who are
becoming fed up with their lives and a book club where they are only able to
read Brothers Grimm fairytales. However, when a fairy godmother introduces our
heroines to the classic feminist text <i>The Feminine Mystique</i>, our leads are
inspired to shake up their conventional fairytale world. The musical is
premiering in April at Chicago’s <a href="https://www.broadwayinchicago.com/show/one-upon-a-one-more-time/">Nederlander Theatre,</a> which has often hosted
trial runs for future Broadway productions. It was meant to premiere there in
October 2019 but was delayed <a href="http://www.playbill.com/article/britney-spears-musical-once-upon-a-one-more-time-delays-chicago-run">for unknown reasons</a>. A possible factor may be the
recent opening of the similar West End musical <i>& Juliet</i>, which pays tribute to
Britney's regular songwriter/producer Max Martin and features <a href="https://music.apple.com/us/album/juliet-original-london-cast-recording/1479442268">five of her biggest hits</a> on the soundtrack. However, <b>Once Upon A One More Time</b> will probably do
something different with the likes of 'Baby One More Time' and 'Stronger' and will
also feature eighteen other Britney anthems, ranging from hits such as 'Toxic', 'Lucky' and 'Sometimes' to more obscure songs. Ultimately, this musical will be
judged on its own terms, separate from its rival across the Atlantic, although
it should successfully tap into the same demand for trashy and colourful, yet
strongly progressive, escapism. <b>Once Upon A One More Time</b> does well in its
Chicago run, it could make it to Broadway, and provide some feminist fairytale
fun for Britney’s fanbase.</span><br />
<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;"><b><u>Rogers & Hammerstein’s Cinderella has its UK premiere (Runs May 9th – June 6th)</u></b></span></span><br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><br /></span><span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background: white;">In 1957, a take on
<b>Cinderella </b>from the legendary Broadway songwriters </span></span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif;">Rogers & Hammerstein’s</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif;"> premiered on TV. With a young Julie Andrews in the lead role, and
wonderfully romantic songs such as “Ten Minutes Ago”, it proved a major hit,
and has been adapted for stage and TV several times since - one notable 1997 TV
adaptation featuring Whitney Houston as the Fairy Godmother. The musical was
reworked for Broadway in 2013, with Douglas Carter Beane incorporating other
Rogers & Hammerstein songs (such as “The Time is Now”), and appealing to
modern progressive values by adding a subplot where Cinderella inspires her
Prince to bring democracy to their kingdom. This new version received <a href="https://www.theguardian.com/stage/2013/jun/10/tony-awards-2013-winners-full-list">eight Tony Nominations</a> (winning an award for Best Costume Design) and ran on Broadway for almost two years. Last year, a semi-staged
version <a href="https://cadoganhall.com/whats-on/rodgers-hammerstein-cinderella/">was performed </a>at West London's Cadogan Hall, with Christine Allado,
Diane Pilkington and Jac Yarrow in the leading roles. As a result of this
increased publicity, the 2013 version of <b>Rogers & Hammerstein’s Cinderella</b> is
finally making its full stage debut in May, as it will be performed <a href="https://hopemilltheatre.co.uk/events/cinderella">for four weeks</a> at Manchester’s Hope Mill Theatre, which has become one of Manchester’s
most notable independent theatres since it opened in 2015. It's unlikely that
any big names will appear in this smaller production, but it will certainly
increase the popularity of this musical with UK audiences, and open the door
for further adaptations in the future.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><u><b><span style="font-size: large;">What Else Can We Look Forward To?</span></b></u><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">There are plenty of fairy tale films, TV shows and other
that we will learn more about later in the year. Disney’s new streaming
service, Disney Plus will provide <a href="https://whatsondisneyplus.com/what-disney-originals-are-coming-in-2020/">more fairy tale adventures</a> for Disney fans,
including <b>Secret Society of Second Born Royals</b>, which could be fun if it acknowledges
the ludicrous nature of its premise (What if the second born children of royals had superpowers?) Other channels are also providing their own spins on the
fairy tale genre. Adult Swim, the channel behind anarchic, provocative adult
animations such as <i>Rick and Morty</i> and <i>Robot Chicken</i>, are applying their
signature approach to fairy tales in a new animated series created by J.J.
Villard. <b>Fairy Tales</b> promises to provide plenty of <a href="http://www.thefutoncritic.com/news/2019/11/07/adult-swim-greenlights-new-fairy-tales-series-plus-more-seasons-of-the-shivering-truth-lazor-wulf-and-12-oz-mouse-430010/20191107adultswim01/">“gross weirdness”</a>, whilst
also retaining the “charm and cuteness” of the original fairy tales – can it do
both? Meanwhile, British theatres are beginning to announce their plays and
pantos for Christmas 2020. Things are still subject to change, but the <a href="https://lyric.co.uk/shows/aladdin-2020/">Lyric Hammersmith</a> will be retelling <b>Aladdin</b>, <a href="http://www.pantomime.com/venues/wimbledon">New Wimbledon Theatre</a> will be adapting <b>Dick
Whittington</b>, and <a href="http://www.stratfordeast.com/whats-on/all-shows/red-riding-hood-202021">Theatre Stratford East </a>will be providing a less conventional
choice with a <b>Little Red Riding Hood</b> panto. There are also plenty of treats for
fairytale fans outside of the UK and US. In February, Sweden’s <a href="https://www.millesgarden.se/current-exhibitions.aspx">Millesgarden museum</a> will open an exhibition about artist Gustaf Tenggren and his work with
Disney. Finally, it is necessary to mention<b> Tell A Fairy Tale Day </b>on <a href="https://www.timeanddate.com/holidays/fun/tell-a-fairy-tale-day">26th February</a>, where we are all able to create our own fairy tales and share them with
the world. Overall, 2020 promises to be an excellent year for fans of fairy
tales, with plenty to inspire and excite them.<o:p></o:p></span></div>
<br />Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-2068286226834444772020-01-03T02:10:00.001-08:002020-01-06T15:59:29.828-08:002020 Fairy Tales - A Preview (Part One)As 2020 starts, it's time to look at the culture and entertainment ahead of us in the next 52 weeks, and a lot of this will be adapted from or inspired by classic fairy tales, myths and legends, and children's stories. There are so many interesting things for fairytale fans to enjoy this year that this article is being split into two parts. The first part will feature Disney's biggest 2020 projects, and several films and TV shows from rival studios. The second part of this article will focus on theatre, literature and the arts.<br />
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<b><u><span style="font-size: large;">Disney</span></u></b><br />
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<b><u>Rapunzels Tangled Adventure/Tangled:The Series concludes (Sundays from January 12th-March 1st)</u></b><br />
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Since it premiered in March 2017, <b>Rapunzels Tangled Adventure</b> (Formerly known as <i>Tangled: The Series</i>) - the followup to Disney's 2010 smash <i>Tangled </i>- has established itself as one of the most interesting TV spinoffs of a Disney film. The show has expanded the world of Rapunzel and <strike>Flynn Rider</strike> Eugene Fitzherbert, giving them several new friends and enemies and a variety of exciting and unusual adventures. Though its additions to the <i>Tangled </i>universe have sometimes been hit and miss, <b>Rapunzels Tangled Adventure</b> has generally been a real treat for <i>Tangled </i>fans. The animation is brilliant, there are plenty of interesting and mature themes, and Alan Menken and Glenn Slater's songs are often superior to the ones featured in the original film. Despite gaining substantial online popularity, <b>Rapunzels Tangled Adventure</b> has often been treated terribly by the Disney Channel, who needlesssly changed the name of the show, put it on long hiatuses several times, and made various schedule changes which often left it stuck in inhospitable time slots. <b>Rapunzels Tangled Adventure</b> is now nearing the end of its three-season run, with Rapunzel investigating the mysterious black rocks and trying to stop her former friend Cassandra from using the power of the moonstone to devastate the kingdom of Corona. The <a href="https://twitter.com/DisneyTVA/status/1211353699681030147">last set of episodes</a> begin airing in January, resolving the grand arc whilst providing plenty of comedic adventures to lighten the tone. The show will conclude on March 1st with a three-part episode called "Plus Est En Vous" (French for "There's More In You", - a phrase featured in Rapunzel's diaries) and it will hopefully allow <b>Rapunzels Tangled Adventure</b> to gain the incredible finish it deserves.<br />
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<b><u>Onward (Released March 6th) </u></b><br />
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A major reason for Pixar’s rise to fame in the late 1990s was their decision to create a unique formula entirely separate from the Disney musicals of the era and their many imitators. Even with the lines between the two studios blurring later on in the Lasseter era, this distinction has generally been maintained, but Pixar dipped their toes into Disney-style classic fantasy with their 2012 film <i>Brave</i>, and <b>Onward </b>represents a far different take on the same subgenre. It is set in an alternate universe where mythical creatures live a mundane suburban life like our own, with unicorns prowling through gardens like foxes, and centaurs and fauns working in the police force. A pair of teenage elf brothers (voiced by the ever-popular Chris Pratt and Tom Holland) are given a magical staff which belonged to their father and contains some of the last magic in the world. They attempt to bring their deceased father back for one last day, but are only able to resurrect his bottom half, and have to go on a quest to find a way of restoring their father for real. The trailers have promised a wacky and comedic tone, but also given hinted that the film will do justice to the poignancy inherent in the premise. The first of two original Pixar films coming out in 2020, <b>Onward </b>promises to cement Pixar’s new direction under Pete Docter, maintaining the humour, heart and creativity of classic Pixar films whilst ensuring that there are enough changes to keep the studio feeling fresh and exciting.<br />
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<b><u>Mulan (Released March 27th) </u></b><br />
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Last year, Disney's live-action division broke records as their focus on remaking classic Disney animations resulted in <a href="https://www.eonline.com/uk/news/1027755/how-disney-is-turning-your-nostalgia-into-billions-one-live-action-remake-at-a-time#photo-1019142">billion-dollar grosses</a> for their takes on <i>Aladdin </i>and <i>The Lion King</i>. However, the excessively faithful approach of these films annoyed many fans and critics, so Disney’s remake of their 1998 animated hit <b>Mulan </b>will represent a change in approach. Director Nikki Caro and screenwriters Rick Jaffa and Amanda Silver are creating a remake which will adopt a new tone and style whilst sticking to the same basic outline. Liu Yifei will play the titular heroine, who disguises herself as a man in order to fight in the Chinese army. The new version of <b>Mulan </b>is primarily targeted at Chinese audiences, so is making a variety of alterations which will make it closer to Chinese Martial Arts epics than traditional Disney musicals. Wisecracking sidekick Mushu has been replaced by a mute Phoenix, the villain will be working with a sinister shapeshifting witch (played by the prolific Gong Li) and there will be a lot less singing. A group of hardcore fans have been dismayed by these changes, and Caro will need to find ways of satisfying them without compromising her vision. There have also been concerns about how the project legitimises the authoritarian Chinese government (Not helped by Yifei's <a href="https://time.com/5653973/mulan-boycott-liu-yifei/">support of the Chinese-backed authorities</a> in the Hong Kong riots). However, the trailers have generally been very well-received, and<b> Mulan</b>’s new approach could allow it to dodge comparisons with the original film. With many of Disney’s biggest hits already adapted by the live-action division, they will need to adopt a new and more innovative approach, and <b>Mulan </b>could lead the way in this regard.<br />
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<b><u>Frozen arrives in the West End (Performances begin October 2020)</u></b><br />
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With <i>Frozen 2</i> emulating the success of the first film and generally reviving interest in Anna and Elsa's world, it's a pretty good time to bring the 2018 Broadway adaptation of the original <b>Frozen </b>to the West End. Princess Anna's epic journey to find her older sister Elsa has been expanded into a 2 hour-plus spectacular for the stage, and this production will be reopening London’s massive Theatre Royal Drury Lane after 18 months of renovations. The inescapable songs from the original (including "Let It Go" and "Do You Want to Build A Snowman?") are joined by several new numbers including "Monster" and "What Do You Know About Love?". However, despite the popularity of the <b>Frozen </b>franchaise, this production still has a lot to prove. Whilst it has earned more than enough money to justify its international rollout, it hasn't emulated the success of <i>The Lion King</i> and did badly at the Tony Awards, only receiving <a href="https://time.com/5259012/2018-tony-nominations-list/">three nominations</a> in a very weak year. The new touring version of <b>Frozen </b>premiered in LA last month and made improvements (including <a href="http://www.playbill.com/article/a-first-look-at-the-national-tour-of-frozen">brighter lighting </a>and more colourful set designs) which will hopefully be incorporated into the West End version. Director Michael Grandage has promised that the Brits will get their own <a href="https://www.dailymail.co.uk/tvshowbiz/article-7761867/BAZ-BAMIGBOYE-Samantha-Barks-lands-coveted-role-Elsa-West-End-stage-version-Frozen.html">“bespoke”</a> version, and has acquired an impressively big name to play Elsa, with <i>Les Miserables</i> fan favourite Samantha Barks headlining the cast as the powerful but vulnerable Ice Queen (We will find out who will play Anna in a few weeks, with the rest of the actors being announced later in the year). Grandage has been a West End icon since the late 1990s, so he will hopefully be putting extra effort into giving his home territory a truly special production of <b>Frozen</b>.<br />
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<b><u>Raya and the Last Dragon (Released November 25th)</u></b><br />
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After two messy but enjoyable sequels in the form of <i>Ralph Breaks the Internet</i> and <i>Frozen 2</i>, <b>Raya and the Last Dragon</b> will be Disney Animation's first original animated movie in four years. Anticipation has been high since it was formally unveiled at the <a href="https://www.slashfilm.com/raya-and-the-last-dragon-d23/">D23 Expo 2019</a>, as it will pay tribute to the culture of East Asian nations such as Vietnam and the Philippines. The film has been written by <i>Crazy Rich Asians </i>screenwriter Adele Lim, who is working with a team of Disney veterans, including storyboard artist and animator Paul Briggs (making his directorial debut) and <i>Moana </i>producer Osnat Shurer. The film is set in a fantasy realm called Kumandra, and centres on a girl searching for a mysterious dragon who has taken on human form, The titular heroine Raya is voiced by half-Filipino, half-Canadian actress Cassie Steele, whilst <i>Crazy Rich Asians</i> breakout star Awkwafina will be voicing Sisu the dragon, who may be able to protect Raya and her kingdom from a mysterious dark force. <b>Raya and the Last Dragon </b>seems like it will be providing an East Asian spin on the formula established by <i>Moana </i>and <i>Frozen 2,</i> but with enough changes to provide it with its own identity. There seem to be no songs, and the tone seems to be inspired by Asian fantasy epics as much as fairy tale classics. If <b>Raya and The Last Dragon</b> sticks to its vision, it could allow Disney Animation’s recent revival to continue into the new decade.<br />
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<span style="font-size: large;"><b><u>Non-Disney films and TV</u></b></span><br />
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<b><u>Gretel and Hansel (Released 31st January) </u></b><br />
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Oz Perkins - The son of horror icon Anthony Perkins (famed for his role in the Hitchcock horror classic <i>Psycho</i>) - has made his name by writing and directing eerie gothic horrors such as <i>The Blackcoats Daughter </i>and <i>I Am The Pretty Thing That Lives In the House,</i> and this take on the age-old story of <i>Hansel and Gretel</i> is his biggest project yet. Whilst other adult-orientated variations on the Brothers Grimm classic have often been lurid and trashy (such as 2013's <i>Hansel and Gretel: Witch Hunters</i>), <b>Gretel and Hansel</b> promises a more restrained approach, whilst remaining scary and sinister. The creepiness implicit in the Brothers Grimm source material is brought to the forefront, with sinister houses, trees covered with children’s shoes, and a gross moment where the Witch pulls a long thread of hair out of her mouth. As the switching of names in the title implies, Gretel’s status as a strong and fearless female lead will also be emphasised, as she is now a teenager looking after her much younger brother – <i>IT </i>star Sophia Lillis will play Gretel, and her performance could mark her out as an actress to watch in the future. January releases are generally not known for their high quality, but Oz Perkins’ distinctive vision could make <b>Gretel and Hansel </b>into a pleasingly creepy standout.<br />
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<b><u>Come Away and Wendy (Screening at the Sundance Film Festival 24th January-2nd Febuary)</u></b><br />
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<b><u><br /></u></b><a href="https://www.sundance.org/2020-sundance-film-festival-program-guide">The Sundance Film Festival </a>is one of the first major events of the cinematic year, as a variety of independent films make their big screen debuts. This year, audiences will be treated to two unique takes on <i>Peter Pan</i>. One of the biggest films at the festival this year is <b>Come Away</b>, the live-action debut of animation icon Brenda Chapman, who has worked on films ranging from <i>The Lion King</i> to <i>The Prince of Egypt</i>. <b>Come Away</b> is about two children, Alice and Peter (played by Keira Chansa and Jordan Nash), who end up in a fantasy world as they try to deal with a death in the family and find themselves having to choose whether to stay in the real world or go into their imaginary landscape. A prequel to both <i>Alice in Wonderland</i> and <i>Peter Pan</i>, <b>Come Away</b> will explore the classic worlds these two protagonists will go on to inhabit, and the way they impact on their bond. Chapman has gathered a top-notch cast, with Angelina Jolie and David Oyelowo playing the parents, and Michael Caine, Derek Jacobi and Clarke Peters also featuring prominently. Chapman’s first film after being controversially fired from Pixar’s <i>Brave</i>, <b>Come Away</b> could allow Chapman to fully showcase her ability at creating fairytale magic.<br />
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In contrast, <b>Wendy </b>is a much smaller production, but one which embodies the Sundance spirit perfectly. It is directed by Benh Zeitlin, whose drama <i>Beasts of the Southern Wild</i> was one of the breakthrough films at the 2012 Sundance Festival. Here, Wendy is a girl from modern America, who lives with her family in a diner. The unusual Peter takes Wendy and her brothers to a Neverland suspended in time by a mysterious pollen, but a series of threats to this world means that Wendy needs to take responsibility and save all the children on the island. Zetlin <a href="https://www.indiewire.com/2013/09/beasts-of-the-southern-wild-director-benh-zeitlin-confirms-next-film-will-be-totally-bonkers-94030/">announced the project in 2013</a>, just after <i>Beasts of the Southern Wild </i>became an unlikely Oscars contender, but it has taken over six years to bring his idea to life The winning formula of <i>Beasts of the Southern Wild</i> is being maintained for <b>Wendy</b>, with a cast of newcomers (including Devin France as Wendy and Yashua Mack as Peter) a mysterious and oddly magical tone, and a depiction of a wonderful but endangered natural world. Amusingly, <b>Wendy </b>has been produced by the Disney-owned Fox Searchlight, but it could not be more different from the action-packed approach of Disney blockbusters, making it a great alternative to more mainstream fairytales. <b>Come Away</b> does not have a confirmed release date, but it should come out at some point later in the year. Meanwhile, <b>Wendy </b>will be released in America on 28th Febuary. We can expect both productions to entertain and enchant fairytale fans all over the world during 2020.<br />
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<b><u>The Secret Garden (Released 17th April in UK) </u></b><br />
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Since it was first published in 1911, Frances Hodgson Burnett’s novel <b>The Secret Garden</b> has become a staple for many children, Over a century after the first known film adaptation, audiences are getting a new version which will introduce a new generation to this story. <b>The Secret Garden</b> tells the story of Mary, a girl who is sent from India to live in the house where her late aunt lived. Mary initially hates life in Misselthwaite Manor but meeting two other children and discovering an incredible hidden garden allows her to change the lives of the people around her, and become a better person herself. Dixie Egerickx will play Mary, Colin Firth (who had an early role in the 1987 Hallmark version of this tale) plays guardian Archibald Craven, whilst Julie Walters is the authoritarian housekeeper Mrs. Medlock. Screenwriter Jack Thorne was recently behind the TV adaptation of <i>His Dark Materials</i>, so he knows a thing or two about adapting classic children’s stories. This new version has two big changes. Firstly, it will be set in 1947, meaning that the partition of India and the aftermath of World War Two will be major influences on the lives of our characters. Second, it will take advantage of the rise of CGI to bring the titular Garden to life in a new and impressive way. This will not be the only version of <b>The Secret Garden</b> in the UK this Spring. A semi-staged concert version of the 1991 stage musical adaptation <a href="https://lwtheatres.co.uk/whats-on/secret-garden/">will be staged</a> at the London Palladium on April 4th, with Ramin Karmaloo, Lucie Jones and Jac Yarrow amongst the performers. Both the film and the concert will succeed in demonstrating the continued appeal of the timeless source material.<br />
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<b><u>Cursed (released in 2019)</u></b><br />
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Since <i>Wicked </i>premiered on Broadway, writers have got mileage out of classic fairy tales and legends by shifting their focus to the supporting cast, The Netflix series <b>Cursed </b>promises to refresh the tale of King Arthur by explaining the origins of the mysterious Lady of the Lake. <b>Cursed </b>is based on a recent novel of the same name created by an unlikely writing team: Thomas Wheeler, a screenwriter and producer who has worked on animated films such as <i>Puss in Boots</i> and <i>The Lego Ninjango Movie</i>, and Frank Miller, the legendary illustrator behind violent and gritty graphic novels such as <i>300</i>, <i>The Dark Knight Returns</i> and <i>Sin City</i>. Both are executive producers on the Netflix adaptation, working with Silenn Thomas and Zetna Fuentes. <b>Cursed </b>tells the story of Nimue, a girl with mysterious powers who ends up in control of a mysterious sword after her family is murdered. She teams up with a mercenary named Arthur to return the sword to Merlin whilst fighting the soldiers responsible for the crime and the tyrannical ruler who enabled them. The cast will be headed by Katherine Longford, who came to prominence in the controversial Netflix series <i>13 Reasons Why</i>, and she will be joined by rising star Devon Terrell as Arthur. Adaptations of Arthurian legends have flopped in recent years, but <b>Cursed</b>’s more epic approach and contemporary themes (about respecting nature and resisting tyranny) mean it could gain wider appeal. Netflix have recently put a lot of effort into fantasy series in recent years and <b>Cursed </b>could be an interesting companion to the likes of <i>Dark Crystal: Age of Resistance</i> and <i>The Witcher</i>, whilst successfully winning over a different audience.<br />
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<b><u>The Witches (Released October 9th)</u></b><br />
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Probably the most iconic children's author of the late 20th century, Roald Dahl provided unique stories which drew on classic fairytale tropes and combined the wondrous and the sinister. The influence of Norwegian mythology on his work was most evident in <b>The Witches</b>, one of his scariest stories. This Whitbread prize-winning tale of a boy who tries to stop the titular villains turning children into mice was adapted into a cult favourite film in 1990, but this new version promises to take a different direction. Although it will be closer to the source material than the earlier movie (Dahl famously hated the happier ending) it is relocating the action to 1960s Alabama, which should provide the opportunities to bring the fight for fight for Civil Rights into the story. Newcomer Jahzir Bruno will play the unnamed protagonist, with Octavia Spencer as his supportive, witch-hunting grandma. However, the main draw is Anne Hathaway, playing the monstrous Grand High Witch. The film is being produced by Guilermo Del Toro, king of adult fairy tale films, and Alfonso Cuaron, who came to prominence after successfully adapting <i>A Little Princess </i>and <i>Harry Potter and the Prisoner of Azkaban</i>. Due to their busy schedules, they have given the directorial reins to Robert Zemeckis, (Although Del Toro had a hand in creating the screenplay). Although his status has waned over the last couple of decades, Zemeckis has directed some truly brilliant films in the past (<i>Romancing the Stone</i>,<i> Back to the Future</i>,<i> Who Framed Roger Rabbit</i>,<i> Forrest Gump</i>), and hopefully <b>The Witches</b> will be a deliciously creepy return to form for him.<br />
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Part Two is coming soon!<br />
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Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-81636134146488607882019-12-13T04:53:00.003-08:002019-12-14T14:01:36.585-08:00Dick Whittington and his Cat (Hackney Empire) - Review<div style="color: #454545; font-family: ".SF UI Text"; font-size: 17px; font-stretch: normal; line-height: normal;">
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<b><u>When Is It On?</u></b></div>
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This production of <b>Dick Whittington and his Cat</b> is running at the Hackney Empire until January 5th</div>
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<b><u>Who Made It?</u></b><br />
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This production was written and directed by Susie McKenna, who has been behind every Hackney Empire pantomime since 1998. She is assisted by several regular collaborators, including songwriter Steven Edis, musical director Mark Dickman and designer Lotte Collett.<br />
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<b><u>What’s it About?</u></b></div>
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In the aftermath of World War 2, the Empire Windrush arrives in London full of immigrants seeking a new life in the city. One of these is Dick Whittington (played by Tarinn Callender). He reunited with his mother, Dame Sarah (played by Clive Rowe) and finds a job in a shop ran by Alderman Firzwarren (played by Tony Whittle) and his feisty daughter Alice (played by Christina Tedders). Our hero is aided by the Fairy Bowbells (played by Sue Kelvin), who supports in in various ways, including turning his pet cat into an energetic half-human, half-feline called Uncle Vincent (played by Kat B).Unfortunately for Dick, he also attracts the unwanted attention of the villainous Queen Rat (played by Annette McLaughlin), who cooks up several schemes to ensure Dick won’t foil her plans to take over London.</div>
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<b><u>Review</u></b></div>
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<b>(Note: This review contains spoilers. The formulaic nature of pantomimes (or pantos for short) is part of their appeal, but the reveal of key comedy and action scenes could be seen as spoilerific for those who want to see these fresh)</b></div>
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Since 1998, the Hackney Empire pantomime has become a major Christmas event in London’s East End. The prolific writer/director Susie McKenna has consistently produced pantomimes which combine the traditional wacky formula of songs and slapstick with creative updates and strong messages. Her latest production is a new take on the classic British panto <b>Dick Whittington</b>, which turns the real life story of a medieval London mayor into a fairytale about a young man who finds fame, fortune and love in the city. McKenna puts a unique spin on the familiar story, following most of the traditional beats whilst keeping things fresh, engaging and comedic. The 2019 production of <b>Dick Whittington and his Cat</b> represents another excellent pantomime from McKenna and her team.</div>
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No-one goes to a panto for the story, but there is just enough to provide focus and coherence here. The big selling point of this production is the Post-War setting, with Dick being one of the Carribean immigrants who arrived in Britain on the Windrush after the war. According to the programs, this twist was inspired by the story of Sam King, a Windrush immigrant who eventually became Lord Mayor Of Southwark. However, anyone who wants a detailed exploration should expect disappointment, as the history of the era is handled in a simplistic fashion. The broad basics of Post-War life are acknowledged, such as the rationing, the racial prejudice against black and Irish people, and the need to rebuild after the war, but otherwise there is little for historians. That said, this is not the production for these people. Covering the history in too much detail would case the production to become a play rather than a pantomime, and where's the fun in that? There are also some amusing allusions to the real Whittington and even a reference to the hospital in Highgate named after him. No-one goes to a pantomime to learn, but if any children are inspired to examine the history of Hackney, Dick Whittington and the Windrush immigrants, that will always be a good thing.</div>
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However, pantos are always about style over substance, with music, comedy and action allowing the Hackney pantomime team to turn a 20 minute story into a 2 hours plus extravaganza. As usual, the panto is crammed with familiar songs (old and new) which are somewhat connected to the story. Dame Sarah belts out "And I’m Telling You I’m Not Going" and "Good as Hell", Fairy Bowbells sings classic Motown songs, whilst Queen Rat has a villain song which mashes up elements of "7 Rings" and "Bad Guy", and also covers "Sweet but Psycho". Some of the musical choices are genuinely inspired. An early song is based on "London Is The Place To Be", the calypso anthem featured in the <b>Paddington</b> films (another brightly coloured celebration of immigrants in Britain). Meanwhile, the use of "Rewrite the Stars" as Dick and Alice's love song highlights the parallels between their experience and Phillip and Anne's star-crossed romance in that film. These numbers provide a bit more depth and substance than you would expect in the pantomime genre, whilst keeping the basic sense of fun created by talented actors singing familiar songs.</div>
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The best thing about this production is the cast. All the lead stars have extensive stage experience, and it shows throughout. As Dick, Tarinn Callender is a likeable hero, and his recurring cover of "The Impossible Dream" brings heart to the human element of the story. The Irish-accented plays a feisty take on Alice Fitzwarren, a more active character who wants to see the world. Her voice is the weakest of the cast, but her cover of "Higher Love" late in the first act proves strong. Annette McLaughlin chews the scenery as Queen Rat whilst Sue Kelvin is a pleasingly flamboyant Fairy Bowbells. Both have no trouble speaking their lines in Verse and are really enjoying themselves on stage. Meanwhile, Hackney panto regular Kat B is excellent as Uncle Vincent the Cat, even if the character is a lot less active in the story than cats should be in <b>Dick Whittington</b> retellings, he is a consistently lively and performer. His highlight is an impressive cover of the Disney classic "Everybody Wants to Be A Cat", where he replicates the jazzy growl of original singer Scatman Crothers whilst also providing something unique However, the one actor who truly makes the production worth seeing is resident Dame Clive Rowe, appearing in his 13th Hackney panto. It’s not hard to see why Rowe is one of Britain’s most iconic dames. Outside panto, Rowe often plays imposing characters (he played the sinister Papa Ge in the West End version of <b>Once On This Island</b> and McKenna's 2009 revival), so it’s a real treat to see him go “all buns glazing” into the role of uninhibited baker Dame Sarah, providing sweets to the audience and having a chat with a random theategoer in the stalls. The real test of a Panto is whether it can keep the audience engaged throughout, and the cast all succeed in keeping our attention.</div>
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The sets and visuals are strong throughout the production. The first act takes place in London and replicates the drab, bombed out colours of the era whilst keeping the set warm and inviting. For the second half of the show, things take a more fantastical turn as our five leads go under the sea and help a mermaid find an extremely valuable shell. This cause the Post-War theme to be dropped almost entirely (which is a shame), but has positive side effects. Mermaid Maia (played by Jemma Geanaus) is a lively and spirited princess, and a creative update of the Sultan who usually seeks Dick's help in the second half of <b>Dick Whittington</b> pantomimes. She combines a desire to look after her domain with an unlikely romance with Uncle Vincent. The underwater and tropical island imagery used in these scenes is lovely and surprisingly atmospheric.</div>
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The show also features some impressive special effects. The quick change used to turn an ordinary but large cat into Uncle Vincent is pretty impressive, and the shipwreck which ends act one adds enough danger to keep us invested in the story (there is never any genuine danger in pantomimes, but there should be just enough to leave audiences wondering how the show will get to its happy ending). The wire work used for Maia the Mermaid and Fairy Bowbells is effectively fluid, and there is a memorable action scene where a cute baby gorilla is turned into a giant monster for Dick and his friends to fight. However, the most memorable is a simple but impressive effect which opens wash act, as the screen turns translucent to reveal the characters behind it. It’s pretty simple, but communicates the fairytale tone with wonderful efficiency - it really creates the sense that this is a fantasy world. The costumes are pretty grand as well, with Dick and Alice getting pleasingly authentic 1940s fashions, whilst Vincent the Cat has a fishy tie to accompany his cat tail and ears. To the surprise of no one, Dame Sarah has all the grandest costumes, shifting from giant yellow and green dresses to purple outfits, Carmen Miranda-inspired tropical headdresses and a grand wedding dress inspired by the pearly kings and queens of the East End. The fairy tale designs in panto are merely a coat hanger for all the music and comedy, but the are pretty effective in this regard, supporting the tone whilst providing the magic and wonder that could also work in a more serious production.</div>
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Despite the old fashioned setting, the humour is often very modern, with intentionally anachronistic jokes about Just Eat adverts, Primark and <b>Fleabag</b>. There is also a healthy streak of political humour, fitting given the fact the show premiered in the midst of the British general election campaign. Queen Rat has a henchman called Boris (played by Tom Lloyd), and this leads to several digs at notoriously self-serving Conservative British prime minister Boris Johnson (As Queen Rat tells him “If you lie often enough, some people will believe anything you say”). Johnson’s recent resounding win in this election will probably lead to this satire gaining a more vicious edge, but it still stays within the gentle and upbeat tone of the show. However, whilst the political jokes are amusing in their way, the most powerful messages come at the end, as the cast instructs the audience to “listen to the children” and improve the world by “speaking out wherever you go”. With its celebration of immigrants, and messages about challenging discrimination and looking after the natural world, <b>Dick Whittington and his Cat</b> communicates a strongly progressive set of politics, but it is never preachy, with things staying broad enough to please audiences regardless of political persuasion.</div>
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Aside from the story and messages, there is plenty of silly jokes and broad farce which can appeal to all ages. Sarah and Uncle Vincent throw cream pies at Alderman Fitzwarren, Alice tries disguising herself as a man in order to go sailing, and the characters always remain a few steps behind the audience. There are several lines which adults have heard a few times before, but are still funny (“I don’t mind dying. I just don’t want to be there when it happens") We also her a few saucy innuendos around Dick’s name, but these are tame compared to the filth Julian Clary provides in the London Palladium pantos, and kids won't have a problem with them. As you may expect, plenty of jokes will cause more serious viewers to groan with embarrassment, but the sheer energy and enthusiasm makes this a pretty amusing production. </div>
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In the grand panto tradition, the entertainment goes on for a bit beyond the inevitable happy ending. We are treated to an interactive cat song called "Cool Cat Chat", a sequence where Dame Sarah reads our birthday notices and thanks the band for their hard work, and a grand wedding for all three of the romantic couples. If things drag a bit at this point, the energetic concluding cover of Kool and the Gang's "Celebration" makes it all worthwhile. It is pointless to judge Panto by the standards of more traditional storytelling, but <b>Dick Whittington and his Cat</b> succeeds as pure entertainment. The lack of story can cause things to drag at times, but there are always impressive songs, amusing jokes and impressive effects just around the corner. It is certainly the escapist entertainment which the British public require right now. </div>
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<b><u>Verdict </u></b></div>
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The Hackney Empire production of <b>Dick Whittington and his Cat</b> provides all the family friendly fun you would expect from a panto, with a charming and charismatic cast providing plenty of amusing comedy and catchy songs. Even if the production could have done more with its Post-War setting, it still has interesting themes and ideas, and a magical atmosphere which make it satisfying for those who prefer more conventional forms of theatre. <b>Dick Whittington and his Cat </b>is definitely worth seeing, whether you are a keen pantomime geek or totally unfamiliar with the genre. </div>
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Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-70651661232953432222019-12-02T14:13:00.000-08:002019-12-14T14:14:27.107-08:00Frozen II - Review<div style="color: #222222; font-family: "arial","helvetica",sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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<b><u>Who Made Frozen II?</u></b></div>
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<b>Frozen II </b>was directed and written by Jennifer Lee and Chris Buck, who directed the original Frozen. Alison Schroeder assisted in writing the script, along with a large story team. </div>
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Three years after the events of the original film, Queen Elsa (Voiced by idina Menzel) is fully accepted as Queen of Arendelle, with her sister Anna (Voiced by Kristen Bell) by her side. However, she is bothered by a mysterious voice, and when she goes to follow it, she ends up accidentally unleashing a set of magical spirits which wreck havoc in Arendelle. In order to fix it, Anna, Elsa and their sidekicks - Anna's boyfriend Kristoff (Voiced by Johnathan Groff), childlike talking Snowman Olaf (Voiced by Josh Gad) and Kristoff's reindeer Sven - head to a magical forest which has been closed off from the rest of the world for decades. When they enter, they find a mysterious tribe (the Northuldra) a group of Arendelle soldiers trapped for decades, several mysterious creatures, and some disturbing secrets about their own family....<br />
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<b><u><span style="font-size: small;">Review </span></u></b><br />
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<b><u>(Note: this review contains spoilers. Most key secrets go unrevealed, but a lot of elements are discussed and hinted at, so tread carefully if you want to avoid surprises....)</u></b></div>
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The unprecedented success of Disney's 2013 animated smash <b>Frozen</b> set an impossibly high bar for <b>Frozen II.</b> Whilst the original film was full of flaws, its memorable characters, timeless but relevant story, big themes and brilliant songs ensured that it captured the imaginations of millions of viewers all over the globe. Was <b>Frozen II </b>able to replicate the magic of the film whose success was a happy accident? Well, Yes and No. The story is a bit of a mess, but the characters, visuals and songs remain strong and the big important themes ensure that it enjoys a substantial fraction of the original's resonance.</div>
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The primary problem of Frozen II is that it tries to do too much and lacks the originals simplicity. When you strip away all the treacherous princes and kooky trolls, the first <b>Frozen</b> had a simple story not far removed from other revisionist fairytale films such as <b>Shrek</b> and <b>The Princess Bride</b>. Anna goes on an epic journey, she goes back, there are obstacles both ways, she gets a happy ending. However, <b>Frozen II </b>tries to tell a far larger and more complex story in approximately the same runtime, and this turns out to be a major fault. Pretty much EVERY character from the original appears at some point, and there is a large cast of new additions when Anna and Elsa reach the enchanted forest. These characters, including Northuldra Chief Yelena (Voiced by Martha Plimton), teenage tribespeople Ryder (Voiced by Jason Ritter) and Honeymaren (Voiced by Rachel Matthews) and former Arendelle soldier Lt.. Mattias (Voiced by Sterling K. Brown) are likeable and have enough unique features to be memorable, but are absent for long stretches. Elsa and Honeymaren have a couple of lovely interactions, but a few more scenes if them together would have strengthened their bond and satisfied the fans clamouring for Elsa to get a girlfriend (a full-blown same-sex romance would have been too much for this film, but the fan demands could have been acknowledged more). Mathias and Yelena <span style="background-color: rgba(255, 255, 255, 0);">share some good chemistry as they </span>go from enemies to allies and advance the anti-prejudice message, but a lack of screentime prevents their arc from getting the development it deserves. There are numerous similarities to <b>Moana</b> (Our leads have to go on a journey to right a wrong done to nature in order to save their kingdom, and are helped and hindered by various nature spirits along the way) but whilst that film could be pretty messy too, it had a much clearer structure which essentially consisted of two humans and a very dumb chicken on a raft. <b>Frozen II</b> has double the number of protagonists and double the number of nature spirits. This means that it rushes through its story quite a bit, which is a mistake in an age where we expect greater character development and less of the plot holes and unanswered questions which frequently appear in traditional fairy tales. Ultimately, it is hard to deny that trimming the character count would have made the story tighter and more efficient.</div>
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However, the focus should not be on the supporting characters, but the "Frozen Family". Fortunately, our leads are generally depicted effectively. Elsa gets a larger role, and her signature anxiety is mixed with greater level of confidence in her powers. The woman who spent the first film running away from her problems is now running towards them, and this is great to watch. Anna is a more serious character this time, although still prone to the odd silly moment. She and Elsa get to interact far more often than they did in the first film, and their love for each other is front and centre of the film. Of the leads, Kristoff probably fares the worst. The film mostly focuses on his attempts to propose to Anna, and her misunderstanding his awkward attempts at getting to the point. Whilst he gets some amusing lines, this feels a bit one-note, and he vanishes during the third quarter of the film, like most of the supporting cast. However, Olaf cements his status as a star character, and is probably even funnier than he was in the original film. Although the streak of dark humour from the first <b>Frozen</b> has mostly gone (Olaf is no longer at risk of melting), his wacky eccentric person personality generates plenty of laughs. His thirst for knowledge and refusal to shut up are very relatable for parents, and his uniquely over the top summary of the first <b>Frozen</b> is far and away the comedic highlight of the film. Anna and Elsa's parents have an expanded role, with new voice actors. Evan Rachel Wood gets to showcase her singing ability as Queen Iduna, and we learn more about how she ended up Queen of Arendelle. Whilst the casting of Alfred Molina as King Agnarr raises a few eyebrows (was he hired for his considerable talent and experience or his very close friendship with director Jennifer Lee?), he brings warmth and gravitas to his short appearance. People who love the original <b>Frozen</b> for Anna and Elsa's sibling bind will find plenty to enjoy here, and the numerous revelations about their past provide the extra layers to fans to analyse with their usual zeal.</div>
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There are plenty of impressive action sequences, but several feel a little rushed. The devastation of Arendelle could have been truly powerful and disturbing with more screentime, and a scene where Elsa battles a magical fire should have been expanded on too. However, the action scenes get stronger as the film progresses . Elsa's full battle with the Nokk is even more impressive than it was in the spectacular trailers, and the climax is full of wonderful imagery as Elsa's powers are showcased in a variety of ways. There are also plenty of creative visuals, with the Autumn scenery of the forest providing a more diverse colour scheme than the original film, and some icy imagery late in which makes the iconic Ice Palace from the first film seem tiny in comparison. There is also some effective camera work, with the camera following autumn leaves and providing some creative shots as the characters undertake their journey. Overall, <b>Frozen II</b> lives up to the epic experience promised by the trailers and promotional material.<br />
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For all of <b>Frozen II</b>'s flaws, it improves rapidly during the second half, where the gentle and relaxed tone of the early scenes is replaced by something deeper, darker and more impressive. In particular, we are treated to an incredible scene where Elsa discovers the secret of her powers and family history. She ends up in an icy world of memories where she meets a few old friends and enemies, before fans are treated to a moment where her father explains he is reading a book by "some Danish author" (guess who?). However, the scene turns from joyous to horrifying as Elsa learns about the crime which led to the disappearance of the enchanted forest. <b>Frozen II </b>doesn't really have a villain to drive the conflict, but the sins of the past provide a level of drama and urgency which make the second half more focused and engaging. </div>
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The songs are good on their own terms - they may not be as "special" as "Let It Go" was, but they are catchy enough to stick in the memory and are good enough to be listened to again and again after seeing the film. However, one weakness is the fact that many of them don't advance the story in the way that Frozen's best songs did. "Lost In The Woods" is a fun pastiche of cheesy 80s rock ballads (the sort you would associate with Chicago or Meat Loaf) , but it is so focused on emulating their music videos that it doesn't really add to the story. Olaf's "When I'm Older" has the sound and feel of a song from a 60s Disney Film, and is charmingly whimsical. "Some Things Never Change" has a more modern pop sound, and like "For the First Time in Forever", effectively contrasts Anna's happiness with Elsa's more serious view on life.</div>
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Whilst these songs are fun, the soundtrack features a greater volume of serious songs, and these are the best ones in the lineup. The opening song is an atmospheric folk ballad called "All Is Found" which is effectively repeated across the film. Elsa's first big songs, "Into the Unknown" is closest in sound to the songs from the original, with its piano hook and soaring chorus, but her other big power ballad "Show Yourself" is even more impressive. <b>Frozen II<u>'</u></b>s soundtrack concludes with a big eleven o'clock song for Anna called "The Next Right Thing", which starts with heartbreaking depression and grief, but has a powerful and hopeful finish as Anna resolves to set things right by herself. Whilst the more commercially minded "Into the Unknown" is the flagship song, it is the last two songs which are the best of a lineup that is a worthy successor to the <b>Frozen</b> soundtrack. </div>
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One of <b>Frozen II</b>'s specific strengths is the more detailed discussion of its environmental themes. The nature spirits are more developed than they were in Moana, actively leading Anna and Elsa to the truth in a variety of ways. The magical creatures in the forest, including the imposing earth Giants, the mysterious water horse the Nokk and the cute but firey salamander Bruni, all contribute effectively to this journey, and Anna and Elsa's growing connection with nature is as important as the human relarionships showcased throughout the film. In an age where environmental issues are becoming increasingly important, Frozen II's depiction of the value of nature and the consequences of disrespecting it feels powerfully resonant. It's not hard to see contemporary relevance in Olaf reacting to freak weather phenomenons by saying "This is fine" and pointing out "advancing technology is our saviour and our doom". Elsewhere, the ecological threats which Arendelle faces strike close to the bone in an age of floods and hurricanes. However, as dark as things get in the second half, we can expect our two sisters to put things right in spectacular fashion - It is a Disney film, after all. </div>
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Ultimately, <b>Frozen II</b> often represents an example of "what could have been" - there are so many good ideas and interesting premises that a lot of the fun for fans and viewers comes from trying to make a more adult and focused film (or TV series) out of these pieces. That isn't necessarily a bad thing, as the same is also true of Disney favourites such as <b>The Little Mermaid</b>, <b>The Hunchback of Notre Dame,</b> and the original <b>Frozen</b>. However,<b> Frozen II</b>'s messier story prevents it from reaching the heights of the best Disney films. If the quality of <b>Frozen II'</b>s last half had been spread across the whole film, then it would be one of the all-time Disney greats. In its current form, <b>Frozen II </b>is in the "good but not great" category. It is superior to <b>Ralph Breaks the Internet</b>, their last overstuffed sequel, but demonstrates that Disney Animation need to return to a simpler and smaller approach if they want to reach the heights of their classic output. However, even second<span style="background-color: rgba(255, 255, 255, 0);">-tier Disney is worth watching, and <b>Frozen II</b> has enough merit to ensure that it will gain plenty of fans. </span></div>
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<span style="background-color: rgba(255, 255, 255, 0);">Like the first Frozen, <b>Frozen II </b>brings new meaning to the term "refrigerator movie" - the story doesn't really stand up to scrutiny, but the visuals, songs and characters are strong enough to paper over the flaws and provide an enjoyable film with plenty for Frozen fans and casual viewers. <b>Frozen II </b>often bites off more than it can chew, but maintains the bold and modern spirit of the original film, and there are plenty of incredible moments which make the film worth sticking with. <b>Frozen II</b> is worthy family viewing, and will stand the test if time reasonably well. </span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1tag:blogger.com,1999:blog-5414251166201648982.post-57540236038496060822019-08-14T15:59:00.001-07:002019-08-15T01:52:17.999-07:00Once On This Island at the Southwark Playhouse - Review<br />
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<u><b>Who Made It?</b></u><o:p></o:p></div>
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<b>Once On This Island </b>was created in 1990 by the duo Lynn Ahrens (who wrote the book and lyrics) and Steven Flaherty (who composed the score). It is based on the
novella<span style="mso-spacerun: yes;"> 'My Love, My Love' </span>by Rosa Guy, which was inspired by Hans Christian Andersen’s classic <b>The Little Mermaid</b>. This production<span style="mso-spacerun: yes;"> has been produced and created by </span>the British Theatre Academy, with Lee Proud directing it<o:p></o:p></div>
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<b>Once On This Island</b> is being performed at the <a href="https://southwarkplayhouse.co.uk/show/once-on-this-island/">Southwark Playhouse</a>, a
small theatre in South London. It officially opens tonight and runs until 31st
August.<o:p></o:p></div>
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<u><b>What’s It About?</b></u><o:p></o:p></div>
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<b>Once On This Island</b> tells the story of Ti Moune (played by Chrissie Bhima), an orphaned
peasant girl living on an island in the French Antilles. The peasants there are often
at the mercy of the unpredictable weather brought about by four gods – Asaka,
the Mother of the Earth (played by Johnathan Chen), Agwe the God of Water (played by Kyle Birch), Ezrule the Goddess of Love (played by Aviva Tulley) , and
Papa Ge, the God of Death (played by Martin Cush). <span style="mso-spacerun: yes;"> </span>Meanwhile, the
Island elite, the g<i>rand hommes</i>, live a life of luxury in grand hotels and
apartments. When Daniel Beauxhomme (played by Sam Tutty), son of the most powerful g<i>rand hommes</i>, crashes
his car during a thunderstorm unleashed by Agwe, Ti Moune rescues him and
nurses him back to health. In order to ensure his survival, she offers her soul
to the Papa Ge. When Daniel is returned to his home, Ti Moune soon sets off on
a grand quest to find him again, aided by Asaka and Ezrulie. However, Daniel may
not be able to return Ti Moune’s love, and she finds herself having to face the consequences of her deal with Papa Ge…<o:p></o:p></div>
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<u>(Note: This Review Contains Spoilers) </u></div>
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The Southwark Playhouse production of<b> Once On This Island</b> is
the third production of this musical to be staged in London. The first took
place in 1994 at the Royalty Theatre (later replaced by the Peacock Theatre)
and won an Oliver Award for Best New Musical. The second was staged at the
Hackney Empire in 2009. This
revival is the smallest of the three, taking place in a 300 seat auditorium
with a cast consisting of performers from the British Theatre Academy. However,
it still manages to be a creative and colourful production, making a convincing
case that <b>Once On This Island s</b>hould be revived more often in the UK.. <o:p></o:p></div>
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<b>Once On This Island</b> returned to prominence in late 2017 as
the result of an innovative Broadway revival which won a Tony Award. The version
was notable for its “in the round staging”, and the Southwark Playhouse
emulates this to brilliant effect. <span style="mso-spacerun: yes;"> </span>When
you walk into the auditorium, you cross the front of the stage and pass the
actors as you get to your seats. There are washing lines surrounding the
auditorium and tyres and boxes everywhere. As in Broadway, this immersive
staging makes it feel like you have been taken to a world far removed from the grey
tedium of the city outside the theatre. <span style="mso-spacerun: yes;"> </span>The staging of that
version is not the only thing copied here. Asaka (played by the legendary
Sharon D Clarke in both previous London versions) is now played by a heavyset
actor in drag, and the action is implied to specifically take place in Haiti
(the map on the floor has Haiti illuminated). The recycled costumes form the
basis for the masks used by the four gods. <o:p></o:p></div>
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However, the production (designed by Simon Wells) has some unique visual flourishes of
its own. Daniel's car is depicted in impressively minimalistic fashion, and a small
stepladder is used in several creative ways. The climactic effect, involving a very
special tree, feels truly grand and impressive in the confined space. The
production also features some incredible lighting (provided by Andrew Exeter), with intense changes in
colour which really convey the mood of each scene and smoky light that really
make you feel the heat and humidity of the setting. Audiences rarely give much
though to the lighting, so it’s great to see so much effort put into this
aspect of the production. Whilst this version is not as grand as the one on
Broadway (there are no live chickens or goats here!) it is still pretty
impressive on its own terms. <o:p></o:p></div>
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The director and choreographer is Lee Proud, who worked as an assistant choreographer
on the long running West End adaptation of <b>Billy Eliot</b> and has directed other
Southwark Playhouse productions . He does a solid job in this production. The
ensemble give excellent performances, with the dancing being timed excellently
and the effects being performed smoothly. During Ezrule's song 'The Human Heart',
the ensemble all carry small jars of lights, enhancing the emotional power of
the number. Given that the musical is approximately 85% music and 10% narration, the songs are
the main attraction, and need to be really impressive. Fortunately, the performances have a real electric energy that
makes the musical compelling to watch. In this context, the confined space is a
real advantage, as it ensures that the power of the songs remains consistent
throughout. The perfrmances could have fallen flat on a larger stage, but here,
every member of the audience gets to fully appreciate the power of the
instrumentals and the energy of the performaners. <o:p></o:p><br />
<br /></div>
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As the performance is being given by youth actors from the
British Theatre Academy, it is unfair to compare them to veterans<span style="mso-spacerun: yes;"> </span>like Lea Salonga, Clive Rowe and Sharon D.
Clarke, who have appeared in previous productions of <b>Once On This Island</b>. However, there are times when their lack of experience is distracting. During
big songs like "Waiting For Life" and "Mama Will Provide"
they sometimes get drowned out by the loud backing band, although they generally
recover and finish impressively. In addition, the gods and Ti Moune’s
adoptive parents are best portrayed by older actors, as they provide the
gravitas necessary for these characters to have full impact. However, the performers
are all likeable and charismatic, and three of the were especially impressive.
As Ezrule, Aviva Tulley initially seems to be overshadowed by the other gods, but her
subtle performance conveys wisdom and compassion . As the sinister Papa Ge - the
most antagonistic of the gods - Martin Cush has the wiry intensity required
for the role, but has a couple of comic and even tender moments which he
handles well. However, the best performance is from Chrissie Bhima as Ti Moune - she dominates
the story. Though most of the musical is sung, Ti Moune gets the majority of
dialogue, and proves excellent at conveying emotion during the darker and more
dramatic moments. These three have the talent and ability to be headlining
major musicals in the near future. <o:p></o:p></div>
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For all the great aspects of this production, it also
reveals the main flaw with <b>Once On This Island</b>, which have prevented it
reaching the status of better known musicals. The story and characterisation
are relatively simplistic, probably due to the short 85 minute runtime and
large amount of songs. The most significant addition to <b>The Little Mermaid</b>
template is the "love defeats prejudice" message, but it feels a bit
underdeveloped. The "Sad Tale of the Beauxhommes" , which explains
why the <i>grand hommes</i> are fated to always reject the peasants, is played for
comedy as much as tragedy, which is an unwise idea given the bleak and
unpleasant reality of this subject matter (The Grand Hommes are descended from
a slaveowner who cursed them after being booted off the Island during the a Revolution)
Daniel’s shameful heritage puts a disturbing new angle in his reluctance to
follow his heart, but this isn't explored. In fact, the only song to really
exploit the prejudice angle is "Gossip", where the <i>grand hommes</i> voice their suspicions about Ti Moune. It is one of the strongest songs, and more of the numbers should have examined the hostility she faces. <o:p></o:p></div>
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The focus on style over substance also means that the characters
are a bit flat. Ti Moune is a very fiesty and single minded character, but it's
hard to warm to a lead willing to risk her life for a guy who doesn't really
know her. Daniel is a relatively two-dimensional male lead, and his song
"Some Girls" is one of the weaker numbers, but he's well meaning enough
to ensure that he remains somewhat likeable despite his bad decisions (the fact
that Sam Tutty never buttons his shirt helps as well) The Gods have probably the most
interesting arc, as Ti Moune's tenacity inspires them to show kindness and
compassion, but they are absent for long stretches, especially during the
middle.<br />
<br />
However, fairy tales are not meant to be sophisticated explorations of
human growth and complexity. Productions such as <b>Once On This Island</b> should primarily
be judged on their ability to provide emotion, and this version resoundingly
succeeds in that regard. The production generally remains upbeat and positive, but
the sadder and more serious aspects are handled carefully and honestly. In the best <b>The Little
Mermaid</b> tradition, the ending is both heartbreaking and heartwarming, and the
concluding song, "Why We Tell The Story" is truly joyous. As great as
the other songs are, "Why We Tell the Story" is the real stand out, with
its catchy call-and-response hook and its inspirational but also thought
provoking lyrics. Like the best fairy tales, its story is simple but its
messages are deep. For all the catchy music and colourful visuals, <b>Once On This
Island</b> powerfully demonstrates that one tenacious girl can overturn an entire unfair
system. <o:p></o:p></div>
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<u><b>Verdict</b></u><o:p></o:p></div>
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The Southwark Playhouse production of <b>Once On This Island</b> is an excellent treat for those willing to look past the West End and watch something
smaller and more creative, The production highlights some of the limitations of
the source material, but it also showcases its strengths. The soundtrack is
excellent, the staging is unique and creative the main messages are valuable and relevant, even if they could have been emphasised more. This production is a wonderful burst of escapism and <span style="mso-spacerun: yes;"> </span>we will hopefully get to see more productions
of <b>Once On This Island</b> in London in the future. <o:p></o:p></div>
<br />Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-35193145654522777532019-03-29T07:29:00.000-07:002019-04-03T14:50:11.655-07:00Disney Now Owns These Films<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5FXFbke3bzOMDB1D04JkEI0Q8bQCrY3fqmxr6ABmuYnOS9JRCHtzbkEfgUpRA3eW7H46cMH4C8Qo3O6Nt9O596l2pKm57uOuj0OqkxfBh8z1rz1ph8ILkLesUrg2493KGBxMQfJgWtc/s1600/Disney-Fox-990x556.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="556" data-original-width="990" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic5FXFbke3bzOMDB1D04JkEI0Q8bQCrY3fqmxr6ABmuYnOS9JRCHtzbkEfgUpRA3eW7H46cMH4C8Qo3O6Nt9O596l2pKm57uOuj0OqkxfBh8z1rz1ph8ILkLesUrg2493KGBxMQfJgWtc/s320/Disney-Fox-990x556.jpg" width="320" /></a></div>
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<a href="https://variety.com/2019/biz/news/disney-fox-deal-complete-1203167374/">Last Week</a>, Disney completed its high-profile deal with 21<sup>st</sup>
Century Fox after 15 months of intense meetings and negotiations. For the eye-watering
sum of $71.3 billion, it has acquired the 20th Century Fox film studio and its
offshoots (including Fox Searchlight and Fox 2000), the FX and National
Geographic Channels, and a controlling stake in the streaming service Hulu. Most
importantly, it now owns all of the movies and TV shows produced by the studio
over the years. These will be added to Disney’s forthcoming streaming service
Disney+, demonstrating their focus on providing a rival to Netflix and allowing
the company to be stronger and more successful than ever in an era of immense
change for the movie industry. <o:p></o:p></div>
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There are numerous reasons to be suspicious about Disney’s
big spending. In an age where we are becoming increasingly wary of the excessive
power enjoyed by big corporations, seeing one of the most powerful film
conglomerates in the world gain acquire even more properties can leave a rather
sour taste in the mouth. In the last two decades, Disney’s acquisition of
Luscasfilm and Marvel Films allowed them control over two of the most
successful movie franchises in the world, and the studio has assets worth almost <a href="https://www.statista.com/statistics/193136/total-assets-of-the-walt-disney-company-since-2006/">$100 billion</a>. The purchase of Fox adds an extra <a href="https://www.bbc.co.uk/news/business-47671266">$30 billion</a>, and ensures that
Disney’s share of the US cinematic market rises from <a href="https://www.voanews.com/a/in-end-of-20th-century-fox-a-new-era-dawns-for-hollywood/4838984.html">26% to around 36- 38% </a>. In addition,
Disney’s reputation for being safe and bland has generated fears that they will
meddle in any film produced by Fox or Fox Searchlight, and rumours that Disney
heads Alan Horn and Bob Iger will have plenty of creative control are
<a href="https://www.theguardian.com/film/2019/mar/20/a-monopolistic-blob-what-the-disneyfox-merger-means-for-cinema">understandably worrying</a> in this context. <o:p></o:p></div>
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However, the move makes plenty of sense for Disney. For
instance, it allows them to enter the <a href="https://uk.ign.com/articles/2019/03/20/disney-is-now-the-most-powerful-movie-studio-of-all-time">adult film market</a>. Touchstone and Hollywood Pictures, which used
to be Disney’s divisions for distributing more adult films, both fell into dormancy during the 2000s and Disney can use 20<sup>th</sup> Century Fox to replace them and
produce blockbusters aimed at an older audience. In addition, its ownership of
Fox Searchlight allows Disney to compete in the Oscar race. The studio have
done this before (They owned Miramax for 17 years) but their control of Fox
Searchlight represents a way of gaining the critical legitimacy and respect
they have often lacked. Disney’s reliance on a handful of expensive big name
blockbusters has been incredibly limiting from a creative perspective, and the
numerous mid-budget and low-budget films from the Fox production arms can allow
Disney to diversify their output. Media coverage has focused on the fact that
Disney now have ownership of the Marvel heroes not owned by Marvel Studios (<b>X
Men</b>, <b>Fantastic Four</b> and <b>Deadpool</b>), <b>The Simpsons</b> and <b>Avatar</b>. However, it also
owns a wide range of movies which were produced and distributed by various
parts of the 20<sup>th</sup> Century Fox Company over the years. As a result,
these movies are now technically part of the Disney library. In around 84 years
of existence, Fox has been responsible for releasing <a href="https://www.imdb.com/search/title?companies=co0000756&sort=release_date,desc">over 4,000 films</a>. Listed below are 15 Fox films which
are now owned by Disney and eligible for a place on Disney+ or Hulu. Some of
them fit the studio perfectly, whilst others are ludicrously inappropriate for
the House of Mouse…<o:p></o:p></div>
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<h4>
<u>Fairy Tales</u></h4>
<div>
<u><br /></u></div>
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<span style="mso-bookmark: _Hlk4357336;">Disney’s reliance on
fairy tale films, and their popularity and influence means that they have
defined the form during the last century. The acquisition of Fox strengthens
Disney’s claim to dominate the American fairy tale genre, as they now own three
of the most unique and creative fairy tale films to be released by Hollywood…<o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt5580390/">The Shape of Water</a></b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTVFs-x_CCBhbdR_pA8CVNBs2b9fFM0EXlahbR6frzWi8G9TEKloSY9oF-VZ7acldHPEs4efYFmBcaJiJJXQ_Dsss7uqIM8ZDqmINPHekR5pUzTWdC4oESY_qFRwyKl_Vf3P72ntit6Y/s1600/91Nn26BiCjL._SY679_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="679" data-original-width="463" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTVFs-x_CCBhbdR_pA8CVNBs2b9fFM0EXlahbR6frzWi8G9TEKloSY9oF-VZ7acldHPEs4efYFmBcaJiJJXQ_Dsss7uqIM8ZDqmINPHekR5pUzTWdC4oESY_qFRwyKl_Vf3P72ntit6Y/s320/91Nn26BiCjL._SY679_.jpg" width="218" /></a></div>
<br />
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<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
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<span style="mso-bookmark: _Hlk4357336;">After the acclaimed <b>Pans
Labyrinth</b> and the cult favourite<b> Crimson Peak</b>, Guillermo Del Toro cemented his
status as “king of the adult fairy tale” with the Oscar-winning <b>The Shape of
Water</b>. Set at an unspecified time in the 1960s, it tells the story of a mute
cleaner who works night shifts in a mysterious scientific facility. When she
comes across a mysterious fish-like creature being imprisoned there, she begins
to form a connection with it, and soon breaks it out of the facility and hides
it in her apartment. Del Toro’s film possesses a wonderfully beguiling
atmosphere, with the dark blues and greens of the cinematography highlighting
the watery feel of the story and adding to the intrigue. Although the
protagonist Elisa and her water-dwelling new friend are unable to speak, they
are a compelling central couple, and the fairy tale feel of the story gives
their relationship additional power. In addition, <b>The Shape of Water</b> makes some
effective observations about the prejudice in America at this time. Elisa’s
friends include an African-American woman, a closeted gay neighbour and a
Russian double agent, whose outcast status plays a key role in their decision
to protect the creature. In contrast, the fanatical villain Strickland is the
epitome of the American Alpha male. Making progressive political points whilst
providing a uniquely escapist work, Del Toro effectively highlighted the power
of fairy tales to provide both a release from the world and a greater
understanding of it – <b>The Shape of Water</b> definitely deserved its Best Picture
win. <o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">In many ways, <b>The
Shape of Water</b> is a typical Beauty and the Beast story, but its adult elements
are present immediately - Most fairy tale films don’t begin with the
protagonist pleasuring themselves in the bath. There are also some pretty
disturbing moments of violence, and that’s without mentioning the infamous
underwater sex scene. Despite this, <b>The Shape of Water</b> is certainly not an
example of cheap sensation, as the more controversial elements advancing the
story and developing the characters. When Disney created a <a href="https://pbs.twimg.com/media/D3JnyLAU0AAGDgi.jpg:large">special banner</a> to advertise their new acquisitions, they used the poster of this
movie to represent the Fox Searchlight production arm. This confirmed its
status as one of the most iconic fairy tale films of recent years, but also
demonstrates how far removed it is from the traditional Disney formula. <o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0099487/">Edward Scissorhands</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3_aSxlSiqT_vfEF495thxr2G6SOg769co1xgl10vM1G9PSnJVZkLc_InhqvSxewkpTQ-pvp6Ekhik_zjhq2-wWpmWVYZnzEHKS8vy1YvhkX1Qj-gToUrdGBgjJ3kIqvSmwxXBshOwm0/s1600/download+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="274" data-original-width="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3_aSxlSiqT_vfEF495thxr2G6SOg769co1xgl10vM1G9PSnJVZkLc_InhqvSxewkpTQ-pvp6Ekhik_zjhq2-wWpmWVYZnzEHKS8vy1YvhkX1Qj-gToUrdGBgjJ3kIqvSmwxXBshOwm0/s1600/download+%25281%2529.jpg" /></a></div>
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<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
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<span style="mso-bookmark: _Hlk4357336;">Before directing
Disney’s billion-dollar live-action remake of <b>Alice in Wonderland</b> (and their new
version of <b>Dumbo</b>) Tim Burton established himself as one of the quirkiest and
most interesting directors in Hollywood, with the 1990 film <b>Edward Scissorhands</b>
cementing his status as a major name. The premise is a variation on <b>Pinocchio
</b>and <b>Frankenstein</b>, as a mad scientist creates a an extremely lifelike robot from
scrap metal, but dies before he can provide it with a proper pair of hands,
leaving it with giant scissor blades instead. Edward is discovered by a saleswoman
and taken to her home in the suburbs, where his ability to cut hair and create
impressive ice sculptures wins the attention of the snobby locals. However, as
the dire side effects of having blades for hands become clear, Edward becomes
increasingly isolated by the community.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Burton’s followup to
his blockbuster adaptation of <b>Batman</b>, <b>Edward Scissorhands</b> is one of the purest
expressions of his iconic style. The clash between the gothic and mundane is on
show throughout, whilst Burton’s idol Vincent Price has a short but memorable
role as Edward’s creator. However, the film has a tragic dimension which most
of Burton’s work lacks, as Edward’s deadly hands prevent him expressing his
love for (played by Winona Ryder) and lead to him being cast out of his new
world. These two paragraphs alone contain more words than Edward speaks in the
entire movie, but Johnny Depp does an excellent job of using his unique body
language to bring the character to life. Another highlight is Danny Elfman’s
enthralling score, which perfectly captures the feel of a fairytale where most
of the action takes place around Christmas time. <b>Edward Scissorhands</b> has earned
its reputation as one of Burton’s finest films, and it is a worthy addition to
the Disney library. <o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0093779/">The Princess Bride</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_SI7mz0c0K5MqiWRFJMj6gfG1Kw8dh2oJXuYzETG77lMGmcFft4p3u0pdOXN6S2pwH8YAZkjToFlDannTCpdujecg71QvtaVB5xa2UFsM_7FELyD-Dchn2Ts4PP0hOxrGlxOzyToSbfY/s1600/6a00d8345295c269e2014e888161a7970d-600wi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_SI7mz0c0K5MqiWRFJMj6gfG1Kw8dh2oJXuYzETG77lMGmcFft4p3u0pdOXN6S2pwH8YAZkjToFlDannTCpdujecg71QvtaVB5xa2UFsM_7FELyD-Dchn2Ts4PP0hOxrGlxOzyToSbfY/s320/6a00d8345295c269e2014e888161a7970d-600wi.jpg" width="216" /></a></div>
<br /></div>
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">With iconic
catchphrases such “Inconceivable!” “As You Wish.”<span style="mso-spacerun: yes;"> </span>And “My Name is Inigo Montoya. You Killed My
Father. Prepare to Die.” <b>The Princess Bride</b> has become one of the most quoted
fairy tale films of all time. It’s not hard to see why this movie is now a
genre classic. Written by the legendary screenwriter William Goldman and based off his own
novel, <b>The Princess Bride</b> tells the story of the relationship between Princess
Buttercup and her farmhand Westley. When Westley vanishes, Buttercup is forced
into an arranged marriage with the slimy Prince Humperdinck, but Westley soon
returns to win her back. The story is framed as a fairy tale being told by a
grandfather to his poorly grandson, and the grandson’s growing interest in what
he initially dismisses as a “kissing book” reflects the growing engagement of
the wider audience. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Except for the first
two <b>Shrek </b>movies, few non-Disney fairytales have enjoyed such an impact on
popular culture. Whilst Westley and Buttercup are likeable leads, the best
characters are in the supporting cast. Inigo Montoya and Fezzik are initially
hired by Humperdinck to kidnap Buttercup, but soon befriend Westley and join
his mission, proving to be invaluable allies. In addition, Wallace Shawn, Mel
Smith, Peter Cook, Peter Falk and Billy Crystal make memorable cameos – who can
forget the pompous and hot-tempered Vizzini, or the ancient and talkative
Miracle Max and his wife?. Disney have been trying to develop a stage
adaptation of <b>The Princess Bride</b> for several years, but the fact that they now own the original is
definitive proof of how far it has crossed into the mainstream.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<h4>
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u>Musicals</u></b></span></h4>
</div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u><br /></u></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Whereas Disney are
kings of the animated musical, Fox are the studio most associated with their
live-action counterparts. <b>Oklahoma</b>, <b>The King & I</b>, <b>Moulin Rouge</b>, and <b>The
Sound of Music</b> are just some of the iconic musicals produced and distributed by
the studio, but the three below represent particularly interesting additions to
the Disney library…<o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0118617/">Anastasia</a></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLyPWIxmkFwZMYMX9SKkAawA7QTeMVpjd8PcQQuzkZmHxuTbXvN4hH194mqwtNc8gM08E_n8ovAAbMazLpYSLJEtQNHOl1BkpJds9_TPT5tKyGHuGNuhN4UbQp25Ldh6txcaHZD2OsfEU/s1600/41swJE5YxHL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="337" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLyPWIxmkFwZMYMX9SKkAawA7QTeMVpjd8PcQQuzkZmHxuTbXvN4hH194mqwtNc8gM08E_n8ovAAbMazLpYSLJEtQNHOl1BkpJds9_TPT5tKyGHuGNuhN4UbQp25Ldh6txcaHZD2OsfEU/s320/41swJE5YxHL.jpg" width="215" /></a></div>
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<span style="mso-bookmark: _Hlk4357336;">Disney have acquired
ownership of all of Fox’s animated properties, including <b>The Simpsons</b> and the
<b>Ice Age</b> franchise. They have also gained this 1997 hit, which once represented a
formidable challenger to the Magic Kingdom. This film was based on the premise
that Anastasia, the daughter of Tsar Nicholas II, survived the Russian
Revolution to end up in Paris with no memory of her past. In real life, she
died a horrible death along with the rest of her family, but no-one expects
historical accuracy from a film where Rasputin is portrayed as a demon sorcerer
responsible for the demise of the monarchy. Anastasia teams up with two conmen
to find the last remaining members of her family, but Rasputin is following in
a bid to finish off the Romanov dynasty once and for all…<o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
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<span style="mso-bookmark: _Hlk4357336;">Released as the
Disney Renaissance was slowing down, Anastasia had the feisty princesses, nasty
villain, colourful sidekicks and memorable music associated with Disney’s
recent hits but provided its own unique spin. Animation icon Don Bluth, who had been Disney’s
primary challenger in the 1980s (he directed the brilliant <b>An American Tail </b>and
<b>The Secret of NIMH</b>) directed and produced this film, providing a more detailed
and epic variation on his signature style. A modest hit in its
initial release, it appeared to signal Bluth’s return to form after several
years of mediocre and childish movies, but the failure of his followup <b>Titan AE</b>
and the wider demise of hand-drawn animation led to Bluth fading back into
obscurity. The movie has been immensely popular with millennials and was
eventually adapted into a stage musical, which eliminated the supernatural
elements from the story. It is just about to conclude a 2 year run on Broadway,
and has demonstrated that <b>Anastasia </b>has enjoyed the same enduring impact as
Disney’s animated hits. Its new status as part of the Disney library allows
fans to put Anastasia along with the other Disney princesses, but her movie
still remains a unique alternative to the antics of Ariel, Belle and
Pocahontas…<o:p></o:p></span></div>
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<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0073629/?ref_=nv_sr_1">The Rocky Horror Picture Show</a></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNRyg5LonLNODHcXrjwYiRDeYnt7C882JYxf3Dq3QHB74AJmlQRgWRQArUbMP0ZU0lyHjQwsNZ06YG_2d1Ejt_WB9pUMRWZVbR6oT_IRZCNREzt419nEFshCebHLofwkXyCRmWFSmXLDk/s1600/il_570xN.1529384425_f3yc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="570" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNRyg5LonLNODHcXrjwYiRDeYnt7C882JYxf3Dq3QHB74AJmlQRgWRQArUbMP0ZU0lyHjQwsNZ06YG_2d1Ejt_WB9pUMRWZVbR6oT_IRZCNREzt419nEFshCebHLofwkXyCRmWFSmXLDk/s320/il_570xN.1529384425_f3yc.jpg" width="216" /></a></div>
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<span style="mso-bookmark: _Hlk4357336;">There are few
musicals like 1974’s <b>The Rocky Horror Picture Show</b>. A cinematic adaptation of Richard
O’ Brien’s underground stage musical <b>The Rocky Horror Show</b>, it follows the
classic B movie storyline of a couple getting lost and ending up in a sinister
castle, but with numerous changes to the formula for the era of sexual
revolution and liberation. Here, the stereotypically wholesome Brad and Janet
end up in a mysterious mansion populated by numerous odd characters, most
notably the cross dressing mad scientist Dr Frank N Furter and his blond
beefcake creation, the titular Rocky Horror. These eccentric inhabitants leave
Brad and Janet questioning the sexual certainties of their suburban world, and
in the words of the narrator, they will have “a night to remember for a very
long time”. <o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><b>The Rocky Horror
Picture Show</b> introduced the world to the reliably entertaining Tim Curry, who
is deliciously camp as Dr Furter, and featured early roles for Susan Sarandon
and Meat Loaf. The atmosphere is wonderfully over the top and ridiculous but
still faithful to the dark spirit of classic horror, whilst the songs blend
lurid and witty lyrics with catchy instrumentals. Unsurprisingly, this genre
and gender defying film was not a hit at first, but when New York cinemas began
to show it as a “midnight movie”, <b>The Rocky Horror Picture Show</b> became one of
the definitive cult classics, amassing a devoted fandom which endures today. Screenings
of the movie often utilise audience participation, including ringing bells and
throwing toilet paper in the air – it is certainly a long way from the
traditional sing-along showings. <b>The Rocky Horror Picture Show</b> has inspired
numerous outlandish and subversive musicals in the decades since, but the likes
of “Sweet Transvestite” remain as fresh and entertaining today as they were
when this film was first released. <o:p></o:p></span></div>
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<b style="text-indent: -18pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><br /></span></span></b>
<b style="text-indent: -18pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-weight: normal; line-height: normal;"><a href="https://www.imdb.com/title/tt1485796/?ref_=rvi_tt"> </a></span></span></span></b><b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt1485796/?ref_=rvi_tt">The Greatest Showman</a></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpBIbZkm6Nb1T5__YT1y6NiMr5KNMGgqYzmdYpTxsXGGFk2yi2UfasjbG_bg-yxBwhEufCkbDkmDwkBIh03na1Fv50Uy31_BTKJC74PuiIJOWZhGfYaKGjE82YIXIJGFLeqVBLYku4vAE/s1600/51Rhz-YsFyL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="451" data-original-width="297" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpBIbZkm6Nb1T5__YT1y6NiMr5KNMGgqYzmdYpTxsXGGFk2yi2UfasjbG_bg-yxBwhEufCkbDkmDwkBIh03na1Fv50Uy31_BTKJC74PuiIJOWZhGfYaKGjE82YIXIJGFLeqVBLYku4vAE/s320/51Rhz-YsFyL.jpg" width="210" /></a></div>
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<span style="mso-bookmark: _Hlk4357336;"><b>The Greatest Showman</b> is
one of the most unlikely hit films of the last decade. A passion project for <b>X
Men</b> icon Hugh Jackman, it is based on the life of the infamous circus
empresario P.T. Barnum, a tireless self-publicist whose ability at creating and
promoting sensationalistic entertainment made him a major figure in 19<sup>th</sup>
century America. The film depicts Barnum as a family man who establishes an
unusual circus show for “human oddities” that catapults him to fame. Historical
accuracy is discarded in favour of the Barnum myth, with an all-star cast
(including Michelle Williams and Zac Efron) and plenty of flashy cinematography
providing the sense that it is more focused on applying Barnum’s showmanship to
his life story rather than providing an actual examination of his work and
impact. <span style="mso-spacerun: yes;"> </span>Initial reviews of <b>The Greatest
Showman</b> were rather hostile, with many criticizing it for its attempts to
whitewash the story of Barnum and the inherently exploitative nature of the
“freak shows” which he pioneered. However, just as Barnum and his stars overcome
the snobby critics to win over the general public, the movie did the same in
real life. Over Christmas 2017, it became an unexpected sleeper smash. It
made <a href="https://www.boxofficemojo.com/movies/?id=greatestshowman.htm">$175 million</a> in America (despite the fact it made less than $9 million in
its opening weekend) and earned over $400 million worldwide. <o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
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<span style="mso-bookmark: _Hlk4357336;">There is one major
reason for the success of <b>The Greatest Showman</b> - the incredible soundtrack.
Blending intense rock and even hip-hop inspired tunes, sombre power ballads and
upbeat inspirational anthems, it sounded nothing like the music of Barnum’s
day, and was all the better for it. <b>The Greatest Showman</b> soundtrack proved to
be that winning blend of modern and timeless, eventually becoming one of the
biggest selling compilations ever created. The likes of “This is Me” and “A
Million Dreams” have captured the imagination of girls all over the world in
the same way as “Let It Go” and “Do You Want To Build A Snowman” did five years
ago, and it is likely that they will remain staples of the musical genre for
decades to come. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><span style="mso-spacerun: yes;"><br /></span></span></div>
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<h4>
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u>Strong Women</u></b></span></h4>
</div>
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<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u><br /></u></b></span></div>
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<span style="mso-bookmark: _Hlk4357336;">Disney have spent the
last three decades creating a formidable line up of strong and relatable female
leads. The addition of the Fox library adds numerous female-centred films to
this lineup. These three films contain memorable and compelling female leads
who represent excellent sources of inspiration for Disney’s future heroines. <o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0088011/?ref_=nv_sr_4">Romancing the Stone</a></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI3k_SnVJCdtX33QyMqJMDpOZiztFuvGn9HHbVJ5vSIqeRd7L_gq83JZt_qCtsFz3Yrjj_O2DoKAs2BDrmXxZChJ8KPBXh63PAip5ArOqZ4MwLiD_0HTUyJpIcFivHqs6lL52hPCHVgDI/s1600/51i4IzQvO6L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="338" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI3k_SnVJCdtX33QyMqJMDpOZiztFuvGn9HHbVJ5vSIqeRd7L_gq83JZt_qCtsFz3Yrjj_O2DoKAs2BDrmXxZChJ8KPBXh63PAip5ArOqZ4MwLiD_0HTUyJpIcFivHqs6lL52hPCHVgDI/s320/51i4IzQvO6L.jpg" width="216" /></a></div>
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<span style="mso-bookmark: _Hlk4357336;">Disney’s recent hits
<b>Tangled</b>, <b>Frozen </b>and <b>Moana </b>all follow a similar pattern. They concern a feisty
yet naïve young woman who leaves her sheltered world behind to go on an
incredible adventure with a grizzled male hero. The heroine becomes stronger,
the male becomes kinder and there are plenty of meta jokes and references to
familiar adventure tropes. It is not hard to see why this formula works so
well, and it has played a huge role in Disney’s recent success. However, before
Disney entered their revival, this basic approach was successfully used by the 1984
adventure comedy <b>Romancing the Stone</b>. The film tells the story of Joan Wilder
(played by Kathleen Turner), who writes trashy romantic melodramas in her New
York apartment. When her sister is kidnapped in Colombia by crooks (one of whom
is played by Danny DeVito) seeking a precious diamond, Joan sets off to find her,
but gets lost in the South American jungle. In order to rescue her sister and
avoid an even more vicious villain also after the gem, Wilder must team up with
mercenary Jack T. Colton (played by Michael Douglas). Needless to say, life
soon begins to imitate art, and Wilder soon finds herself in the adventure that
can only end with her defeating the villains and finding true love…<o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
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<span style="mso-bookmark: _Hlk4357336;">Although Joan and Jack’s
adventures are a bit more violent and raunchy compared to those of Anna and
Kristoff or Rapunzel and Flynn Rider, it is pretty clear that <b>Romancing the
Stone</b> shares plenty of DNA with Disney’s hits from the last decade. It was somewhat
ahead of its time in being a jungle adventure film clearly centred on its
female protagonist, with Turner ditching her femme fatale image to play the ordinary
but unexpectedly brave heroine. She was aided by a lively script written by
waitress Diane Thomas, who famously pitched it to Douglas at a café. The movie
had a turbulent journey to the screen, with numerous stars turning down the
role of Jack T. Colton and several reshoots and rewrites taking place. However,
it was all worth it in the end -The film was a hit, Turner won a Golden Globe
for her performance as Wilder, and director Robert Zemeckis gained the
credibility needed to make his pet project <b>Back to the Future</b>. The sequel <b>Jewel
of the Nile</b> quickly followed but proved to be a critical and commercial
disappointment (it didn’t help that the film turned Joan into a more generic
love interest), although it did feature the wonderfully entertaining Billy
Ocean hit “When the Going Gets Tough” on its soundtrack. There have been
numerous attempts to revive Wilder and Colton for sequels and TV series, but
these have all fallen through. Hopefully, Disney will be able to bring the two
back into the spotlight. <o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0056937/">Cleopatra</a></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg67zV7b-yqbxDJVhZicNsX2p3fxqPixqsGeyEc3b3QrIFDPhecuIqZjJMJ9l7U-JifjlMAHZSpNYL3xYYUIon53tia0bm5aEWDMtmQqZeH-kEoiNZu66CE1saDRzbYCEN86ltBhJhuPAU/s1600/513%252BJGjFDrL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="355" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg67zV7b-yqbxDJVhZicNsX2p3fxqPixqsGeyEc3b3QrIFDPhecuIqZjJMJ9l7U-JifjlMAHZSpNYL3xYYUIon53tia0bm5aEWDMtmQqZeH-kEoiNZu66CE1saDRzbYCEN86ltBhJhuPAU/s320/513%252BJGjFDrL.jpg" width="227" /></a></div>
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<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
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<span style="mso-bookmark: _Hlk4357336;">The last queen of
Egypt, Cleopatra is one of history’s most famous and tragic female rulers. This
powerful and ambiguous leader is an odd inclusion to the line-up of Disney
princesses, but she now qualifies for this group due to Disney’s acquisition of
this 1963 epic. Iconic diva Elizabeth Taylor played the ill-fated Egyptian
monarch, with Richard Burton as her love interest Mark Anthony (Burton and
Taylor’s infamous on-off relationship begun during the making of this film) Rex
Harrison as Julius Caesar and Roddy McDowall as Anthony’s enemy Octavian. “Swords
and sandals” epics such as <b>Cleopatra </b>were to the 1950s and 1960s what superhero
movies and live—action remakes are to the modern cinematic landscape, and this
movie is a defining example of this grandiose old genre. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="mso-bookmark: _Hlk4357336;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">The making of <b>Cleopatra
</b>is even more fascinating and incredible than the film itself. Originally
intended to be two three hour movies, <b>Cleopatra </b>was edited into a single epic
over four hours long. Shooting was delayed numerous times, and a range of
illnesses and scandals forced the filming to be moved from Britain to Italy. Over
79 sets and 26,000 costumes were used, and the sheer scale of the production
led to shortages of building materials across Italy. <b>Cleopatra </b>was one of the
highest-grossing movies of the 1960s, yet was still considered a colossal flop
due to its exorbitant budget – The $44 million spent on making it is worth
around $250 million in today’s money. <b>Cleopatra </b>is a useful addition to the Disney
library - Its fate at the box office provides the newly inflated studio with a
stark warning of what happens if they allow hubris to take over and let their
blockbusters to get too big. <o:p></o:p></span></div>
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<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt5580266/?ref_=nv_sr_1">The Hate U Give</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXhWBbpT0Kfx1AkknvubhfAM0z8uRXlnHBHTJ43CFXUmD95euCqJVdDbXC35e4xfxw4aT0VWh_tmch3ZKkqeK7UJxTjFg-OeDl4LQhx1nBeJU38X-iFZuRQyQ3DrfVUUTUJOpLuYeY0Wo/s1600/71T%252BOLf3zdL._SY679_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="679" data-original-width="459" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXhWBbpT0Kfx1AkknvubhfAM0z8uRXlnHBHTJ43CFXUmD95euCqJVdDbXC35e4xfxw4aT0VWh_tmch3ZKkqeK7UJxTjFg-OeDl4LQhx1nBeJU38X-iFZuRQyQ3DrfVUUTUJOpLuYeY0Wo/s320/71T%252BOLf3zdL._SY679_.jpg" width="215" /></a></div>
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<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Among Disney’s
acquisitions is Fox 2000, which specializes in mid-budget productions often aimed at a teenage
audience. One of most recent and interesting movies from the studio is <b>The Hate
U Give</b>, based on Angie Green’s hit YA novel. The book follows Starr, an
African-American girl from a deprived Californian neighbourhood who goes to an
affluent and predominantly white school. When she witnesses a childhood friend
getting shot by a cop, Starr’s life is thrown into chaos, as she tries to work
up the courage to speak at the trial whilst coming to terms with the everyday racism
around her.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Played by Amandla
Stenberg, Starr is a compelling and relatable protagonist, and it is easy to
invest in her struggle to balance her black identity with the need to conform
to a “white” standard of behaviour at her high school. The hot topics of police
brutality, rioting, crime and racial prejudice are handled excellently. The
anger at the injustices and dangers which affect young African Americans is
clear throughout the story, but the film also includes flashes of hope and
humour which make the subject matter palatable. Although its box office earning
were unexceptional and it got no awards recognition, <b>The Hate U Give </b>is one of
the most interesting films in the YA genre, and is a must-watch for those who
want to see films of this kind directly tackle contemporary social issues. Sadly,
Fox 2000 is going to be <a href="https://variety.com/2019/film/news/disney-retiring-fox-2000-label-1203169597/">closed down</a> by Disney, but only after completing the films
which it has in the pipeline, including an adaptation of Thomas’ follow-up
novel <b>On The Come Up </b>and the recent YA phenomenon <b>Children of Blood and Bone</b>.
It would be great to see these get released, and hopefully Disney will allow
Fox 2000 to do them justice before they retire the studio. <o:p></o:p></span></div>
<div class="MsoNormal">
<h4>
<span style="mso-bookmark: _Hlk4357336;"><br /></span><span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u>Adults Only</u></b></span></h4>
</div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u><br /></u></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">There are numerous
films in the Fox Library that Disney would never contemplate producing or
distributing. However through the magic of corporate deals, these are now
technically Disney films. Whether ultra-gory revenge stories, satanic horrors
or tasteless comedies, these are as distant from the world of Micky Mouse and
Queen Elsa as it is possible for any film to be…</span><br />
<b style="text-indent: -18pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-list: Ignore;"><span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-weight: normal; line-height: normal;"><br /></span></span></span></b>
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0120866/">Titus</a></b></div>
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<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span>
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9HJFo9TOTCSRGuo6TTaI_O_ndIZUlh97hBdw8oD0IZZrla-ygIMYMxQSY5Gv7rpioDU4a_AIfeXoWb6oyCshTiJx9R2Q3NF9nDQv44r7tHtfPr3RZI2HSxsC0qSsOZOfn8SiAaCUqnio/s1600/51kg-fqdzDL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="338" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9HJFo9TOTCSRGuo6TTaI_O_ndIZUlh97hBdw8oD0IZZrla-ygIMYMxQSY5Gv7rpioDU4a_AIfeXoWb6oyCshTiJx9R2Q3NF9nDQv44r7tHtfPr3RZI2HSxsC0qSsOZOfn8SiAaCUqnio/s320/51kg-fqdzDL.jpg" width="216" /></a></div>
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Theatre director
Julia Taymor became a household name with her innovative stage adaptation of
Disney’s classic <b>The Lion King</b>. Over two decades after it premiered, it is
still one of the highest-earning productions on Broadway, comfortably out-grossing Disney’s other stage musicals every single week. The success of <b>The
Lion King</b> gave Taymor the freedom to do anything she wanted, and she really
took advantage of it.<span style="mso-spacerun: yes;"> </span>Her first project
after <b>The Lion King</b>? A film where the signature scene features a character
unknowingly eating a pie containing the remains of her two sons…<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><b>Titus </b>is an
adaptation of Shakespeare’s early play <b>Titus Andronicus</b>, an immensely violent
tale of revenge set in ancient Rome. Though incredibly popular in the 1590s, it
has been overshadowed by Shakespeare’s later, more nuanced tragedies such as
<b>Hamlet </b>and <b>Macbeth</b>. Anthony Hopkins is the intense and sinister Roman general
driven to madness by the death of his children, whilst Jessica Lange plays his
nemesis Tamora. However, the highlight of the film is Taymor’s production
design, which is full of detailed and impressive symbolism. Harsh colours were
used to convey the brutality of the story, and the look of the production
combined ancient Rome and modern Italy, with characters driving both cars and
chariots, and wearing both business suits and suits of armour. This epitomized both the universal dominance of war throughout the ages and the specific ideas
and values which the characters are associated with. <b>Titus </b>will remain an
acquired taste compared to other Shakespeare films, but it is an impressively
nasty showcase for Taymor’s creative vision, and a strong contrast with her
more family-friendly work. <o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0075005/">The Omen</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1haiidthYRXgUiXlg7SGEdhiUCOw758YMsveLNwgqSJRAafTF5zYQVBQ3GwchSPV6ySF16tWumcznIpk22Xp9zIBWFK3ieSY03JtbkDpiwoGAtAbDErApW5O38CYGKe4DwUvrR9SR9m8/s1600/MV5BZmNjZDcwNTMtMjQxMy00ZTY5LTg4M2YtYjA5NDliNjNhYzQ3XkEyXkFqcGdeQXVyNjc1NTYyMjg%2540._V1_UY1200_CR83%252C0%252C630%252C1200_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="630" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1haiidthYRXgUiXlg7SGEdhiUCOw758YMsveLNwgqSJRAafTF5zYQVBQ3GwchSPV6ySF16tWumcznIpk22Xp9zIBWFK3ieSY03JtbkDpiwoGAtAbDErApW5O38CYGKe4DwUvrR9SR9m8/s320/MV5BZmNjZDcwNTMtMjQxMy00ZTY5LTg4M2YtYjA5NDliNjNhYzQ3XkEyXkFqcGdeQXVyNjc1NTYyMjg%2540._V1_UY1200_CR83%252C0%252C630%252C1200_AL_.jpg" width="168" /></a></div>
<br /></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Disney owe a lot of
their success and popularity to their focus on children, who are often ignored
as most film studios chase the fabled 18-35 demographic. <span style="mso-spacerun: yes;"> </span>However, the 1976 horror hit <b>The Omen </b>takes
the opposite approach, featuring one of the most infamous evil children in
cinema history. It follows Robert Thorn, an ambassador who secretly adopts a
baby after his son dies in the womb. But a series of suspicious incidents start
to happen and Robert begins to realize there is something odd about the new child.
The 666 etched on Damien’s scalp and the inability to find his birth mother
lead to a startling conclusion – Damien is the son of Satan himself, and Robert will
have to kill him in order to prevent him from becoming the Antichrist. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><b>The Omen</b> combines a
heavy religious atmosphere (including the eerie Oscar-nominated score) with
numerous grisly “accidents” that affect any priest or family member who begins
to get suspicious of Damien. The blend of sophisticated and gory meant that the
film was more downmarket than predecessors such as <b>The Exorcist</b>, but far
superior to the numerous cheap horrors which followed in its wake. The cast is
especially impressive for a movie of this genre, with the legendary Gregory
Peck playing Robert Thorn and the likes of David Warner, Billie Whitelaw and
Patrick Troughton also having key roles in the narrative.<span style="mso-spacerun: yes;"> </span>There was plenty of interest in satanic
goings-on during the 1970s, and production of <b>The Omen</b> was noted for several
misfortunes which allegedly affected the cast and crew of the movie, adding
further creepiness to its story-line. <b>The Omen</b> provide to be a box office hit
and generated a minor franchise, with three sequels and a remake (released on 6<sup>th</sup>
June 2006). Despite its status as one of the most notable horror movies of the
1970s, don’t expect Disney to bring Damien back in the near future… <o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0443453/">Borat</a> (AKA Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan)</b></div>
<div class="MsoListParagraph" style="mso-list: l2 level1 lfo4; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV_A-eo4AeCyxywIHLgN7mzmVV8qGzZrj6YLHo4B723t9_lwCfYrzuxFTqh0uI-iYpU7OGXm6coIVVelABfHMlEadYNbkmMnJZ8iyZydpgZikO02PydyzTDsXHwa_QiNkWRIkVQ5AYOlo/s1600/41DwjtIwFlL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="411" data-original-width="300" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV_A-eo4AeCyxywIHLgN7mzmVV8qGzZrj6YLHo4B723t9_lwCfYrzuxFTqh0uI-iYpU7OGXm6coIVVelABfHMlEadYNbkmMnJZ8iyZydpgZikO02PydyzTDsXHwa_QiNkWRIkVQ5AYOlo/s320/41DwjtIwFlL.jpg" width="233" /></a></div>
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span>
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Fox have produced
numerous lowbrow comedy hits, including <b>Dodgeball </b>and <b>There’s Something About
Mary</b>, but none are as shocking and transgressive as <b>Borat</b>, a politically
incorrect comedy centred on the character created by British comedian Sacha
Baron Cohen for <b>Da Ali G Show</b>. Borat Sagdiev is a misogynist, anti-Semitic and
Anti-Ziganist (yet oddly lovable) reporter from Kazakhstan, who heads on a road
trip across America with his sidekick Azmat. In the USA, Borat encounters car
salesmen, college kids, humour experts and politicians, before his journey culminates
in an attempt to kidnap Pamela Anderson and make her his bride.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Needless to say,
<b>Borat </b>(which possesses the unwieldly and poorly translated full title <b>Borat:
Cultral Learnings of America for Make Benefit Glorious Nation of Kazakhstan</b>) is
not for the easily offended. Highlights include Borat’s overjoyed reaction after
hearing about the death of his wife, a sequence where a stay at a bed and
breakfast is ruined when Borat realises that the couple running it are Jewish,
and a scene where he and Azmat fight in public whilst totally naked. If you
prefer child-friendly types of comedy, then you will probably find <b>Borat
</b>totally unwatchable. However, there is method behind the madness, as Baron
Cohen improvised most of his scenes, interacting with people who had no idea
that Borat was a fictional character. Sometimes, their reactions to Borat’s
inappropriate behaviour can be amusing, but they can also be disturbing, as
they accept or even endorse his awful comments. The social satire can be
clever, but there is one thing which really makes <b>Borat </b>stand out - it is as
funny as hell. After <b>Borat </b>premiered in 2006, it became a bonafide cultural
phenomenon, with viewers dressing in Borat’s Mankini and repeating his “Is
Nice” catchphrase. Baron Cohen was never able to emulate its success, but <b>Borat
</b>secured his place in comedy history. <o:p></o:p></span></div>
<div class="MsoNormal">
<h4>
<span style="mso-bookmark: _Hlk4357336;"><br /></span><span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u>Male Stories</u></b></span></h4>
</div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><u><br /></u></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Blood, sweat and
testosterone are rarely present in the world of Disney, but Fox have made
numerous films aimed at male audiences which showcase the masculine imagery and
belief systems rarely seen in Princess films. Of the three works listed below,
one celebrates macho masculinity, one satirises it and one showcases the violent
world where it was necessary for survival. However, all three are far removed
from the prettiness and cleanliness one associates with Disney…</span><br />
<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0137523/?ref_=rvi_tt">Fight Club</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7kRjusVeanlZJQ6st5j_DpDVpHImrcDqAOS0C-I9WKoZaAveilwtL7YIv5sYtVf90GESrMpU_36_iwGCbVy4v1ibEMHGv5JopOcBvkCXHkdFBckan23rtVm-CkjA7CTxSKtCO7dNJUZA/s1600/MV5BMjJmYTNkNmItYjYyZC00MGUxLWJhNWMtZDY4Nzc1MDAwMzU5XkEyXkFqcGdeQXVyNzkwMjQ5NzM%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1082" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7kRjusVeanlZJQ6st5j_DpDVpHImrcDqAOS0C-I9WKoZaAveilwtL7YIv5sYtVf90GESrMpU_36_iwGCbVy4v1ibEMHGv5JopOcBvkCXHkdFBckan23rtVm-CkjA7CTxSKtCO7dNJUZA/s320/MV5BMjJmYTNkNmItYjYyZC00MGUxLWJhNWMtZDY4Nzc1MDAwMzU5XkEyXkFqcGdeQXVyNzkwMjQ5NzM%2540._V1_.jpg" width="216" /></a></div>
<br /></div>
<div class="MsoListParagraph" style="mso-list: l4 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">David Fincher is one
director who is definitely not likely of working with Disney in the future, as
his most popular films blend dark moody visuals and frequently sociopathic
characters with a pessimistic (and borderline nihilistic) view of the world. Having
previously worked with Fox on his ill-fated directorial debut <b>Alien3</b>, Fincher
returned to the studio for his 1999 film <b>Fight Club</b>, which became one of his
signature hits. It tells the story of an insomniac who attends emotional
support meetings for cancer patients in order to find a release from the
monotony of his life. He eventually comes across Tyler Durden, a mysterious
macho figure who possesses the confidence and charisma our unnamed protagonist
lacks. They two create the titular bare knuckle brawling club, and soon find
much more extreme ways of venting their frustration at the society surrounding
them…<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Based on a novel by
Chuck Panihuk, <b>Fight Club</b> provides an excellent project for Fincher’s cold but
immersive directorial style, with Edward Norton playing the narrator, Helena
Bonham Carter as a fellow support-group voyeur and Brad Pitt ruthlessly
subverting his pretty-boy image as Durden. Critics were unsure whether the film
satirised or celebrated the unsavoury characters at the centre, and it
initially flopped at the box office. However, it soon gained a passionate
fanbase due to its memorable visuals, big ideas and intricate twists,
eventually becoming one of the Top 10<a href="https://www.imdb.com/chart/top"> highest rated </a>films on IMDB. Although it
was created to react to a specifically late 90’s state of malaise, <b>Fight Club</b> feels uncomfortably timely in an age of incels and political division (in fact,
“snowflake” – the disparaging term for those opposed to the offensive
worldviews of others - originated from the novel). With brutal violence, soap
bars made from human fat and scathing commentary on consumerism and capitalism,
it could not be any less appropriate for Disney, which is what makes it such a
perfect inclusion here.</span><br />
<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt1663202/?ref_=rvi_tt">The Revenant</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6b8UKxuak1wiiDisQak8G0NATC4MyaXX5aaj35DwEodpCrBBkEuQ2AmaP-AxIY_wEHtcdmW9ju0jO1SmJNH0eBwmvEC78DeFCWouwP4Da0p0TQLdnCtjAhLEet7xqno285e-GEtLxWc/s1600/A1BjliXNDPL._SY606_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="409" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6b8UKxuak1wiiDisQak8G0NATC4MyaXX5aaj35DwEodpCrBBkEuQ2AmaP-AxIY_wEHtcdmW9ju0jO1SmJNH0eBwmvEC78DeFCWouwP4Da0p0TQLdnCtjAhLEet7xqno285e-GEtLxWc/s320/A1BjliXNDPL._SY606_.jpg" width="215" /></a></div>
<br /></div>
<div class="MsoListParagraph" style="mso-list: l4 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">18 years after he was
first nominated for Best Actor in Titanic, Leonardo Dicaprio finally won the
accolade for his role in <b>The Revenant</b>, a brutal drama set in the American West during
the 1820s. DiCaprio plays Hugh Glass, a frontiersman who gets badly wounded in
a bear attack. When the head of his hunting team abandons him for dead and
kills his son, Glass has to use every survival skill he knows to carry out his
revenge on the rest of the group. <span style="mso-spacerun: yes;"> </span><b>The
Revenant</b> is based on a true story, but is considerably more violent, with a lot
more murder than Glass’s real-life odyssey. Through its focus on an
inhospitable winter landscape, <b>The Revenant</b> provides the brutality and moral
ambiguity associated with revisionist westerns, but its depiction of a man
trying to survive in a cold and harsh environment makes it a unique spin on the
subgenre. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Director Alexander
Gonzalez <span style="mso-spacerun: yes;"> </span>Inarritu and cinematographer Emmanuel
Lubezki were the duo behind 2014 Best Picture winner <b>Birdman</b>, and<b> The Revenant</b> represented
a gruesome and atmospheric follow up that allowed the two to further showcase
their skills. Almost all of the movie was shot with completely natural light,
and the numerous long takes highlight the brutality of the violence and the
desperation which fuels Glass throughout the movie. For the majority of the 156
minute film, he is alone on screen, willing to do anything to survive long
enough to carry out his mission, including cauterise his wounds with gunpowder,
eat raw meat and hide inside animal carcasses to keep warm. DiCaprio keeps us
invested in Glass during this harrowing journey, and his awards recognition was
richly deserved. Despite going considerably over budget, the film became a
pretty huge box office hit, making over $500 million worldwide. <o:p></o:p></span></div>
<div class="MsoNormal">
<br />
<b style="text-indent: -18pt;"><a href="https://www.imdb.com/title/tt0088944/">Commando</a></b><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKlUogcKz_Fp5EzWxVkkcQvzrjYhR6vJwZZS0Kgflcb6A7EQHIqMzFCjBzYZh0SWa3WIOoLyi87ddsZZa35Td9Irz6eXpMYKcZWwWAftTAq3RV-LtJZAg-rWRGSPsWjV6XhTchb2T6Iow/s1600/commando-original-movie-poster-13x30-in-1985-mark-lester-arnold-schwarzenegger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="825" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKlUogcKz_Fp5EzWxVkkcQvzrjYhR6vJwZZS0Kgflcb6A7EQHIqMzFCjBzYZh0SWa3WIOoLyi87ddsZZa35Td9Irz6eXpMYKcZWwWAftTAq3RV-LtJZAg-rWRGSPsWjV6XhTchb2T6Iow/s320/commando-original-movie-poster-13x30-in-1985-mark-lester-arnold-schwarzenegger.jpg" width="164" /></a></div>
<br /></div>
<div class="MsoListParagraph" style="mso-list: l4 level1 lfo5; text-indent: -18.0pt;">
<span style="mso-bookmark: _Hlk4357336;"><b style="mso-bidi-font-weight: normal;"><br /></b></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Bulging biceps and
machine guns are the last things you would expect to see in a Disney movie. However,
Fox have produced several lurid action movies, including Arnold Schwarzenegger’s
1985 hit <b>Commando</b>, which embodies the mindless formula which was so dominant in
the mid-80’s. There is a story – Arnold plays a former colonel who has to
rescue his daughter from hoodlums trying to involve him in an assassination
plot – but it is little more than a pretext for all the ridiculous stunts and
slaughter, as the professional bodybuilder fights his way through a plane, a
shopping mall and a Caribbean island, shooting, punching and impaling any
villain foolish enough to stand in his way. Put bluntly, there is no nuance,
complexity or character development, but there is plenty of OTT action, and the
movie succeeds on its own ludicrous “shoot-em-up” terms. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;"><br /></span></div>
<div class="MsoNormal">
<span style="mso-bookmark: _Hlk4357336;">Arnold was already a
star by this point due to the two <b>Conan </b>movies and <b>The Terminator</b>, but <b>Commando
</b>was the film which cemented the Arnold Schwarzenegger formula - Lots of guns,
lashings of violence and ludicrously terrible one line</span>rs. <span style="mso-spacerun: yes;"> </span>Over the next 2 decades, Schwarzenegger would
star in numerous films of this variety, ranging from the enjoyable to the
terrible. As a result, the image of the muscle-bound, superhuman action hero
went on to define the genre for much of the 1980s, and the likes of Chuck
Norris and Steven Segal tried to cash in on Arnold’s winning formula. However,
the “Austrian Oak” surpassed his rivals became one of the biggest names in
America. For all the flaws of Arnold and his films, their trashy appeal is
pretty obvious, and it is pretty amusing that Disney now has ownership of
<b>Commando </b>– it represents quite a counterpoint to the usual singing princesses
and cute animal sidekicks… <o:p></o:p></div>
<br />Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1tag:blogger.com,1999:blog-5414251166201648982.post-85113774950440607922019-01-15T17:18:00.001-08:002019-01-15T17:18:31.059-08:00Mary Poppins Returns - Review
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgWH8Hp_Jt-QLQeAJN1O-dQ9t9ZG_kVazyhHtM2OqMA2hlry01IUAfUE_GJVDqu_Swi69UqEDsDUOq956Mrc-r10hZ8_kBM_dyNczbpKvJS0ZbDFbPAumnvdiXTYqBtW9D_QqGv_I9oQ/s1600/MaryPoppinsReturns4-777x437.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="777" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgWH8Hp_Jt-QLQeAJN1O-dQ9t9ZG_kVazyhHtM2OqMA2hlry01IUAfUE_GJVDqu_Swi69UqEDsDUOq956Mrc-r10hZ8_kBM_dyNczbpKvJS0ZbDFbPAumnvdiXTYqBtW9D_QqGv_I9oQ/s320/MaryPoppinsReturns4-777x437.jpg" width="320" /></a></div>
<h4 style="margin: 0px 0px 10.66px;">
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<h4 style="margin: 0px 0px 10.66px;">
<br /></h4>
<h4 style="margin: 0px 0px 10.66px;">
Who Made It?</h4>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">Mary Poppins Returns is a sequel to Disney’s 1964 classic
Mary Poppins, which was loosely based on the Mary Poppins novels by P.L.
Travers. The film is directed by Rob Marshall (Into the Woods), and the screenplay
is written by David Magee (Finding Neverland) with Marshall and John DeLuca
assisting in writing the story. </span></div>
<br />
<h4 style="margin: 0px 0px 10.66px;">
What’s It About?</h4>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">Mary Poppins Returns takes place in 1930’s London during “the
days of The Great Slump”. Since his life was changed by the magical nanny Mary
Poppins over two decades before, Michael Banks (played by Ben Wishaw) has
become an adult, <span style="margin: 0px;"> </span>living with his sister
Jane (played by Emily Mortimer), his housekeeper Ellen (played by Julie
Walters) and three children <span style="margin: 0px;"> </span>- the mature
older siblings Anabel and John <span style="margin: 0px;"> </span>(played
by Pixie Davies and Nathaneal Saleh) and more adventurous younger child Georgie
(played by Joel Dawson) . Since the death of his wife, Michael has been
struggling to pay his bills, and he now has just five days to save his family
home from the villainous banker William Wetherall Wilkins (played by Collin Firth).
Whilst walking through the park, discovers the old Banks family kite in the air
and follows it to discover Mary Poppins (played by Emily Blunt) who returns to
Banks house to look after the children. Aided by the lamplighter Jack (played
by Lin-Manuel Miranda) Mary takes Anabel, John <span style="margin: 0px;"> </span>and Georgie <span style="margin: 0px;"> </span>on a variety of fantastical adventures - including
visits to an underwater world, a music hall populated entirely by animals, and
an upside-down shop - whilst the Banks family try to find the documents which
could allow them to clear their debts. </span></div>
<br />
<h4 style="margin: 0px 0px 10.66px;">
Review</h4>
<h4>
</h4>
<h4 style="margin: 0px 0px 10.66px;">
(This Review Contains
Mild Spoilers) </h4>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">Released in 1964, Mary Poppins became one of the most iconic
films in the Disney canon, winning several Oscars (and receiving a coveted Best
Picture nomination).. Watching it today, it is not hard to see why it became so
successful. The film is undoubtedly flawed - the characters are flat by modern
standards, and many of the scenes go on for a very long time without advancing
the relatively thin and simplistic story. However, these issues are minor in
comparison to the timeless messages, elaborate special effects and inescapably
catchy songs. Most importantly, the movie has a unique and magical atmosphere
which can enchant audiences of all ages. In the 55 years since its initial
release, Mary Poppins has inspired a long-running stage adaptation and even a
film about how Walt Disney brought it to life. Given its enduring popularity, it
is not surprising that Disney have opted to make a sequel, but the first film sets
an impossibly high bar for Mary Poppins Returns. Mary Poppins Returns is not
able to clear this, but it still manages to be a very good followup to the much-loved
original. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">It is no surprise to learn that the story of Mary Poppins Returns
sticks closely to the template of the original. The Banks family are dealing
with a crisis, causing Mary to fly in and look after the children. She takes them
on a variety of adventures, including one which takes place in an animated
world, and one involving an eccentric relative with a strange condition. <span style="margin: 0px;"> </span>After the children cause chaos in the bank, they
run away and get treated to a musical number by Mary’s sidekick and his
workmates. Eventually, the story ends with the Banks family enjoying a
high-flying celebration outdoors. Many of the memorable elements from the first
movie also return to add to the nostalgic appeal. The talking parrot on Mary’s
umbrella gets a larger role, and Admiral Boom is still firing cannons to mark
the hour, although his timing is not as reliable as it used to be. In addition,
we get a wide variety of smaller Easter eggs, and spotting them provides Mary
Poppins fans with an additional pleasure. For all the callbacks to the
original, there are enough changes to help Mary Poppins Returns feel like a continuation
of the Banks Family story, rather than a full-on <span style="margin: 0px;"> </span>retread. One of the highlights is the
depiction of London. Whilst the original Mary Poppins was filmed entirely on
soundstages, with matte paintings used in the background, Mary Poppins Returns provides
us with a detailed world where Mary can work her signature magic. The exaggeration
of the first film is mostly discarded in favour of making a relatively
authentic depiction of London as it was in the 1930s. There are some
anachronistic touches (Miranda’s patter during one song is pretty close to rapping,
and we see several lamplighters perform modern BMX-style stunts on their bicycles
during one sequence) but this generally is a successful depiction of a London
which is grey and impoverished, but with magic and adventure nearer than anyone
expects... </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">The one advantage this film has over the original is the
characterisation. In the first film, Mr Banks was probably the only fully
developed and realistic character. Originally Michael and Jane Banks were
typical cute children looking for a respite from their rigid lifestyle, but
they have developed into interesting characters here. Michael has been pursuing
his dreams of being an artist, but his recent loss has forced him to grow up rapidly
and find a job in order to raise money for his children. Michael is struggling
to preserve his sense of childlike wonder in an inhospitable world, and this
plays a key role in his growing frustration with the chaos which Mary always
brings. His arc could have easily been a repeat of Mr Banks’ evolution in the
first movie, but it genuinely feels unique. Meanwhile, Jane is following in her
mother’s footsteps, running a charity to look after the poor and unemployed. Whereas
the first film played Winifred Bank’s suffragette status for laughs, this one
generally takes Jane’s activism seriously, and is all the better for it. The
children avoid being annoying, with an intriguing contrast between Anabel and
John (who had to grow up too fast) and Georgie, who is still unaffected by the
pressures of adult life. As in the first film, Mary and her sidekick are
relatively two-dimensional characters, primarily existing to generate change in
the Banks family. However, they are engaging and charismatic enough to inspire
and engage us, and they do an excellent job of promoting the incredible worlds
which they are able to create. The story is stronger than the first film, but it
is still a secondary element at best. The race to save 17 Cherry Tree Lane adds
a welcome degree of urgency and allows the film to be a bit more focused. There
is still plenty of padding, but the common threads linking the songs and
fantasy sequences are stronger this time around. However, for every improvement,
there is an unnecessary or pointless addition. The presence of an outright
villain is understandable given the more dramatic storyline, but Wilkins is not
interesting or threatening enough to please those who believe that the issues
in the Banks family provide enough conflict for the film. Meanwhile, Jane’s activism
is discarded in order to establish a romantic relationship with Jack. The two
make a lovely couple, but the decision to put them together feels forced. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">The two things which made the original Mary Poppins such an
iconic film are the fantasy sequences and the songs. The fantasy sequences here
are pretty impressive, taking advantage of the leaps in technology which have occurred
over the last five decades. <span style="margin: 0px;"> </span>Mary makes
bathtime fun by taking the children on an underwater adventure, where they meet
whales and giant ships. She then turns the paintings on a ceramic vase into an animated
world populated by animals. The hand-drawn animation which made the “Jolly Holiday”
sequence so iconic is emulated in impressive fashion here, with CGI being used
to enhance painted backgrounds and sketchy hand-drawn animals reminiscent of
the 60’s style of animation. However, as in the first film, the simplest effects
are the best. Little moments of magic, such as Mary pulling a giant parasol out
of a sink and disappearing into a bath, are even more impressive than the grand
special effects sequences which follow. There are two big action scenes, which
are a risk in a generally charming and old-fashioned film. In the Doulton Bowl
sequence, Ananabel and Jon must rescue Georgie from a villainous wolf with a
remarkable resemblance to Wilkins. The chase scene which follows is fairly
weak, with Wolf Wilkins’s creepy facial expressions being the most notable
thing about it. Conversely, the climax, which features Mary and Jack’s lamplighter
friends invading Big Ben in order to literally turn back time, is genuinely
creative and engaging. The new set pieces and effects lack the hand-crafted
charm of the ones in the original, but they are still entertaining enough to feel
genuinely timeless</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">The songs are written by composer-songwriter duo Marc
Shaiman and Scott Wittman, best-known for creating the soundtrack to Hairspray.In
addition to following in the footsteps of the first film, they have to compete
with a growing number of recent musical hits, including Frozen, The Greatest
Showman and A Star is Born. However, whilst these used contemporary musical
styles to appeal to modern audiences, the soundtrack to Mary Poppins Returns is
defiantly old-fashioned, consisting of ballads and jaunty uptempo numbers which
would not be out of place in the musicals of the 1930s. The nine new songs
written for Mary Poppins Returns all serve as direct substitutes for the numbers
from the original, staying close to the Mary Poppins formula. To give a couple
of examples, Jack’s signature song, “Underneath the Lovely London Sky” takes
the place of “ Chim Chim In Nee”, (The theme tune of Dick Van Dyke’s lovable chimney
sweep Bert) , whilst “Royal Doulton Music Hall” and “A Cover Is Not the Book” provide
the same music-hall inspired entertainment as “Jolly Holiday” and “Supercalifragilisticexpialidocious”.
Elements of the original score make their way into the movie, and concluding
song <span style="margin: 0px;"> </span>“Nowhere to go but up” also contains
lines alluding to a couple of the old favourites. As the original Mary Poppins
contained one of the greatest Disney soundtracks of all time, the new songs are
fighting a losing battle and generally fail to match the iconic status of the
original tunes. For instance, whilst “Trip A Little Light Fantastic” contains intricate
lyrics with plenty of rhyming slang, it lacks the call-and-response charm and
energy which made “Step in Time” such an enjoyable song. However, they have
plenty of merit on their own terms. “Can You Imagine That?” is probably the
catchiest number, whilst “A Cover Is Not the Book” adds a surprising amount of
sauciness to this incredibly wholesome world (perfect for a music hall pastiche).
Overall, the strongest addition is easily “The Place Where Lost Things Go”.
This simple but lovely ballad allows the Banks children to come to terms with
the loss of their mother, and a later reprise is one of the emotional
highlights of the film. None of the songs from Mary Poppins Returns will be a
major chart hit like “Let It Go”, “This Is Me” or “Shallow”, but that was never
their intention, and they provide decent entertainment for the duration of the
movie. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">The cast for Mary Poppins Returns is incredibly impressive,
but their performances are a mixed bag. Ben Wishaw, rapidly becoming one of
Britian’s national treasures, probably gives the best performance in the film, capturing
Michael Banks’ struggle to adjust to his difficult circumstances and keeping
him sympathetic even as his seemingly hopeless situation begins to make him
angry and frustrated. Emily Blunt starts out strict and aloof, but it does not
take long for her to bring out Mary’s playfulness, and she captures the unique appeal
of this iconic character. Davies, Saleh and Dawson do a decent job bringing the
Banks children to life, whilst Emily Mortimer is lively if underused as Jane
Banks . Hamilton creator Lin-Manuel Miranda brings a lot of charm and
likeability to his first major film role as Jack. His London accent is not very
accurate, but he never forces it too much, so it is a lot better than Dick Van
Dyke’s infamous “Cockney” accent from the original. <span style="margin: 0px;"> </span>For those who enjoy terrible accents, you don’t
have to look too far. In the role of Mary’s relative Topsy, (whose repair shop
has a habit of turning upside down), Meryl Streep provides a ridiculously thick
and wobbly “Eastern European” accent which plays to all the stereotypes associated
with the region. She is not the only big-name star who wastes their talents in
this movie. Colin Firth provides a villainous version of his signature posh
persona, but Wilkins is an incredibly flat villain, a stereotypical greedy banker
with little screentime and few unique traits. Julie Walters is barely given
anything to do, which is a tremendous disappointment considering her talent and
experience. However, there are still some memorable supporting characters. Veteran
actor David Warner is having a lot of fun as Admiral Boom, whilst Kobna
Holdbrook-Smith is likeable and amusing as Wilkins’s kind-hearted henchman Frye.
Dick Van Dyke turns up at the end in a memorable cameo as the elderly bank
owner Dawes (son of the decrepit Dawes Sr. from the first film, and uncle of Wilkins),
with his scene providing a touching reminder that the childhood magic promoted
by Mary Poppins can have some incredible long term effects. Meanwhile, Angela
Lansbury plays a balloon lady whose magical balloons are at the heart of the
closing scenes. Lansbury is as lively as ever, but it is impossible to dispute
that her scenes would have a greater impact if Julie Andrews played the role as
was originally intended. </span></div>
<br />
<h3 style="margin: 0px 0px 10.66px;">
Verdict</h3>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: calibri;">Like the iconic original, Mary Poppins Returns is hard to
judge by conventional standards. Technically, it is probably superior to the first
Mary Poppins - the story is tighter and more engaging and the characters are
generally better developed. However, the sequel lacks a lot of the spontaneity and
novelty which made the original so special, and there are too many flaws
and deficiencies in the narrative to compensate for this. That said, Mary Poppins
Returns is still a good film, with excellent messages, appealing characters and
impressive special effects. Therefore, audiences should check it out, regardless
of their familiarity with the original. Mary Poppins Returns will not become a
genre-defining classic like the first Mary Poppins film, but it is one of the
better films from Disney’s often inconsistent live-action division, and people
will be able to enjoy it for decades to come. </span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: calibri;"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-91835017064292882272019-01-03T02:59:00.003-08:002019-01-04T06:27:42.173-08:002019 Fairy Tales - A Preview<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">As 2019 starts, it is
time to look forward to the events and stories which will define the coming
year. Fairytale fans will have a lot of interesting things to look forward to
across 2019, and this article will highlight 20 of these. The list includes books,
films, TV series, video games and even streaming services. Some of the things listed
here are big Disney blockbusters, whilst others are smaller, more unusual
projects. However, all of these have the potential to inspire and entertain an
incredibly large audience over the next 52 weeks and beyond...</span></span><br />
<span style="margin: 0px;"><span style="margin: 0px;"><br /></span></span>
<span style="margin: 0px;"><span style="margin: 0px;">(Note: In order to simplify things, this article focuses primarily on British and American releases. Despite this, there will be numerous great fairytale projects created and released all over the world this year. I look forward to discussing them in future articles.)</span></span><br />
<span style="margin: 0px;"><span style="margin: 0px;"><br /></span></span></div>
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<br /></div>
<h3 style="margin: 0px;">
2019 Fairy Tales - A Preview</h3>
<div>
<br /></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.kingdomhearts.com/3/us/home/">Kingdom Hearts III</a> (Released Jan 25th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbP6n4GPN4vDqnNUdkQ1JGXnRM9FSdkhWQ-6Q-m8HUZ-q8PIKVMoSev2rMFhlAtQqMY5vqHFPeO3dSd8BXJ4J9vcx9d0h4D0iAPK9BMkDYG7pF3KOIoS_9woYCxw96B7JN1gHOmxCVCxw/s1600/1537970292026.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="940" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbP6n4GPN4vDqnNUdkQ1JGXnRM9FSdkhWQ-6Q-m8HUZ-q8PIKVMoSev2rMFhlAtQqMY5vqHFPeO3dSd8BXJ4J9vcx9d0h4D0iAPK9BMkDYG7pF3KOIoS_9woYCxw96B7JN1gHOmxCVCxw/s320/1537970292026.jpg" width="320" /></a></div>
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<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Although <b>Kingdom
Hearts III</b> is one of the first major videogame releases of 2019, it is almost
certainly one of the most significant of the year. First started in 2002, the
<b>Kingdom Hearts</b> series is an unusual collaboration between Disney and the
Japanese video game icons Square Enix (best known for creating the <b>Final
Fantasy</b> games). Unsurprisingly, it has become one of the biggest videogame
franchises in the world. The story of <b>Kingdom Hearts</b> concerns a hero called
Sora, who teams up with Donald Duck and Goofy on an epic quest which takes them
into the worlds of numerous classic Disney films. Although this is listed as
the second direct sequel in the <b>Kingdom Hearts</b> canon, it is actually the
twelfth game <a href="https://gamerinfo.net/game-series/kingdom-hearts/">in the series</a>, due to the numerous spin offs, midquels and
prequels which have been released over the years. Although the mythology has
become incredibly convoluted, the core premise remains as appealing as ever -
we have all wanted to visit the worlds of various Disney films and interact
with our favourite characters. As the first direct sequel since 2006, <b>Kingdom
Hearts III</b> is taking advantage of the developments which have occurred at
Disney Animation over the last twelve years. The merger between Disney and
Pixar has allowed characters from <b>Toy Story</b> and <b>Monsters Inc</b> to join the
<b>Kingdom Hearts</b> universe, and the success of <b>Tangled</b> and <b>Frozen</b> means that our
protagonists will get to visit Arrendelle and Corona and interact with the
likes of Rapunzel and Queen Elsa. The graphics are more sophisticated, and
there are more special powers to keep us at our controllers, but the appeal of
<b>Kingdom Hearts</b> will always lie in the epic and unlimited adventures it offers
for Disney fans.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
<span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"><br /></span></span>
<span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"><br /></span></span></div>
<a href="https://www.imdb.com/title/tt6811018/"></a><br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt6811018/">The Kid Who Would be King</a> (Released Jan 25th in USA, February 15th in the UK)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wbsWQCUFgv-AANamZxjXcVPM0Jei7t0H0zRISCibepd92x24BevFDA9VKAmZozQHGYLEcK0A4KmZGczWqisCFTn39IEAEkDxX51cAPDj-NPEm1OE0b2An_ZJy782wn2kaIgOh13rT_M/s1600/imagesWQI7AO29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wbsWQCUFgv-AANamZxjXcVPM0Jei7t0H0zRISCibepd92x24BevFDA9VKAmZozQHGYLEcK0A4KmZGczWqisCFTn39IEAEkDxX51cAPDj-NPEm1OE0b2An_ZJy782wn2kaIgOh13rT_M/s1600/imagesWQI7AO29.jpg" /></a></div>
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<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Eight years after his
well-received directorial debut <b>Attack the Block</b> (which introduced audiences to
Jon Boyega and Jodie Whittaker) comedy screenwriter Joe Cornish will provide
another story about youths in a dull London suburb getting caught up in an
incredible fantasy adventure. Whilst <b>Attack the Block</b> was about an alien
invasion, <b>The Kid Who Would Be King</b> applies Cornish's formula to Arthurian
legend. Andy Serkis's son Louis Ashbourne Serkis plays a kid who discovers King Arthur's
sword in a building site and becomes leader of the fight against the dark wizard Morgana. Cinematic takes on King Arthur have rarely been critical or
commercial hits, but <b>The Kid Who Would Be King</b> seems like an entertaining
update of the classic English hero. The familiar elements of King Arthur's
story are present, but there are plenty of modern day touches (For instance,
Merlin disguises himself as a gangly teenager) and a lot of humour based on the
idea of ordinary schoolchildren following in the footsteps of classic fantasy
heroes. Originally intended to be released last summer, <b>The Kid Who Would be
King </b>has been moved to the end of January (rarely a good sign) but hopefully it
will be worth the wait.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
<span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"><br /></span></span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.panmacmillan.com/authors/tomi-adeyemi/children-of-virtue-and-vengeance/9781509899456">Children of Virtue and Vengeance</a> (Released March 5th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgABS9HHLKTU4ST0amBv0l678l8K4ae4-kmYa9-bpyt5qXKjvzUHmZ6X3NGE8nU-T-r-3wTnXrqkh_UCnE0u9TRGwRQMCtGyMTN461rUHYlu0iAjIWNmd_aNQcaNXD8C5-xXT47GSKADKw/s1600/51hOjAAydRL._SX342_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="342" data-original-width="342" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgABS9HHLKTU4ST0amBv0l678l8K4ae4-kmYa9-bpyt5qXKjvzUHmZ6X3NGE8nU-T-r-3wTnXrqkh_UCnE0u9TRGwRQMCtGyMTN461rUHYlu0iAjIWNmd_aNQcaNXD8C5-xXT47GSKADKw/s320/51hOjAAydRL._SX342_.jpg" width="320" /></a></div>
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<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Of all the YA books
released in 2018, none reflected the zeitgeist of the year as well as Tomi
Adeyemi's debut novel, <b>Children of Blood and Bone</b>, which combined African
folklore, classic YA tropes, and a strong message about fighting racism. Set in
the fictitious African kingdom of Oshira, it told the story of the story of a
girl called Zelie who has to team up with princess Amari to fight a tyrannical
King and restore the magical powers which were stolen from her tribe. The hype
surrounding the novel was immense (rights for a movie adaptation <a href="https://deadline.com/2017/03/children-of-blood-and-bone-fox-2000-movie-deal-african-flavored-fantasy-novel-1202054322/">were brought</a> before it was even published) but it resoundingly lived up to expectations,
receiving widespread critical acclaim and consistently appearing on the New
York Times Bestsellers list <a href="https://brittlepaper.com/2018/08/tomi-adeyemis-children-blood-bone-notches-25th-straight-week-ny-times-bestseller-list/">throughout 2018</a> . In the light of this success, it
is no surprise to learn that a sequel, <b>Children of Virtue and Vengeance</b>, is
being released in March. Picking up where the first story left off, it sees
Zelie and Amari trying to avert a civil war when their enemies take advantage
of the magic restored to Oshira. <b>Children of Virtue and Vengeance</b> is going to be
the second in a trilogy, and it looks like it will provide further for
development for Zelie, Amari and their world whilst laying the groundwork for
an epic finale.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span></div>
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><span style="font-family: inherit;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><a href="https://www.imdb.com/title/tt1898069/">American Gods - Season 2</a> (Starts </span></span><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">March 10th</span></span><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">)</span></span></span></u></b></span></span></div>
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<span style="font-family: inherit;">It is a great time to
be a Neil Gaiman fan, with radio adaptations of his work becoming a Christmas
staple in the UK, and a TV adaptation of his fantasy epic <b>Good Omens</b> arriving
in 2019. However, fans of mythology will be most interested in the second season
of <b>American Gods</b>, the cult favourite cable series based on Gaiman's 2001 novel
of the same name. The first season aired on the cable channel Starz in 2017,
fascinating critics
and audiences with its depiction of the battle between classic mythological
gods and the "New Gods" who embody the key aspects of modern
technology and media. The two year wait for a second season has not
been an easy one. Show runners Bryan Fuller and Michael Green were
<a href="https://deadline.com/2017/11/american-gods-michael-green-bryan-fuller-exit-showrunners-starz-series-1202216964/">controversially fired</a> after the first season ended, and their replacement Jesse
Alexander had his powers <a href="https://www.hollywoodreporter.com/live-feed/american-gods-sidelines-new-showrunner-delays-frustrations-1140946">taken away</a>, leaving the series without a proper show
runner. Throughout this chaos, there were numerous rewrites and reshoots, and
stars Gillian Anderson and Krstin Chentworth both dropped out. However, the
second season is ready to air, promising to retain the psychedelic tone of the
first season whilst moving closer to Gaiman's source material. Epic TV shows
such as this are often plagued by "second season syndrome", as the
struggle to follow up an impressive first season leads to an inferior second
one. Hopefully, <b>American Gods</b> will avoid this and cement its reputation as one
of the most interesting and unique American series of recent years. </span></div>
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.harpercollins.co.uk/9780062422316/sherwood/">Sherwood</a> (Released
March 19th)</u></b></span></span></div>
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<span style="margin: 0px;"><span style="margin: 0px;">Like King Arthur,
Robin Hood is another iconic English hero who has lost credibility due to
numerous mediocre-to-bad adaptations of his story, including the critically
panned <b>Robin Hood</b>, which was one of the biggest flops of 2018. For her
new novel <b>Sherwood</b>, Meagan Spooner aims to freshen things up by shifting the
focus to Robin's love interest Maid Marian. When Robin Hood dies whilst
fighting in the Holy Land, Maid Marian is left alone and desperate in a
miserable and impoverished Nottingham. With Robin's enemies, the Sheriff of
Nottingham and Guy of Gisborne, being as wicked as ever, Marian takes matters
into her own hands. She finds her husband's cloak and weapons, and replaces him
as the saviour of the poor and downtrodden. With her growing line up of sci-fi
and fantasy books (including the Beauty and the Beast- inspired <b>Hunted</b>), Meagan
Spooner is becoming a rising star in the Young Adult genre, and <b>Sherwood</b> seems
like it will be another hit with the teenage (and predominantly female)
audiences who have made YA into such a profitable part of the literary
industry.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
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<span style="margin: 0px;"><span style="margin: 0px;"><u><span style="font-family: inherit;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><a href="https://www.hadestownonbroadway.com/">Hadestown arrives on Broadway</a> (Previews begin 22nd March</b></span></span><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b>, Opening Night 17th April)</b></span></span></span></u></span></span><br />
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<div style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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<span style="margin: 0px;"><span style="margin: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Beginning life as a
concept album created by the singer-songwriter Anais Mitchell, <b>Hadestown</b> has become a cult
favourite amongst musical fans in recent years. It had a long journey to Broadway
(including acclaimed productions at New York Theatre Workshop, Toronto's
Citadel Theatre and <a href="https://fairytalefanboy.blogspot.com/2018/12/christmas-2018-fairy-tale-plays.html">London's National Theatre</a>) which is finally culminating in its
arrival at the prestigious Walter Kerr Theatre, which recently hosted the
record-breaking <b>Springsteen on Broadway</b>. <b>Hadestown</b> updates the Greek myth of Orpheus for the modern era, with Eurydice forced to go to Hadestown in
search of work, and Orpheus embarking on a doomed quest to get her back. The soundtrack is based on
Depression-era folk and jazz music and the story deals with numerous social and
environmental issues. We don't yet have confirmation that the <a href="https://www.nationaltheatre.org.uk/shows/hadestown">National Theatre cast</a> (with Reeve Carney and Eva Noblezada as Orpheus and Eurydice, and Broadway
icons Andre de Shields and Patrick Page as Hermes and Hades respectively) are
going to return to reprise their roles on the Great White Way, but it is
reasonable to assume that they will. However, regardless of whether they return
or not, Mitchell and director Rachel Chavkin will provide a powerful and
dramatic take on an iconic ancient tragedy. Chavkin was behind the acclaimed
but short-lived Broadway musical <b>Natasha, Pierre and the Great Comet of 1812</b>,
but hopefully this project will enjoy a far longer run. Whilst the 2017-18
season was a pretty weak one for musicals, the 2018-19 season will be a lot
more exciting and diverse, and <b>Hadestown</b> will be one of the primary favourites
to succeed at the Tony Awards in June.</span></span></span></span><br />
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt3861390/">Dumbo</a> (Released March
29th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAYZN4MWQsseaokkW1ljngHZEQDEcqVkanW7REC0vu4tx3t9-gr5kVNeBFSsieMpabKANFxO6UDb3dsDJPqB1SUSoAoGwIj5PbieE8EJoRf1D81CMTIvw644yFQskwqTb60YUCqgth0U/s1600/s-l225.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="152" data-original-width="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKAYZN4MWQsseaokkW1ljngHZEQDEcqVkanW7REC0vu4tx3t9-gr5kVNeBFSsieMpabKANFxO6UDb3dsDJPqB1SUSoAoGwIj5PbieE8EJoRf1D81CMTIvw644yFQskwqTb60YUCqgth0U/s1600/s-l225.jpg" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">Tim Burton's 2010
remake/sequel of <b>Alice in Wonderland</b> was certainly not his best work, but it
proved a phenomenal success, making over <a href="https://www.boxofficemojo.com/movies/?id=aliceinwonderland10.htm">$1 billion worldwide</a> and ensuring that
remakes would become the cornerstone of Disney's live-action division. Almost a
decade later, Burton is adaptation nother early Disney classic, <b>Dumbo</b>.
Whilst Disney's live-action remakes are often criticised for being too close to
the source material, Burton will make plenty of changes for <b>Dumbo</b>. After all,
The original film was just <a href="https://www.imdb.com/title/tt0033563/">65 minutes</a> long, and featured a lot of padding and
dated material that is not suitable for 2018. This means that the Burton has to
radically expand the story in order to turn it into a 2 hour blockbuster. The
greatest change is shifting the focus from <b>Dumbo</b> to the human employees of the
circus, with Colin Farrell playing a father who comes across the titular
big-eared elephant and tries to help him learn how to fly. The supporting cast
includes the likes of Danny DeVito and Michael Keaton, but the CGI elephant
will remain the primary scene-stealer. Burton's reputation has been waning in recent
years, but <b>Dumbo</b> should provide the blend of whimsy and darkness which has made
him so successful.</span></span><br />
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<span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><u><span style="font-family: inherit;"><a href="https://www.slashfilm.com/laika-missing-link/">The Princess and the Fangirl </a>(Released April 2nd)</span></u></b></span></span></div>
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<span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-family: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">It is hard to do
something truly unique with a story as familiar as Cinderella, but Ashley
Poston managed this with her 2017 novel <b>Geekerella</b>. This updated the story popularised by Charles Perrault to fit the world of modern fan culture, with the Grand Ball being a
Sci-Fi convention and the Prince being a handsome young actor who is about to
play the lead in the Sci-Fi blockbuster Starfield. This spring, Poston is
returning to the Geekerella universe with <b>The Princess and The Fangirl</b>, centred
on a side character from the original novel. <b>The Princess and the Fangirl</b> takes
the ambitious actress Jessica Stone and makes her the protagonist in an
adventure inspired by Mark Twain's classic <b>The Prince and The Pauper</b>. Jessica
plays Princess Amara in the Starfield Franchaise, but wants to quit the role in
order to find classier projects. However, rumours that Princess Amara will be
killed off lead fangirl Imogen Lovelace (who looks remarkably like Jessica) to
start an online campaign to save the character. When the script to the new
Starfield movie is leaked, Imogen and Jessica have to switch places in order to
find the person responsible. In addition to providing a feminist twist on the
source material, <b>The Princess and the Fangirl</b> pays tribute to the legions of
fans obsessed with iconic Sci-Fi brands such as <b>Star Wars</b> and <b>Star Trek</b>. The
stars of these franchises have become the modern-day equivalent to royalty for
many, and the studios where they are filmed have the same awe-inspiring power
as royal castles. Like <b>Geekerella</b>, <b>The Princess and the Fangirl</b> will provide an
entertaining exploration of fan culture, demonstrating what happens when a
Fangirl fulfils her their fairytale dream and gets to meet the people whose
output has played such a major role in their lives.</span></span></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt8332426/">Missing Link </a>(Released April 12th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggv06YdPO9_pC1vYL9e-eMjEWCVFBb0fviRC6skscQElvSy8DQj4oZ4mlYmWFZlIyadE4zS5me2oQGQR0trU1dH1UvlVAu4uUI_GkLe5HiOVp3yCI5y5dtE0jXBM9TgWSTVXie3VB4Jhg/s1600/Missing-Link-Official-Trailer-1-388x220.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="220" data-original-width="388" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggv06YdPO9_pC1vYL9e-eMjEWCVFBb0fviRC6skscQElvSy8DQj4oZ4mlYmWFZlIyadE4zS5me2oQGQR0trU1dH1UvlVAu4uUI_GkLe5HiOVp3yCI5y5dtE0jXBM9TgWSTVXie3VB4Jhg/s320/Missing-Link-Official-Trailer-1-388x220.jpg" width="320" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">The Stop-motion
studio Laika are one of the most exciting and innovative animation companies in
America, and it is always great to see them release a new movie. This year,
they are releasing <b>Missing Link</b>, a new take on the Bigfoot legend. The story
concerns a giant half-ape, half-human creature (voiced by Zach Galifanakis) who
teams up with two explorers (voiced by Hugh Jackman and Zoe Saldana) in order
to travel to the mythical city of Shangri-La and find the rest of his species.
Compared to the likes of <b>Coraline</b> and <b>Kubo and the Two Strings</b>, <b>Missing Link</b>
seems like a rather conventional 'road trip' comedy, but the characters and
settings should be engaging enough to make the movie stand out. It goes without
saying that the stop-motion animation will be the highlight of <b>Missing Link</b>, as
Laika will provide a Jules Verne-style Victorian world even more ambitious than
anything they have created before - Far Eastern mountains, atmospheric American
forests and giant sailing ships are all being portrayed in a wonderfully
detailed and colourful fashion. Hours of effort have gone into even the
smallest details, as the studio have created new technology to allow characters
to <a href="https://www.slashfilm.com/laika-missing-link/">breathe authentically</a>. In a year where most of the major animated movies (including <b>The Lego Movie 2</b>, <b>Toy Story 4</b> and <b>Frozen 2</b>) will be sequels, <b>Missing Link</b> is the sort of creative stand-alone film that
will really excite fans of the genre.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span></div>
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt4086018/">Charming</a> (Released in
the UK in Spring 2019)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmN9MqDCzno5PEUjZYZy-EGNwKdMzRTNu-OOt1KEbpU7cUpQ02rBf1_z_GjzXEJEKIF4NF3goT4A_FJxMO82Wx31SIbaGj4Mf91RDZbHqrBg9VdGDts4wW8p5w0Ic1jAHy8f2Apgn-69Y/s1600/MV5BYjUwNTFiNjctZDE0NS00YmNmLWI3NTctNGY4MTRhZWVhNGI1XkEyXkFqcGdeQXVyNzYxNDg0NTg%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1076" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmN9MqDCzno5PEUjZYZy-EGNwKdMzRTNu-OOt1KEbpU7cUpQ02rBf1_z_GjzXEJEKIF4NF3goT4A_FJxMO82Wx31SIbaGj4Mf91RDZbHqrBg9VdGDts4wW8p5w0Ic1jAHy8f2Apgn-69Y/s320/MV5BYjUwNTFiNjctZDE0NS00YmNmLWI3NTctNGY4MTRhZWVhNGI1XkEyXkFqcGdeQXVyNzYxNDg0NTg%2540._V1_.jpg" width="215" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">From the philandering
princes of <b>Into the Woods</b> to the outright villainous Prince Hans from <b>Frozen</b>, handsome
princes are rarely treated with anything other than contempt in modern
revisionist fairytale films. However, <b>Charming</b> represents an interesting
exception to the rule. It tells the story of a Prince who is affected with a
curse which makes him irresistible to every woman he meets. This naturally
comes with some increasingly unpleasant side effects, and Prince Phillipe has
to team up with a jewel thief to undo the spell before all love in the world is lost
forever. <b>Charming</b> has been awaiting a major release for a very long time
(Wilmer Valderrama and Demi Lovato, who voice the protagonists, were a couple
when they recorded their lines but have since split up), but it was finally
released in various European territories last year, and fledgling studio Blue Finch Films have <a href="https://www.screendaily.com/news/new-uk-distribution-outfit-blue-finch-films-unveils-first-acquisitions-exclusive/5134209.article">acquired the rights</a> to release it in the UK.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;">
</span></span><span style="margin: 0px;"><span style="margin: 0px;">Producer John H
Williams helped bring <b>Shrek</b> to the big screen, but his 2007 animation <b>Happily
N'Ever After</b> was critically panned, and there is a real chance that <b>Charming</b>
could be a second consecutive fairytale-themed failure. That said, the premise
is certainly interesting and any film with the legendary John Cleese as a fairy
godmother will definitely be fun. At the very least, this will be a decent time
waster for children during the holiday.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.haymarketbooks.org/books/1271-cinderella-liberator">Cinderella Liberator</a> (Released May 7th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9uuIaGSgfP7pq84nIbUjv04h32SiIL9ePwEADFYryWYGXjzI5xm_k8_chvuc5_CLhbnpqKW8jQO0YDj60-MHAjaDcDLWumZLf46HQDb20XalHwdcWzt9MYE56m3hDViOcj63yEDXKdLw/s1600/41NFnmFOhYL._SX258_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="260" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9uuIaGSgfP7pq84nIbUjv04h32SiIL9ePwEADFYryWYGXjzI5xm_k8_chvuc5_CLhbnpqKW8jQO0YDj60-MHAjaDcDLWumZLf46HQDb20XalHwdcWzt9MYE56m3hDViOcj63yEDXKdLw/s320/41NFnmFOhYL._SX258_BO1%252C204%252C203%252C200_.jpg" width="256" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">As we become more
conscious about the messages that we send to young girls, fairytale retellings
are under pressure to set a positive example for them. One new book which will
inspire numerous girls in 2019 is <b>Cinderella Liberator</b>, written by the
prominent feminist commentator Rebecca Solnit. Needless to say, this Cinderella
is not going to wait for a prince to return her missing shoe, but will instead
be a tougher and more active character fighting for herself and those around
her. However, <b>Cinderella Liberator</b> will still stay true to the core idea of a
mistreated girl escaping her miserable and monotonous world. The book also
honours its roots through its use of silhouettes created by the legendary fairy
tale illustrator Arthur Rackham, and the contrast between classic illustrations
and modern messages is certainly intriguing. It will be fascinating to see an
academic like Solnit transfer to the world of children's literature, but it
allows her to promote her ideas and beliefs in a unique and entertaining manner.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span></div>
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt6139732/">Aladdin</a> (Released May
24th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtARHSJn_GwCAl8xkKpzD8NWp0yX-ZLqlpF61RwOzRI3L02jPp2ktyJP371mUDiLSp_pERpYP1j3wLjsA2vosffWDUF4Ee7WjFnwPVLEORpk_toe28mOfEfuBo-JM2E1mnHJxVmTQ1ncw/s1600/MV5BMjI1OTI3ODc0M15BMl5BanBnXkFtZTgwNDE4OTE1NjM%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtARHSJn_GwCAl8xkKpzD8NWp0yX-ZLqlpF61RwOzRI3L02jPp2ktyJP371mUDiLSp_pERpYP1j3wLjsA2vosffWDUF4Ee7WjFnwPVLEORpk_toe28mOfEfuBo-JM2E1mnHJxVmTQ1ncw/s320/MV5BMjI1OTI3ODc0M15BMl5BanBnXkFtZTgwNDE4OTE1NjM%2540._V1_.jpg" width="216" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">Disney's live-action
remakes have tended to be adapted from more serious and old fashioned films,
but their take on <b>Aladdin</b> represents a different approach. Disney's 1992 hit,
based on the classic Arabian Nights tale about a street urchin who discovers a
powerful Genie and tries to win the heart of a Princess, took a more
action-packed and comedic approach than the likes of <b>Cinderella</b> and <b>Beauty and
the Beast, </b>and the live-action remake will need to emulate this in order to stand out. The project has attracted considerable scepticism, but it looks like
the most interesting of Disney's three live-action remakes this year. <b>Sherlock Holmes</b>
director Guy Ritchie will apply his brash, action-packed style to this
family-friendly adventure musical, but needs to provide a more sensitive
depiction of the fictitious Arabic kingdom of Agrabah, responding to criticism
which the original film has received for its heavily stereotypical depiction of
the widely misrepresented Middle East. The star of the show will undoubtedly be
Will Smith, playing the legendary Genie and returning to the smooth, energetic
and lively persona he has discarded in recent years. The rest of the cast
consists of various rising stars with a Middle Eastern or Indian background,
with Mena Massoud as Aladdin and Naomi Scott as Jasmine. The classic songs from
the original will return, but there will also be a couple of new ones from <b>The
Greatest Showman</b> composers Benj Pasek and Justin Paul. The additional songs created for
Disney's live-action remakes tend not to upstage the originals, but if anyone
can break this convention, it's the duo behind "This is Me" and
"You Will Be Found". <b>Aladdin</b> will either be the best or the worst of
Disney's live-action projects, and we are all waiting to see whether it exceeds
expectations or lives down to the worst fears if Disney fans...</span></span></div>
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.penguinrandomhouse.com/books/599547/wicked-fox-by-kat-cho/9781984886057/">Wicked Fox</a> (Released
June 25th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9EyZ5mSTdAKjkY1IP6UwvUZhyphenhyphenGL-xU2EquauNRuhq2bqu8R5yPnT3wmPHAdxLe00yRS6xlO2Ey_1IftwaYRjgyXjLiP-XeJLlLGxnLgtBU9ITU7Xq4uOLibVv_KXEQhUQ7FQSr70axc/s1600/gumiho-spirit.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="282" data-original-width="400" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9EyZ5mSTdAKjkY1IP6UwvUZhyphenhyphenGL-xU2EquauNRuhq2bqu8R5yPnT3wmPHAdxLe00yRS6xlO2Ey_1IftwaYRjgyXjLiP-XeJLlLGxnLgtBU9ITU7Xq4uOLibVv_KXEQhUQ7FQSr70axc/s320/gumiho-spirit.png" width="320" /></a></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Due to its focus on
fantasy and melodrama, the YA genre often draws on mythology and fairytales. A
lot of YA stories are based on familiar Western fairytales, but Katharine Cho's
<b>Wicked Fox</b> does something diferent, using Korean Folklore as its inspiration.
<b>Wicked Fox</b> tells the story of Gu Mihoung, a seemingly ordinary women who lives
in modern day Seoul with her mother. However, she is actually a Gumiho - a
mythological nine-tailed fox who has to eat the souls of men in order to
survive. Mihoung decides to use her deadly powers for good by becoming a
vigilante and feeding on the criminals who have evaded justice. However, things
get complicated when she befriends a young man and falls in love with him. Cho
has been writing since the age of nine, but this is the first book of hers to
actually be published. With an intriguing premise that combines several
familiar elements in a creative and exciting way, <b>Wicked Fox</b> marks Cho out as a
talent to watch.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span></div>
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<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><b><u><span style="font-family: inherit;"><a href="https://variety.com/2018/digital/news/disney-disney-streaming-service-launch-2019-1203023789/">The Launch of Disney+</a>
(Late 2019)</span></u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK505e3ThmXdyDiiUT7g24ovc-uiCNmUlTk5mv2iRFM4T3mXhQnc0P_mRn8JvIM5zBaBd4lcFX8WI1ocShbU5IBWX0SA7zkLJB3J8RVuu9r1D4GZ7ZngU15gv5Xddbg_P4J4Pyx5rzzlc/s1600/Disney_Logo_1440x811.0.jpg" imageanchor="1" style="margin-left: 16px; margin-right: 16px;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK505e3ThmXdyDiiUT7g24ovc-uiCNmUlTk5mv2iRFM4T3mXhQnc0P_mRn8JvIM5zBaBd4lcFX8WI1ocShbU5IBWX0SA7zkLJB3J8RVuu9r1D4GZ7ZngU15gv5Xddbg_P4J4Pyx5rzzlc/s320/Disney_Logo_1440x811.0.jpg" style="cursor: move;" width="320" /></a></div>
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<div style="background-color: transparent; color: black; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: inherit;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">With the rise of
Netflix and Amazon Prime, streaming is becoming an increasingly prominent part
of film and TV culture, so it is no surprise to find out that Disney will enter
this lucrative market with their new service <a href="https://preview.disneyplus.com/uk/">Disney +.</a> First announced in
<a href="https://variety.com/2017/digital/news/disney-netflix-end-acquires-bamtech-espn-ott-services-1202519917/">August 2017</a>, Disney + starts operating in the second half of 2019. Disney
films used to be a Netflix staple, but they are all being moved to . Disney +,
and all Disney movies released from now on will be released on this channel
after their cinematic runs conclude. Once it is complete, Disney + will provide
a major platform for a wide range of Disney films and TV series, including
older classics, more recent blockbusters, and productions from Disney-owned
brands such as Marvel, Star Wars and National Geographic. However, like Netflix
and Amazon Prime, Disney + will also provide plenty of original films and TV
shows created especially for the platform (There are rumours that these
projects <a href="https://screenrant.com/disney-streaming-service-movies-tv-shows/">will include</a> a live-action remake of <b>The Sword In The Stone</b> and a new
version of <b>Don Quixote</b>.)</span></span><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> </span></span><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Netflix productions like <b>Orange Is The
New Black</b>, <b>Stranger Things</b> and <b>Roma</b> have set an incredibly high bar for
streaming services, but Disney definitely have the talent and resources to
provide some big hits of their own. Aimed primarily at families and cheaper
than most of its rivals, Disney + will definitely be another major
money-spinner for Disney.</span></span><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> </span></span></span></div>
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://moulinrougemusical.com/">Moulin Rogue<span style="color: purple;"> arrives on Broadway </span></a>(Previews Begin June 28th, Opening Night July 25th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEismpnFvw4GydKM9IQVk86EAjbE1V7-NcnzWZTO8tuvRZ7oDpzNtSxMNBo9ZfD5okJWXMKbHsI1TTgk3ow2w95Kx_Tf7JRJHOa-JL9PBlPHe7xWHTOutQIFDKx2K4cB4Yuapocc-ns3mAk/s1600/MR-Boston-Set-Shot-700x455.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #b00000;"></span><img border="0" data-original-height="455" data-original-width="700" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEismpnFvw4GydKM9IQVk86EAjbE1V7-NcnzWZTO8tuvRZ7oDpzNtSxMNBo9ZfD5okJWXMKbHsI1TTgk3ow2w95Kx_Tf7JRJHOa-JL9PBlPHe7xWHTOutQIFDKx2K4cB4Yuapocc-ns3mAk/s320/MR-Boston-Set-Shot-700x455.jpg" width="320" /></a></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Baz Luhrman's 2001
film <b>Moulin Rogue </b>was a creative and unusual musical about a star-crossed
romance in a fantasy version of 1890's Paris. For the first musical of the
2019-20 season, the Hirschfield Theatre will be hosting a new stage adaptation
of this Oscar-nominated hit. The story and setting are mostly the same, but the
Jukebox soundtrack of the original film (including "Your Song" and
"Diamonds are a Girls Best Friend") is being updated to include hits
for the last 17 years such as "Rolling in the Deep" and "Royals". <b>Les Miserables</b>
star Aaron Tveit plays the protagonist Christian (portrayed by Ewan McGregor in
the film), whilst Karen Olivo will play his ill-fated love interest Satine.
Director Alex Timbers has gained a reputation for being one of the most
innovative directors on Broadway. The eye popping detailed and immersive sets
were the highlight of the production at the Boston tryouts last year, and they
will probably be upgraded for Broadway to be even more incredible. On paper,
Lurhman's output should be perfect for Broadway, but his fast-paced and chaotic
filming style is not easy to translate to the more static medium of the stage.
Although an adaptation of <b>Strictly Ballroom</b> did not do very well on the West
End this year, this version of <b>Moulin Rogue</b> looks set to prove that Luhrman's
decadent approach can be successfully transferred to the stage.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
<span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"><br /></span></span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt6105098/">The Lion King</a>
(Released July 19th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi021ONvHuZCjpJ2vDPaX1p0bnL43xEuDT-a6nWCxZrWzmKwRYWEM58vgG1tmD1xeCrWk4Zm4wCcGMCgflsXH2fHBvO7pSdueZAFpkiXozjKaAI4lO7YI7SByqiJ5yqo6_OA8iyvwa7hvk/s1600/220px-Disney_The_Lion_King_2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi021ONvHuZCjpJ2vDPaX1p0bnL43xEuDT-a6nWCxZrWzmKwRYWEM58vgG1tmD1xeCrWk4Zm4wCcGMCgflsXH2fHBvO7pSdueZAFpkiXozjKaAI4lO7YI7SByqiJ5yqo6_OA8iyvwa7hvk/s320/220px-Disney_The_Lion_King_2019.jpg" width="216" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">The last and biggest
of Disney's live-action remakes is <b>The Lion King</b>. In the 25 years since the
original was released, it has become one of Disney's signature films, and
remaking it for 2019 is a pretty difficult challenge. Jon Favereau, whose 2016
adaptation of <b>The Jungle Book</b> is probably the most acclaimed of Disney's
live-action remakes, is transferring its motion capture approach to the
Savannahs of Africa, sparking plenty of debate over whether a film without
human characters can be considered live-action. The inhabitants of Pride Rock
will be brought to life by "photorealistic" visuals and an all-star
cast, with Donald Glover voicing Simba, and Chiwetel Ejofor voicing the
diabolical Scar. However, the two biggest attractions will be Beyoncé, voicing
Simba's love interest Nala, and James Earl Jones, who voiced Mufasa in the
original film and is returning to reprise his role as the King of the Jungle.
It will be incredibly difficult to improve on the near-perfect original, but
this version of <b>The Lion King</b> should still be an impressive and entertaining summer spectacle on its own
terms.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://d23.com/d23-expo-2019/">The D23 2019 </a>(August
23rd - 25th)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGH0-uQQlkWDfG5eWpXezbQfrmFvHY_-oYXVt-oJECxx4TPjtYeSIDLS8H0_EuYF6oov6GwcO3rhwAKBlZMWIF1wkaBOxdRNOZOft3vo17zMqZ_eKFkgCBAZGAJB87kFvDCGEX3s4z-dc/s1600/780w-463h_081618_d23-expo-2019-press-day-announce-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="780" height="189" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGH0-uQQlkWDfG5eWpXezbQfrmFvHY_-oYXVt-oJECxx4TPjtYeSIDLS8H0_EuYF6oov6GwcO3rhwAKBlZMWIF1wkaBOxdRNOZOft3vo17zMqZ_eKFkgCBAZGAJB87kFvDCGEX3s4z-dc/s320/780w-463h_081618_d23-expo-2019-press-day-announce-1.jpg" width="320" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">Since it was started
in 2009, the Biennial D23 convention (established by Disney's Official fan club
D23) allows Disney fans to head to California for three days of exciting
activities themed around the output of the iconic studio. The attractions
include cosplay competitions, concerts, film screenings and the opportunity to
meet the people behind their favourite films. However, the undisputed highlight
of any D23 convention is the opportunity to learn more about the Disney films
which will arrive in cinemas over the next few years. With all three
live-action remakes and <b>Toy Story 4 </b>already released by August, the focus of
D23 will probably be <b>Frozen 2</b>. "Let It Go" was first performed at the
2013 D23 - will D23 audiences get to hear an equally impressive song? We can
also expect news on forthcoming live-action and animated projects, including
release dates, casting information and even exclusive footage.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.delfontmackintosh.co.uk/news/mary-poppins-return-to-west-end-prince-edward-theatre-autumn-2019.php">Mary Poppins arrives on the West End </a>(Previews and Opening Night in Autumn 2019)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6aMwkiM_BryCPbmTEMYPWx6QEztQKugqf34fhBkOIKsiJ_UuTiW_zYQuoQhSiBAPuSeUeQcCsUn4xS7hj2sWEIFoobHU-_0UG_CCEnW-JYlnL1TWJtKsYTS3rruUfD_5-7OlTtsVRj2w/s1600/mary-poppins-holding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="410" data-original-width="728" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6aMwkiM_BryCPbmTEMYPWx6QEztQKugqf34fhBkOIKsiJ_UuTiW_zYQuoQhSiBAPuSeUeQcCsUn4xS7hj2sWEIFoobHU-_0UG_CCEnW-JYlnL1TWJtKsYTS3rruUfD_5-7OlTtsVRj2w/s320/mary-poppins-holding.jpg" width="320" /></a></div>
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<span style="margin: 0px;"><span style="margin: 0px;">The recent sequel
<b>Mary Poppins Returns</b> has probably not been <a href="https://www.forbes.com/sites/scottmendelson/2019/01/02/box-office-disney-mary-poppins-emily-blunt-oscars-lin-manuel-miranda/#1b4343aa3368">as much of a hit</a> as many
anticipated, but it has undoubtedly succeeded in its primary role of
revitalising interest in Disney's 1964 classic <b>Mary Poppins</b>. In order to
capitalise on this, Disney Theatrical's 2004 adaptation of Mary Poppins will
return to the West End in Autumn 2019. It will replace <b>Aladdin</b> at the Prince
Edward theatre, opening shortly after that musical closes at the end of August.
This is the first time that Disney have provided a major revival of one of
their own musicals, and it will be interesting to see whether the new version
can emulate or surpass the success of the original production, which ran for
four years at the same theatre. The stage version of <b>Mary Poppins</b>, a collaboration
between Disney Theatrical and British mega-producer Cameron Mackintosh,
combines elements from the Disney film and the P.L Travers novels which
inspired it. Zizi Strallen will play Mary Poppins (having previously played the
iconic nanny in a well-received touring adaptation of the production in 2015
and 2016), whilst Charlie Stemp will be her chimney sweep sidekick Bert. The
numerous classic songs from the original film, such as "A Spoonful of
Sugar", "Feed the Birds" and "Step in Time" will
return, as will popular songs from the original West End production such as
"Practically Perfect" and "Anything Can Happen". The
production also contains some incredible special effects (from bottomless bags
to actors walking on the ceiling), but the most important aspect will
undoubtedly be the timeless story of how Mary Poppins brings joy to the lives
of the Banks family. This new West End production will keep a lot of the
elements which made the original such a success whilst providing enough new
material to justify the decision to give it such a high-profile revival.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">P.S - fans of Mary
Poppins may also be interested in <b><a href="https://www.parktheatre.co.uk/whats-on/the-life-i-lead">The Life I Lead</a></b>, a new play which will be
performed at North London's Park Theatre in March. It tells the story of David
Tomlinson (the prolific British actor best known for playing Mr. Banks in the
original Mary Poppins) and will reveal how Tomlinson's relationship with his
father inspired his portrayal of the Banks family patriarch. TV comedian Miles
Jupp will play Tomlinson in a production which will blend both drama and comedy
to highlight his unique role in cinema history. <b>The Life I Lead</b> is not the
first work to examine the role unreliable fathers played in the making of <b>Mary
Poppins</b>, but seems like an intriguing counterpoint to the 'Disneyfied' approach
of <b>Saving Mr Banks</b>. It is only going to be on for 12 nights (March 18th - March
30th), so you have to book quickly in order to see it...</span></span><br />
<span style="margin: 0px;"><span style="margin: 0px;"><br /></span></span></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;"><b><u><a href="https://www.imdb.com/title/tt4520988/">Frozen 2</a> (Released
22nd November)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5xPNE2Wp-jS1uFCfFBesELv2WD4lq_-_BasN-le4RZu6yT7o6lzkQCv7mvRuzL7v0JQH6Jgphx1OfKddA-fMhdrKWNKGm9cvlZTYjQqe0Y9QPT9IuJdR50oHiC852PJYQdY_-IQD3MhA/s1600/Disney-Frozen-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="421" data-original-width="800" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5xPNE2Wp-jS1uFCfFBesELv2WD4lq_-_BasN-le4RZu6yT7o6lzkQCv7mvRuzL7v0JQH6Jgphx1OfKddA-fMhdrKWNKGm9cvlZTYjQqe0Y9QPT9IuJdR50oHiC852PJYQdY_-IQD3MhA/s320/Disney-Frozen-2.jpg" width="320" /></a></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Out of all the
fairytale related projects mentioned in this article, there are none which will
attract as much scrutiny and hype as <b>Frozen 2</b>. It is almost six years since the
original <b>Frozen</b> became an unexpected phenomenon, and it remains incredibly
popular with audiences of all ages. Jennifer Lee, director and writer of the
original film, is returning for <b>Frozen 2</b>, and this film represents her greatest
test since <a href="https://fairytalefanboy.blogspot.com/2018/07/10-jennifer-lee-needs-to-do-as-disney.html">she was</a> <a href="https://fairytalefanboy.blogspot.com/2018/08/10-jennifer-lee-needs-to-do-as-disney.html">appointed</a> Disney's new Chief Creative Officer in June. Co-director Chris Buck
and songwriting duo Robert Lopez and Kristen Anderson-Lopez will also be back,
and Kristen Bell and Idina Menzel will be reprising their roles as royal
sisters Anna and Elsa. The original <b>Frozen</b> is both one of the most loved and
most hated films in the Disney canon, and the team will have to put in extra
effort to keep the fans happy whilst winning over detractors. Information on
<b>Frozen 2</b> is pretty thin on the ground at the moment, but there will be new
characters (two of whom are likely to be voiced by Sterling K. Brown and Evan
Rachel Wood) and around eight new songs. Lee <a href="https://variety.com/2018/music/news/frozen-2-details-songs-elsa-anna-1203022771/">has confirmed that</a> the film will
take Anna and Elsa far from their kingdom of Arendelle, and Kristen Anderson-Lopez <span id="goog_574730378"></span><a href="https://variety.com/2018/legit/vpage/frozen-2-hints-frozen-broadway-opening-1202734418/">has implied that<span id="goog_574730379"></span> </a>some of the mythology added for the recent Broadway adaptation
could make its way into the sequel. Following up a film as iconic as Frozen is
an incredibly hard task, but of <b>Frozen 2</b> builds on Anna and Elsa's relationship
whilst providing them with a compelling new story and more catchy songs, it
could equal or even surpass its predecessor.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span><br />
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<span style="margin: 0px;"><span style="margin: 0px;"><b><u>The 2019 Pantomimes
(Opening November/December)</u></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQfIKhOhACNP8hDzHdcBwFnfwWovkTftJSmT1d-3eqkg2ZgwHy1vaFNrWHliMbON6kJYIzjWgHNvi6rkWh3rzci7y5NtBzpatNW4Iuru_QEjHOyRwGf7NI4c1DUc_jo07tARtCjQ69bw/s1600/44936_full.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="260" data-original-width="460" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiQfIKhOhACNP8hDzHdcBwFnfwWovkTftJSmT1d-3eqkg2ZgwHy1vaFNrWHliMbON6kJYIzjWgHNvi6rkWh3rzci7y5NtBzpatNW4Iuru_QEjHOyRwGf7NI4c1DUc_jo07tARtCjQ69bw/s320/44936_full.png" width="320" /></a></div>
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<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">Given that the Christmas
2018 pantomimes are still on, it seems a bit too early to get excited about the
ones which will open at the end of 2019. However, many theatres have already
announced their 2019 pantomimes, as these are a highlight of the calendar for
many major suburban and regional theatres. As usual, most of the major
pantomime venues are adapting the small handful of classic fairy tales which
define the traditional pantomime repertoire. The Lyric Hammersmith will be
adapting <b><a href="https://lyric.co.uk/shows/cinderella/">Cinderella</a></b>, whilst the Theatre Royal Stratford will be providing a
version of<b> <a href="http://www.stratfordeast.com/whats-on/all-shows/dick-whittington-201920">Dick Whittington</a></b>. We can expect the cast and crew to liven up these
familiar tales with slapstick, topical humour and even a few smutty innuendos.</span></span><span style="margin: 0px;"><span style="font-family: ".sfuidisplay-regular" , serif; margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px;">
<span style="margin: 0px;"><span style="margin: 0px;">In addition, some
theatres have already announced the stars of their annual pantomimes. Craig
Revel Horwood will play the Wicked Queen in Manchester's version of <b><a href="https://www.atgtickets.com/shows/snow-white/opera-house-manchester/">Snow White</a></b>,
whilst Shane Ritchie will play <b><a href="https://www.atgtickets.com/shows/robin-hood/bristol-hippodrome/">Robin Hood</a></b> in Bristol, having played him in
Milton Keynes over Christmas. We can expect more popular British celebrities, ranging
from panto mainstays to genre newcomers, to be confirmed as headliners soon. There is
still a lot more to learn about the pantomimes which will define Christmas 2019, but most of the information about them will be revealed by the end of April,
so you won't have to wait too long to find out which pantomimes are worth
booking a early ticket for...</span></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-66017656638859772172018-12-17T08:50:00.000-08:002018-12-18T00:47:15.711-08:00Christmas 2018 - Fairy Tale Plays<br />
<div style="margin: 0px 0px 10.66px;">
The cold dark winter months are an excellent time to enjoy an imaginative and colourful fairy tale, and some of the best fairy tale-based entertainment is provided by theatres over the Christmas break. This article showcases 20 of the best fairy tale-themed productions being put on by theatres in London and the rest of the UK over the Christmas period. The article solely looks at traditional plays and musicals, so ballets and pantomimes are not included.</div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "calibri";">(Note: The
majority of these productions can be enjoyed by audiences of all ages, but a
couple of them are for adults only.)</span></u></b></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 16pt; line-height: 107%; margin: 0px;">London</span></u></b></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Christmas represents an excellent time for visiting London,
and numerous theatres provide entertainment for people throughout the city.
West End mainstays such as Wicked, The Lion King and Aladdin are still on and
attracting numerous theatregoers, but this article will focus on productions
that will only be on for a very limited time. Some of these are revivals of
productions which have been hits in previous years, whilst others are brand
new...</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://artstheatrewestend.co.uk/">A Christmas Carol</a>
(Arts Theatre, Ends 12<sup>th</sup> January)</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Every Christmas, there are numerous stage adaptations of <b style="mso-bidi-font-weight: normal;">A Christmas Carol</b>, as numerous theatres
compete to provide the most impressive version of the story. The redemption of
the infamous miser Ebeneezer Scrooge has become as synonymous with Christmas as
trees and carols, and there are several interesting retellings this year, with
one of the most interesting being performed at the Arts Theatre. The veteran
British actor Simon Callow (Who has played Dickens in several TV and stage
productions) narrates the story and plays all the characters in it, from
Scrooge to Tiny Tim. This one-man approach is reminiscent of the readings which
Charles Dickens gave at the height of his literary career and adds an
old-fashioned and mysterious atmosphere which highlights the magic of the
classic story. This intimate retelling of <b style="mso-bidi-font-weight: normal;">A
Christmas Carol</b> has been performed at the Arts Theatre three times before and
has even inspired a television adaptation. Whilst the theatrical productions
that dominate at this time of year tend to be grand spectacles, this adaptation
relies almost entirely on Callow’s masterful storytelling, proving that
sometimes the simplest plays can be the best.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.oldvictheatre.com/whats-on/2018/a-christmas-carol-2">A Christmas Carol</a>
(The Old Vic, Ends 19<sup>th</sup> January)</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">In contrast to the minimalism of Callow’s production, the
Old Vic version of <b style="mso-bidi-font-weight: normal;">A Christmas Carol</b>
provides a grand and immersive retelling of the classic story. When it
premiered last year, Matthew Warchus’ version (written by <b style="mso-bidi-font-weight: normal;">Harry Potter and the Cursed Child</b> playwright Jack Thorne) attracted
the attention of the critics and general public with its spectacular and
immersive staging. Combining Victorian music and impressive floating lanterns with
a more in-depth exploration of Scrooge’s backstory, Warchus and Thorne managed
to provide grand entertainment for audiences of all ages whilst emphasising the
themes and messages which have made <b style="mso-bidi-font-weight: normal;">A
Christmas Carol</b> such an iconic and important story. Considering the acclaim
it received, it is no surprise to see this production return for a second
consecutive Christmas. Some changes have been made for this revival (Stephen
Tompkinson will replace Rhys Ifans in the role of Scrooge) but it seems like it
will recapture the magic of the 2017 production. The Old Vic has enjoyed an
excellent year, with several acclaimed productions (including <b style="mso-bidi-font-weight: normal;">Fanny & Alexander</b>, <b style="mso-bidi-font-weight: normal;">A Monster Calls</b> and <b style="mso-bidi-font-weight: normal;">Wise Children</b>) and reviving<b style="mso-bidi-font-weight: normal;"> A Christmas Carol</b> brings an eventful
2018 full circle for the prestigious London theatre.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://bridgetheatre.co.uk/whats-on/a-very-very-very-dark-matter/">A Very Very Very Dark Matter </a>(The Bridge Theatre, Ends 6<sup>th</sup> January)</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">After the Oscar-winning success of his film <b style="mso-bidi-font-weight: normal;">Three Billboards Outside Ebbing Missouri</b>,
Martin McDonagh has returned to the world of theatre for <b style="mso-bidi-font-weight: normal;">A Very Very Very Dark Matter</b>, which provides a scathing satire on
19<sup>th</sup> century colonialism and our reverence towards classic writers
who are overwhelmingly white, male and European. The play is based on the
premise that Hans Christian Andersen owed his success and fame to a diminutive
African slave he kept imprisoned in his attic. Unsurprisingly, McDonagh goes
all out to alienate Andersen fans, with the author interpreted as a grotesque,
foul-mouthed racist, and Charles Dickens is also portrayed in an incredibly
unflattering light. Veteran actors Jim Broadbent and Phil Daniels play Andersen
and Dickens, but the star of the show is probably Joanetta Eula’Mae Ackles, the
unknown actress who plays Andersen’s prisoner. <span style="margin: 0px;"> </span>Although it has not received the acclaim
associated with most of McDonagh’s work, this play has gained its fair share of
champions, and worth seeing if you are interested in a strange and shocking
take on the life of literary icons. If you are sick of Christmas magic and
cheer, <b style="mso-bidi-font-weight: normal;">then A Very Very Very Dark Matter
</b>is worth a watch, representing an impressively vicious counterpart to the
upbeat, family friendly fare which predominates at this time of year.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.wiltons.org.uk/whatson/479-the-box-of-delights-by-piers-torday-based-on-the-book-by-john-masefield">The Box of Delights </a> (Wiltons Music Hall, Ends 5<sup>th</sup> January)</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Last year, the East London venue Wiltons Music Hall
premiered an adaptation of Jon Masefield’s classic adventure fantasy novel <b style="mso-bidi-font-weight: normal;">The Box of Delights</b>. The 2017 production,
which was written by Children’s author Piers Torday, was generally well-received,
and it is not a surprise to hear that it is being brought back for Christmas
2018. Although it was a sequel to Masefield’s earlier story <b style="mso-bidi-font-weight: normal;">The Midnight Folk</b>, <b style="mso-bidi-font-weight: normal;">The Box of Delights</b> has become iconic on its own terms, due to its
storyline about a boy who receives an incredible magic box and must take on an
evil wizard plotting against Christmas itself. Last year’s production starred TV
icon Matthew Kelly and West End veteran Josefina Gabrielle in dual roles, as
they played both heroic and villainous characters. Although neither Kelly nor
Gabrielle are returning this time, there are some talented actors in the cast,
with <b style="mso-bidi-font-weight: normal;">Harry Potter and the Cursed Child</b>
star Theo Ancient playing protagonist Kay Harker. <b style="mso-bidi-font-weight: normal;">The Box of Delights</b> has fallen into obscurity in recent years, but its
blend of uniquely British charm and epic fantasy has inspired many of the major
fantasy novels which followed it, including <b style="mso-bidi-font-weight: normal;">The Lion, The Witch and The Wardrobe</b> and <b style="mso-bidi-font-weight: normal;">The Dark is Rising</b>. This Christmas represents an ideal time to rediscover
this classic story.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.garricktheatre.org/don-quixote/">Don Quixote</a>
(Garrick Theatre, Ends 2<sup>nd</sup> February)</span></u></b></div>
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<span style="font-family: inherit;">In an age where films, books and shows are widely expected
to subvert and deconstruct genre norms, it is not surprising that there has
been renewed interest in the classic Cervantes story <b style="mso-bidi-font-weight: normal;">Don Quixote</b>. The tale of a delusional nobleman obsessed with
stories of medieval chivalry and heroism, <b style="mso-bidi-font-weight: normal;">Don
Quixote</b> is enjoying a renaissance at the moment (Terry Gilliam’s adaptation
is finally being released after a turbulent 20-year journey to the big screen and
there is speculation that Disney are planning to create their own version), demonstrating
that a story which is over 400 years old and almost 1,000 pages long can
continue to capture our imaginations in the 21<sup>st</sup> century. This production,
directed by James Fenton, premiered at Stratford’s Royal Shakespeare Theatre in
Spring 2016, and is now being performed in the West End for the first time. <b style="mso-bidi-font-weight: normal;">Shameless</b> star David Threfall plays
Quixote, whilst comedian Rufus Hound is his loyal sidekick Sancho Panza. The
production has a wacky and comedic first half and a more melancholy second
half, with innovative and unique puppetry and a wide array of songs to keep audiences
entertained throughout. Regardless of how familiar you are with the original
story, this adaptation of <b style="mso-bidi-font-weight: normal;">Don Quixote</b>
represents colourful and lively escapism which is perfect for this time of
year.</span><br />
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.nationaltheatre.org.uk/shows/hadestown">Hadestown</a> (National Theatre, Ends 26<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">Initially beginning life as a concept album written by Anais
Mitchell, <b style="mso-bidi-font-weight: normal;">Hadestown</b> has become a
cult favourite, with popular and acclaimed productions taking place in Canada
and New York. This creative musical puts a more modern spin on the classic
Greek myth of Orpheus and Euridice, with Euridice being forced to go the dystopian
city of Hadetown in her search for work, and Orpheus following her into this
underworld in a bid to get her back. The soundtrack is based on musical styles
from the era of the Great Depression, with folk and jazz predominating, whilst
the storyline tackles a range of increasingly important social, political and
environmental issues. The production also boats an impressive cast – our two
protagonists being played by Reeve Carney and Eve Noblezada, whilst the Broadway
veterans Andre de Shields and Patrick Page bring sinister gravitas to the roles
of the Greek Gods Hermes and Hades. Director Rachel Chavkin previously made the
acclaimed but short-lived Broadway musical <b style="mso-bidi-font-weight: normal;">Natasha,
Pierre and the Great Comet of 1812</b> and this musical provides a similar blend
of traditional story and innovative ideas. <b style="mso-bidi-font-weight: normal;">Hadestown</b>
will premiere on Broadway in April, and it seems like it will be a major
contender at the Tony Awards over the summer. The National Theatre run
represents an excellent opportunity to see <b style="mso-bidi-font-weight: normal;">Hadestown</b>
before it goes from cult favourite to acclaimed award winner.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.parktheatre.co.uk/whats-on/peter-pan">Peter Pan</a> (Park
Theatre, Ends 5<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">Based near Finsbury Park in North London, the Park Theatre
has become in increasingly prominent and popular venue in recent years, with numerous
high-profile productions and celebrity stars. This Christmas, they will be providing
a new production of <b style="mso-bidi-font-weight: normal;">Peter Pan</b>. The
selling point of this production is its use of J.M Barrie’s original script,
which was created for the first ever stage production of <b style="mso-bidi-font-weight: normal;">Peter Pan</b> in 1904. After 115 years of retellings and adaptations in
many different mediums, the original text still retains plenty of its magic, but
modern music and staging are being used in this version to update Peter Pan’s
adventures in Neverland for 2018. Peter will be played by Nickolla King-N’Da,
with Rosemary Boyle in the role of Wendy. Alexander Valhos, recently heard
voicing the sinister Wolf in a recent Radio 4 adaptation of <b style="mso-bidi-font-weight: normal;">The Company of Wolves</b>, will be playing
Captain Hook. A close adaptation of the source material with enough new
elements to stand out, <b style="mso-bidi-font-weight: normal;">Peter Pan</b> is
a must-watch for fans of the classic story.</span><br />
<span style="font-family: inherit;"><br /></span>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.unicorntheatre.com/GrimmTales">Phillip Pullman's Grimm Tales</a> (Unicorn Theatre, Ends 6th January)</span></u></b></div>
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<span style="font-family: inherit;">Unlike most London theatres, the Unicorn Theatre provides productions which are specifically aimed at children and families. However, this does not necessarily mean that their productions will be juvenile and sanitised, and <b>Phillip Pullman's Grimm Tales </b>(or<b> Grimm Tales </b>for short) is proof that stories can be dark and scary whilst remaining entirely suitable for younger audiences. The Brothers Grimm retellings found here are based on Phillip Pullman’s 2012 translations of their work and retain the mysterious yet simplistic approach which made them so appealing for the iconic <b style="mso-bidi-font-weight: normal;">Northern Lights</b> author. <b style="mso-bidi-font-weight: normal;">Grimm Tales</b> features five classic Brothers Grimm fairy tales interweaved into a single narrative about a group of children hearing these stories during a sleepover. The familiar stories of Red Riding Hood and Hansel and Gretel are combined with overlooked gems such as The Goose Girl at the Spring and the twisted The Juniper Tree. <b style="mso-bidi-font-weight: normal;">Grimm Tales</b> blends both the magical and mundane and highlights the timeless messages which Brothers Grimm fairytales can provide, making it an excellent way of introducing children to the magic and mystery of the fairy tale genre.</span><br />
<span style="font-family: inherit;"><br /></span></div>
</div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.southbankcentre.co.uk/whats-on/121477-rumpelstiltskin-201819">Rumpelstiltskin </a>(Southbank
Centre, Ends 6<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">This Australian update of the Brothers Grimm classic <b style="mso-bidi-font-weight: normal;">Rumpelstiltskin</b> was a hit when it premiered
in its home country in 2016, and it is making its European debut at the
Southbank Centre. The Australian entertainer Paul Capsis will play the titular
imp, who has been reimagined as a flamboyant and sinister fashion designer. As
in the source material, Rumpelstiltskin signs a deal with a young woman seeking
his help but tries to get revenge on her when she discards him. The updates to
the traditional story allow for some imaginative and eccentric staging, with
plenty of modern songs and some satire about our desire to seek expensive
clothes. With its unconventional updates of its source material, this adaptation
of <b style="mso-bidi-font-weight: normal;">Rumpelstiltskin</b> is one of the
more unusual productions on this list.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="http://www.uniontheatre.biz/striking-12.html">Striking 12</a> (Union
Theatre, Ends 23<sup>rd</sup> December)</span></u></b></div>
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<span style="font-family: inherit;">Hans Christian Andersen’s The Little Matchgirl (which depicts
an impoverished girl sacrificing her miserable life for visions of a better one)
is famous for being one of the bleakest Christmas stories of all time, but like
all of Andersen’s great fairytales, it possesses a blend of magic and tragedy
that makes it a perfect fit for the season. For <b style="mso-bidi-font-weight: normal;">Striking 12</b>, which is making its UK Premiere at Southwark’s Union Theatre,
the story is used as the basis for a creative modern-day musical. This combines
Andersen’s story of with a new narrative about a solitary man who reads The
Little Matchgirl on New Years Eve and is inspired to change his perspective on
life as he forms a bond with the ill-fated protagonist. The soundtrack, created
by the composer duo GrooveLilly, blends a variety of contemporary musical
styles, with West End stars Declan Bennett and Bronte Barbe leading the cast. <b style="mso-bidi-font-weight: normal;">Striking 12</b> premiered off-Broadway in
2004, and the fact that it has just made it to London is a testament to the
enduring appeal of the story and its source material. </span></div>
<br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-size: 16pt; line-height: 107%; margin: 0px;">Rest of the
UK </span></u></b></div>
<br />
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<span style="font-family: inherit;">Although the West End is one of the major theatregoing hubs
in the world, it would be incredibly insulting to overlook the plays and
productions being performed in the rest of the UK. Theatres all over the
country are providing high quality entertainment for audiences across the
Christmas break, and their productions look every bit as creative and
entertaining as the ones in London…</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.shermantheatre.co.uk/performance/children/alice-in-wonderland-18/">Alice in Wonderland </a>(Sherman Theatre, Cardiff, Ends 29<sup>th</sup> December)</span></u></b></div>
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<span style="font-family: inherit;">Cardiff’s Sherman Theatre is increasingly becoming one off
the most acclaimed theatres in Wales, with its charming programme of family
friendly Christmas plays representing a highlight of the calendar. This year,
they are providing a version of <b style="mso-bidi-font-weight: normal;">Alice in
Wonderland</b> directed by Rachel O’ Riordan. <span style="margin: 0px;"> </span>This retains the surrealism of the source
material, with plenty of wacky slapstick and a constantly shifting set that leads
to various creative special effects. There are also several songs, and the
production has a distinctive Welsh identity that contrasts with the more traditional
approach embodied by Disney. However, there is also a more serious
undercurrent, as Alice is portrayed here as a teenager who struggles to make
sense of the world, with the eccentric residents of Wonderland representing teachers,
fellow pupils and even her family. This allows the production to combine its
silly approach with genuinely important messages about being yourself and
dealing with an often-irrational world. In 2019, Rachel O’ Riordan will become
the Artistic Director of West London’s iconic Lyric Hammersmith theatre, and
this production is an excellent conclusion to her time in Wales.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.theatrebythelake.com/production/17320/Beauty--the-Beast">Beauty and the Beast </a>(Theatre by the Lake, The Lake District, Ends 12<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">Although the Lake District is famous for its spectacular
mountains, parks and lakes, there is plenty of entertainment for those who
would prefer to stay indoors during the long and cold winter nights. Based in
the picturesque village of Keswick, the Theatre By the Lake provides lively
entertainment for locals and tourists alike, and its Christmas productions are as
colourful and magical as the local scenery. This year, the Theatre by the Lake are
providing an adaptation of <b style="mso-bidi-font-weight: normal;">Beauty and
the Beast</b> created by the prolific director and playwright Laurence Boswell.
His version of the iconic 18<sup>th</sup> century fairytale was first performed
at the Young Vic in 1996 and has been occasionally revived since. Boswell has renovated
the script for this new production, but still sticks closely to Jean Marie Le
Prince Beaumont’s iconic source material, as Beauty is forced to live with a cursed
Beast after her father steals one of his roses for her. This traditional
retelling still contains a variety of modern touches, as the production combines
old-fashioned sets and robot servants. However, for all the spectacle and
songs, the focus of the story will remain firmly on Beauty and her coming of
age.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.wmc.org.uk/en/whats-on/2018/duckie/">Duckie </a>(Wales
Millennium Centre, Cardiff, 20<sup>th</sup> December – 31<sup>st</sup> December)</span></u></b></div>
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<span style="font-family: inherit;">The cabaret artist and drag queen Le Gateau Chocolat has become
a prominent performer in Britain, receiving acclaim and attention for shows
like <b style="mso-bidi-font-weight: normal;">Icon</b> and <b style="mso-bidi-font-weight: normal;">Black</b>. This Christmas, he will be performing his production Duckie
at Cardiff’s famous Millennium Centre, updating Hans Christian Andersen’s
iconic tale The Ugly Duckling. Most of Le Gateau Chocolat’s work is for adults,
but <b style="mso-bidi-font-weight: normal;">Duckie</b> is aimed primarily at
kids. However, its messages about embracing the things which make you unusual
and unique, are perfect for audiences of all ages. In this production, Le
Gateau Chocolat tells the story of a Duck in a circus coming to terms with his inability
to quack, as he meets various animals in his search for a suitable mentor. Le
Gateau Chocolat provides numerous outlandish costumes and sings a wide variety
of songs in his deep and rich singing voice. He also adds plenty of interactive
elements and physical comedy to his show, but never loses sight of the main
themes and issues which he is exploring. <span style="margin: 0px;"> </span><b style="mso-bidi-font-weight: normal;">Duckie</b>
demonstrates that Le Gateau Chocolat can provide family friendly entertainment
without sacrificing the quirky and uninhibited approach which made him popular
in the first place.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.rosetheatrekingston.org/whats-on/hansel-gretel">Hansel and Gretel</a> (Rose Theatre Kingston, Kingston, Ends <span style="margin: 0px;"> </span>6<sup>th</sup>
January)</span></u></b></div>
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<span style="font-family: inherit;">With its mysterious forest setting, dark themes and brave
protagonists, <b style="mso-bidi-font-weight: normal;">Hansel and Gretel</b> is one
of the defining Brothers Grimm fairy tales, but it can be a challenge to expand
it into a two-hour adventure story. For their Christmas production, the Rose Theatre
(based in the suburban town of Kingston-upon-Thames) are putting on a creative
new adaptation of the tale, which provides a variety of major twists on a
familiar narrative. Instead of being abandoned by a heartless mother, Hansel
and Gretel are sent away by a corrupt mayor, and Gretel’s desire to learn more
about her missing parents forms a key part of the narrative. In addition, a
variety of iconic fairy tale characters (including Snow White, Red Riding Hood
and Pinocchio) make cameos. However, for all the changes and expansions, the
core of the story remains the same, with Gretel having to outwit the sinister
child-eating witch who lives in a house made of sweets and cakes. There are a
handful of adults in the show, but the real stars are the child actors from the
Rose Youth Theatre, who are divided into two teams who perform on alternate
nights. Blending music, magic and adventure, this retelling of <b style="mso-bidi-font-weight: normal;">Hansel and Gretel</b> provides lively
entertainment for all ages whilst maintaining the scary undertones that have
made the story so iconic.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<span style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><b><a href="https://www.theatreroyal.org.uk/event/the-scarlet-pimpernel/">The Scarlet Pimpernel </a>(Theatre Royal Bath, Bath, Ends 13</b></span><sup style="font-family: inherit; font-weight: bold;">th</sup><span style="font-family: inherit;"><b> January)</b></span></u></span></div>
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<span style="font-family: inherit;">In 1905, the Hungarian refugee Baroness Orczy published <b style="mso-bidi-font-weight: normal;">The Scarlet Pimpernel</b>, about a masked
hero who rescues nobles from the violence and bloodshed of the French
Revolution. This story of intrigue and adventure inspired many of the
superheroes and daredevils who would define 20<sup>th</sup> century fiction,
but the reactionary undertones have aged badly. However, this rendition of <b style="mso-bidi-font-weight: normal;">The Scarlet Pimpernel succeeds</b> in
making the tale fit for the modern age, by providing a wackier retelling which emphasizes
the action and adventure. A cast of just five actors play dozens of characters,
with the Pimpernel leading a team of 20 men in a quest to save an aristocrat
and his numerous pet poodles. There are plenty of bad French accents and gaudy
costumes in this production, with more than a few swordfights to add some
excitement. The threat posed by Madame Guillotine is a persistent fear for the
protagonists, but it is played lightly enough to entertain rather than disturb
the children in the audience. Overall, the Theatre Royal Bath’s take on <b style="mso-bidi-font-weight: normal;">The Scarlet Pimpernel</b> is the sort of
lively adventure that will introduce a new generation to the story which paved
the way for so many iconic heroes.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.cft.org.uk/whats-on/event/sleeping-beauty">Sleeping Beauty</a> (Chichester
Festival Theatre, Chichester, Ends 30<sup>th</sup> December)</span></u></b></div>
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<span style="font-family: inherit;">Chichester is a major theatrical hub, with numerous
prominent actors and actresses performing in high-profile productions there.
This means that the regional youth theatre has an incredibly significant
platform to gain acclaim and attention from theatre tourists who visit the
region in the winter months. This Christmas, Chichester Youth Theatre will be
taking advantage of this with a production of <b style="mso-bidi-font-weight: normal;">Sleeping Beauty</b>. Like the Theatre by the Lake adaptation of <b style="mso-bidi-font-weight: normal;">Beauty and the Beast</b>, this is an update
of a Young Vic Christmas play. However, this revival of Rufus Norris’s 2002
production takes a darker and more unconventional approach. It returns the
story of <b style="mso-bidi-font-weight: normal;">Sleeping Beauty</b> back to
Charles Perrault’s source material, taking the tale beyond Beauty waking up
from her enchanted sleep. Once Beauty ends up in the Prince’s Kingdom, she has
to deal with a sinister troll Mother-in-law plotting against her, whilst Goody
the fairy tries to set things right for the young woman who she once cursed. Embracing
the macabre aspects of the original story whilst adding enough comedy and
adventure to make it more palatable for children, this retelling of <b style="mso-bidi-font-weight: normal;">Sleeping Beauty</b> makes this old-fashioned
fairy tale into a creepy yet magical evening of entertainment.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<a href="https://www.haytheatre.com/whats-on/treasure-island">
</a>
<br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.haytheatre.com/whats-on/treasure-island">Treasure Island</a> (Leicester
Haymarket Theatre, Leicester, Ends 6<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">Eleven years after it last hosted a play, Leicester’s Haymarket
theatre has been reopened, and its first production will be an all-new
adaptation of <b style="mso-bidi-font-weight: normal;">Treasure Island</b>
written by comedienne Sandi Toksvig. With her roles as a host of <b style="mso-bidi-font-weight: normal;">QI</b> and <b style="mso-bidi-font-weight: normal;">The Great British Bake Off</b>, Toksvig has become a national treasure,
so the prospect of her adapting the classic adventure novel will doubtlessly
attract many theatregoers to the Leicester Haymarket over the Christmas period.
The story of Jim Hawkins and his grand adventure on the high seas, is a pretty
popular choice for Christmas productions, and Toksvig (whose sister Jennifer is
a co-writer on this production) will certainly be able to put her own unique spin
on it. Kat Engall will play Hawkins, whilst Jules Brown will play the
mysterious Long John Silver The production will also feature a cameo from
another British icon – Footballer and sports pundit Gary Lineker (who played
for Leicester City during his illustrious career) will appear in a video recording
as Captain Flint. Combining action, comedy, music and more than a little star
power, this looks like an impressive piece of escapism perfect for a family
night out.</span><br />
<span style="font-family: inherit;"><br /></span>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://lyceum.org.uk/whats-on/production/wendy-peter-pan">Wendy and Peter Pan</a> (Royal Lyceum Theatre, Edinburgh, Ends 5<sup>th</sup> January)</span></u></b></div>
<span style="font-family: inherit;"></span>
<br />
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<span style="font-family: inherit;">For their Christmas production this year, Edinburgh’s iconic Royal Lyceum Theatre are staging <b style="mso-bidi-font-weight: normal;">Wendy and Peter</b> <b style="mso-bidi-font-weight: normal;">Pan</b>, Ella Hickson’s 2013 adaptation of the classic play and novel from iconic Scottish playwright J.M Barrie. As the title indicates, the focus of this version is shifted from Peter Pan to the female protagonist Wendy, with her coming-of-age providing the story with most of its dramatic weight. Wendy (played by Isobel McArthur) struggles to be a force of sanity in the chaos of Neverland, as she must work alongside the ruder and more aggressive Tinkerbell and Tiger Lilly, and her adventures allow her to understand more about the responsibilities and challenges of womanhood. Peter himself is played by Ziggy Heath, whilst Gyuri Sarossy portrays an ageing but still threatening Captain Hook. For all the changes to the characters, this production still provides the impressive staging, costumes and flying effects we all expect from the <b style="mso-bidi-font-weight: normal;">Peter Pan</b> story. <b style="mso-bidi-font-weight: normal;">Wendy and Peter Pan</b> has been frequently revived over the last five years, and its feminist approach will make it a major hit with Scottish theatregoers.</span><br />
<span style="font-family: inherit;"><br /></span></div>
</div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.wickedthemusical.co.uk/uk-tour/tour-dates/palace-theatre-manchester">Wicked </a>(Palace
Theatre, Manchester, Ends 5<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">This October marked 15 years since <b style="mso-bidi-font-weight: normal;">Wicked</b> officially opened on Broadway, and this creative reinterpretation
of <b style="mso-bidi-font-weight: normal;">The Wizard of Oz</b> remains as
popular as ever. For those unable to see it in the West End, it has spent the
past five years touring various British cities, and the tour concludes in
Manchester, with a month-long run at the prestigious Palace Theatre. The unusual
friendship between wicked witch Elphaba and Glinda the Good witch continues to inspire
and move audiences of all ages, and songs such as “Popular”, “Defying Gravity”
and “For Good” are some of the most iconic Musical Theatre anthems of the 21<sup>st</sup>
century. Regardless of whether or not you are a seasoned fan of <b style="mso-bidi-font-weight: normal;">Wicked</b>, this Manchester run represents
an excellent opportunity to enjoy the musical which inspired the likes of <b style="mso-bidi-font-weight: normal;">Frozen</b>, <b style="mso-bidi-font-weight: normal;">Once Upon A Time</b> and <b style="mso-bidi-font-weight: normal;">Maleficent</b>.</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.birmingham-rep.co.uk/whats-on/the-wizard-of-oz.html">The Wizard of Oz </a>(Birmingham
Repertory Theatre, Birmingham, Ends 13<sup>th</sup> January)</span></u></b></div>
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<span style="font-family: inherit;">For those who want a more conventional take on <b style="mso-bidi-font-weight: normal;">The Wizard of Oz</b>, the Birmingham
Repertory Theatre are providing a lively musical adaptation of the iconic L.
Frank Baum novel. Dorothy Gale’s journey across the Yellow Brick Road with the
Tin Man, The Scarecrow and the Cowardly Lion remains one of the most influential
children’s stories of all time, and this production brings it to life for the theatregoers
of modern-day Birmingham, updating the rural American values for a more energetic
and diverse culture. The classic songs from the 1939 movie adaptation,
including “Somewhere Over the Rainbow” and “We’re Off to See the Wizard” remain
intact, but have been given new orchestrations reminiscent of classic soul music,
whilst the choreography combines 1930s style “Jitterbug” dancing with modern
hip-hop moves. Chisara Agor plays a stronger and more assertive Dorothy, and
there is plenty of gender flipping, with the Lion played by a woman and the
Wicked Witch of the West being played (like so many Over-the-Top villains from
family-friendly musicals) by a male actor in drag. Overall, this adaptation
updates <b style="mso-bidi-font-weight: normal;">The Wizard of Oz</b> for 2018 whilst
celebrating the iconic world and characters which have allowed this tale to endure
for so long.</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-48307966515728349242018-11-26T16:16:00.002-08:002018-12-18T13:24:31.128-08:00The World’s Best Frozen Fanfic <span style="font-family: inherit;">Out of all the Disney films, </span><b style="font-family: inherit;">Frozen</b><span style="font-family: inherit;"> has the largest and most
passionate fandom by some distance. This can be highlighted by the large volume
of fanfiction based on the film, with almost 11,000 </span><b style="font-family: inherit;">Frozen</b><span style="font-family: inherit;"> fanfics on fanfiction.net
alone, and sites such as ArchiveOfOurOwn, Wattpad and Tumblr featuring even
more </span><b style="font-family: inherit;">Frozen</b><span style="font-family: inherit;">-related stories. As a medium dominated by writers with little professional
experience, fanfiction has a reputation for being very poor-quality. Some of
this snobbery is justified, as many of the fanfics published on these sites are
badly written, gimmicky and full of ridiculous changes and twists. However, several
of the so-called “amateur writers” can provide stories which are worthy of
comparison with the source material. Given the sheer volume of </span><b style="font-family: inherit;">Frozen</b><span style="font-family: inherit;"> fanfics,
it is possible to find dozens of high-quality ones if you look hard enough. These
fanfics include straightforward sequels, stories which retell the events of the film from
a different perspective, and ‘Alternative Universe’ stories that place our
familiar characters into new world. Out of all the Frozen fanfics on the internet, the best is probably </span><b style="font-family: inherit;">Frozen Wight</b><span style="font-family: inherit;">, an epic
74 – chapter, 295,000 - word fan sequel created by an author called Thebandragoness. This fanfic blends comedy and drama to create
a unique and enjoyable story for Anna, Elsa and all their friends and enemies.
Not only is it worthy of being compared to the original film, it even surpasses
it in a variety of areas. Fanfics tend not to receive detailed examination
outside of the online fanfiction community, but </span><b style="font-family: inherit;">Frozen Wight </b><span style="font-family: inherit;">deserves to be
shared with the wider world. This article will examine the story in greater
detail to figure out why it is so excellent.</span><br />
<b style="font-family: inherit;"><br /></b>
<b style="font-family: inherit;">Frozen Wight</b><span style="font-family: inherit;"> is available on </span><a href="https://www.fanfiction.net/s/10196597/1/Frozen-Wight" style="font-family: inherit;">Fanfiction.Net</a><span style="font-family: inherit;"> and </span><a href="https://archiveofourown.org/works/2601779/chapters/8195479" style="font-family: inherit;">ArchiveOfOurOwn</a><span style="font-family: inherit;">.</span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">What’s it About?</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Due to its epic length, <b>Frozen Wight</b> is split into four parts.
The format is like a TV miniseries, with each part combining individual smaller
adventures with a set of greater arcs and storylines which span the entire fanfic…</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>Part One (Chapters 1 - 15) </u></b>– After the events of the film,
Anna and Elsa must adjust to the recent set of changes to their life, as they
try to keep Olaf under control and help Anna regain her lost childhood memories.
<span style="margin: 0px;"> </span>Meanwhile, volatile Ice Harvester Adrian
becomes increasingly suspicious of Elsa and plots a coup against her with magical
assistance from a mysterious figure…</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>Part Two (Chapters 16-37) </u></b>– Elsa tries to cope with the
pressures of being a queen, Anna’s attempts to pair her with dweeby bodyguard Fritz, and the
threat posed by a sinister demon. However, a snowwoman called Mary, an imaginary
friend from her childhood, comes to life and begins creating trouble. <span style="margin: 0px;"> </span></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>Part Three (Chapters 38-59) <span style="margin: 0px;"> </span></u></b>– Elsa befriends a boy called Daniel with the
same ice powers as her, but Anna becomes increasingly suspicious of him. Daniel
helps Elsa take on the flamboyant dark fairy Brandr, but she soon realises that
Daniel has a terrible secret and is plotting to use Elsa in a plan to gain
revenge on the world which has shunned him.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>Part Four (Chapters 60-74)</u></b> – After Daniel takes away all of
Elsa’s happy memories, she creates a second eternal winter and becomes increasingly
dangerous and erratic, so Anna is forced to team up with Mary in a bid to cure
her older sister. Meanwhile, an old enemy plots to escape jail and gain revenge
on Anna and Elsa, but his schemes don’t go to plan…</span><br />
<span style="font-family: inherit;"><br /></span></div>
<h3 style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit; font-size: large;">
Review</span></h3>
<div>
<span style="font-family: inherit; font-size: large;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b>Frozen Wight</b> is very hard to review in the traditional format,
due to its large number of characters, themes and storylines, so this review
will break things down a bit and highlight some of the things which make this fanfic
a must-read for any writer, regardless of whether or not they are interested in
fanfiction or <b>Frozen</b>…</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>Unique and
Interesting Tone</u></b> – <b>Frozen Wight</b> possesses a distinctive tone which builds
off <b>Frozen</b>’s signature blend of comedy and drama to create something that is
unique, but still reasonably close to the approach of the source material. After
a brief prologue to introduce the sinister Wight, the story literally begins
where <b>Frozen</b> left off, tying up all the loose ends left by the conclusion of
the film. We see Elsa get properly introduced to Kristoff and Sven, learn what
happens when Olaf meets the people of Arendelle, and find out how Hans’s
misdeeds were exposed. This opening sequence establishes the tone of <b>Frozen
Wight</b> pretty quickly, with silly and broad comedy getting combined a more
serious exploration of Elsa’s fears and anxieties. From there, we go on to
seeing Elsa face a variety of issues, ranging from renovating the castle and dealing with an incompetent and sexist Royal Council to fighting angry rebels and a demonic monster. The combination of
mundane problems and extreme ones puts greater pressure on Elsa, and her range
of responses provides her with much greater depth and nuance. It also manages
to make Arendelle into an interesting and unpredictable world which is worth
staying in for all 74 chapters.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Although the characters and story are the main strength of
<b>Frozen Wight</b>, the creative writing also helps to elevate it. We get numerous
great descriptions throughout the story, and there are several moments when the
narrative voice intervenes to add some extra comedy. The contrast between extreme
comedy and extreme drama should be jarring, but they are balanced really well.
The comedy comes primarily from the characters and their dilemmas, ensuring
that there is an element of truth and realism to it. Meanwhile, the most serious
sections of the story contain bursts of wit and dark humour to keep things from
getting too miserable. A list of some of the best lines from the fanfic can be found
at the end of the review, but it barely scratches the surface – each chapter
has plenty of unique and memorable descriptions and dialogue…</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>Love of the Source
Material</u></b> - It is obvious throughout this fanfic that Thebandragoness is
a keen <b>Frozen</b> fan with a very detailed knowledge of the movie. Virtually all
the characters from the original film are included here, from Anna, Elsa and
Olaf down to the little kid who moaned about having to wear smart clothing to
Elsa’s coronation day. Although this story is not a musical, the iconic songs from
<b>Frozen</b> still make their presence felt, with brief excerpts of 'Love is An Open
Door' and 'Fixer Upper' appearing, and several references to 'Let it Go' (including
Olaf talking about his view of the famous sequence). We also get a variety of Easter
eggs, including plenty of allusions to Frozen merchandise and material deleted
from the finished film. There are sneaky references to Anna and Elsa’s appearance
in <b>Once Upon A Time</b> and several spin-off books for children, and a few characters
from classic Disney Animated films have cameos. If you are sick of all the
Disney Animation references, there are also amusing references to other films, such
as <b>The Princess Bride</b> and <b>The Avengers</b>.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">A good portion of the comedy in <b>Frozen Wight</b> takes on a surprisingly
meta tone, with various parodies of the <b>Frozen</b> fandom and plenty of digs at the
preposterous romantic pairs frequently found there. One of the comedic
highlights is a small subplot involving Anna and Elsa’s encounters with an
artist who spends his time creating and selling “illicit paintings” (i.e erotic
fanart) of Elsa with various romantic partners. There are also scenes with a
couple of royal guards, Morten and Henrik, who spend their time discussing
rumours about Elsa’s romantic life. These jokes at the expense of <b>Frozen</b>’s fandom
could easily be mean-spirited, but even the most avid fans can realize how
ridiculous all the romantic ‘shipping’ can get, and the mockery in this fanfic
stays on the right side of the line between affectionate and cruel. Frozen is a
pop-cultural phenomenon as well as a movie, and the acknowledgement of its
unique status in the Disney canon allows <b>Frozen Wight</b> to be more than another
continuation of Anna and Elsa’s story.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>Big and Mature Themes</u></b>
– The comedy in <b>Frozen Wight</b> is used to balance out the darker excesses of an
often serious story which provides a more detailed understanding of Elsa and
her inner turmoil. This fanfic was initially called ‘The Trials of Elsa’, so it
is no surprise that Anna’s troubled but brilliant older sister takes centre stage
in this story. Elsa’s cyromancy (ice powers to you and me) is the overarching focus
of this story as she struggles to come to terms with an incredible gift which
stayed suppressed for so long. Having to deal with Olaf, Marshmallow and a new
array of snow creatures feeds into Elsa’s uncertainty over how to use her
powers, and this creates a lot of comedy and drama. One of the prominent
threads running throughout the fanfic is Elsa’s struggle to deal with a drought
affecting Arendelle. With climate change becoming an increasingly urgent issue
following the heatwaves which affected the Northern hemisphere over the summer,
this subplot feels incredibly timely, as Elsa ponders the ethics of using the
fairytale equivalent of <a href="https://en.oxforddictionaries.com/definition/geoengineering">Geoengineering </a>to solve the problems faced by her
kingdom. You do not need cyromancy to understand Elsa’s fears and insecurities,
and this is what makes her such a compelling protagonist.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The serious elements of the story are pretty heavy and disturbing
at points. Elsa’s fragile mental health is a central issue in <b>Frozen Wight</b>,
particularly in the second and fourth parts. In the second part, Elsa’s battle
with Mary’s toxic influence provides a disturbing representation of the
intrusive thoughts that often afflict obsessive or anxious people, with Mary
forcing her to act on her worst instincts. <span style="margin: 0px;"> </span>Mary corrupts Elsa through a mirror, echoing
Hans Christian Andersen’s <b>The Snow Queen</b> (the inspiration for <b>Frozen</b>) and the damage
she causes highlights the fact that losing control of your own mind can be
scarier than any demon or snow monster. In the fourth part of the story, things
get even worse as Elsa’s happy memories are removed, turning her into a paranoid
and dangerous character who begins sliding into monster territory. Elsa’s
extreme turmoil is explored in a disturbing amount of detail. Parallels are
drawn between Daniel and the numerous real-life predators who destroy women’s
lives to live out their fanatical fantasies, and this make it clear that Elsa
is as much of a victim as a villain in this section of the story. The scenes where
she loses control and starts freezing her friends are genuinely disturbing,
because we know that her breakdown is based on fear rather than malice. Things
reach their climax when Elsa accidentally hits Anna with an extra-potent version
of the “Frozen Heart” curse from the first movie, making things even more difficult
for Anna, as she seeks to prevent Elsa from losing control of herself and her
powers for good. Anna’s race against time to save herself and Elsa is intense
and dramatic, with a powerful resolution which <span style="margin: 0px;"> </span>makes the eventual happy ending all the
sweeter.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">In addition to providing drama and philosophical conundrums,
Elsa’s struggles are used to generate plenty of important messages. Beneath all
the chaos, the primary message of <b>Frozen Wight</b> is an excellent one - you should
never let tragedy and trauma define you. Elsa’s relationship with Anna,
Kristoff, Olaf and the rest of the “<b>Frozen</b> Family” emphasizes the need to
preserve our bonds with the people who can support us when things get difficult.
These messages are consistent with the themes and ideas explored by the
original film, but take them far further to provide a more sophisticated and
detailed examination. Elsa is a role model for many people with mental issues,
and the exploration of her struggles here gives this fanfic an emotional impact
and maturity. Like most fanfics, <b>Frozen Wight</b> is aimed at older audiences, but
whilst many of these stories misuse the “more adult” tone, <b>Frozen Wight</b> gets the
balance correct, adding more drama and danger without feeling gimmicky or
needlessly shocking.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>A Strong Supporting
Cast</u></b> – Although <b>Frozen Wight</b> is primarily about Elsa and her powers,
its grand scale and elaborate narrative means that the other characters from
the <b>Frozen</b> Universe also get plenty to do. If Elsa is the primary protagonist
of <b>Frozen Wight</b>, then Anna is a pretty powerful deuteragonist. The emphasis on
Elsa over Anna leads to some changes in their dynamic. With her attempts to
play matchmaker for Elsa and Fritz and a newfound obsession with punching all
her enemies in the face, Anna gets a lot of quirky and goofy moments, and can
border on being a comic sidekick at times. However, when push comes to shove
and Elsa needs her help, Anna proves to be the kind, brave and tenacious protagonist
we all know and love, fully earning her heroine status. A traditionally-built, inanimate
snowman with handprints over the heart becomes a powerful symbol of Anna’s
unconditional love for Elsa, and the scenes in which it is used are the most
powerful and moving in the fanfic. The bond between Anna and Elsa is the one
thing which made <b>Frozen</b> truly iconic, and <b>Frozen Wight</b> treats this important
relationship with the respect it deserves.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">It is not surprising that Elsa’s snow creatures also have a prominent
role. Olaf is his usual blissfully happy, heat-obsessed self, and gets some
hilarious lines in this story. We learn about his inability at keeping secrets
and get a running gag about his obsession with the curse words which he hears
Anna using once too often. Hearing the innocent and childlike Olaf use profanities
which rhyme with “witch” and “wrap” is one of those things which should just be
cheap, lowest-common denominator humour, but turns out to be hilarious due to
his total lack of awareness or malice. Elsa’s intimidating snow monster
Marshmallow has an expanded role as well, as we learn about his relationship with
Elsa – beneath his menacing exterior, he loves his creator just as much as Olaf
does. In addition, we get several mini-Marshmallows, a set of talking birds
made from pure snow and a living, walking snowball who provides some
much-needed cuteness during the intense later chapters.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Anna’s allies from the original film also get some memorable
moments, although they are somewhat less significant compared to the more complex
and entertaining characters surrounding them. Kristoff retains his “anti-social
straight man” personality and gets some good lines, but he and Sven are
slightly overshadowed by the other members of the cast. Pabbie retains his role
as the magic expert, providing exposition to make the complicated magic and mythology
easier to understand. Although he generally uses his magic to help Anna and
Elsa, Daniel eventually forces him into doing things which create problems for
our protagonists. Meanwhile, the rest of the trolls get involved in the
romantic tangles at the centre of the story, providing unreliable advice for Anna,
Elsa, Kristoff and Fritz. Given that he is one of the most overused characters
in <b>Frozen</b> media, the eccentric Sauna salesman Oaken appears surprisingly little
in this story. However, the character is given various identical-looking cousins
who run other businesses in Arendelle and generate a lot of extra silliness – Thebandragoness could have easily ran this concept into the ground, but thankfully
manages to handle it carefully. Overall, Thebandragoness stays true to the essence
of <b>Frozen</b>’s main characters and gives them a lot of great new material.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>Great New
Characters</u></b> - There are also a variety of interesting new characters to
enjoy. Aside from the villains (mentioned in further detail below) the two most
prominent are Anders, the chief of staff, and Fritz, an awkward young bodyguard
hopelessly infatuated with Elsa. Anders is a stereotypically posh and stuffy assistant and gets a variety of dry and snarky lines, but the caring and compassionate elements
of his personality still shine through. When he is forced to babysit Olaf, he
initially finds the wacky snowman insufferable, but soon begins to form a sweet
little friendship with him. Fritz is another major source of comic relief in
the story, getting involved in a complex romantic subplot involving Elsa, Anna,
Kristoff, a bullying and macho bodyguard, and a sickeningly sweet member of
staff. Whilst the romantic subplots are relatively convoluted and can feel
like filler at times, they yield a lot of great comedy. With his ghastly mother,
a complete lack of social skills and a job he is hopelessly unqualified for,
Fritz is incredibly out of his depth in the royal world, but he is likeable
enough to root for, and its pretty satisfying when things finally start to go
his way. Besides these characters, other new additions to the <b>Frozen</b> universe
include Mrs. Dale, Adrian’s wise and kind wife, and Admiral Klaus, a tough
military man who has his own personal reasons for taking interest in Elsa’s cyromancy.
Both of these characters are engaging and three-dimensional, with revelations
about them later in the story add to their depth and complexity.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>Excellent Villains</u></b>
- Whilst the villains are one of the weakest aspects of the original film, the
villains in <b>Frozen Wight</b> are among the highlights of the story. There are six
main villains (seven if you count “Evilsa” – the brainwashed and crazy version
of Elsa from Part 4), of whom four are completely original characters. These
four new additions are all memorable antagonists who present Anna and Elsa with
formidable challenges. Daniel is the best of these, representing an excellent evil
counterpart to Elsa whose tragic past has driven him insane and turned him into
a nihilistic demon who has decided to embrace the death and destruction he associates
with his ice powers. Mary has one of the biggest character arcs in the story,
as she goes from demonic creature seeking to control Elsa to vulnerable and
sympathetic snowwoman who realises that her fears and anxieties are not so
different from Anna’s. Both characters are given depth through a variety of
flashback sequences, which explain how they came to pose a threat to Anna and
Elsa. These sequences add horror and tragedy to <b>Frozen Wight</b>, with Daniel’s
backstory being especially harrowing – his behavior may be deplorable, but it
is certainly easy to understand how he ended up becoming a monster. In contrast
to Daniel and Mary, Brandr has no internal depth or complexity, but is still a
twisted and entertaining villain. With his fast-talking, obnoxious personality and
complete disregard for human life, he feels like a more extreme version of Hades
from <b>Hercules</b> and is as much of a scene-stealer as this description implies.
Adrian is a smaller villain, only causing trouble in the first part, but still
has a considerable impact, particularly when we find out WHY he wanted to kill
Elsa. This devastating revelation fuels Elsa’s doubts and uncertainties about
her powers and adds depth to a villain who previously seemed like a prejudiced
thug. It needs to be stated that none of these villains are suitable for
children. Brandr’s flamboyance means that he is the closest to a traditional
Disney baddie, but this is still a character who boasts about killing a child
cyromancer and plots to replace all of Arendelle’s little children with demon changelings.
The total lack of family-friendliness gives this story a bite which provides
urgency and high stakes to prevent this being an excessively upbeat and silly
farce.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Compared to villains like Daniel and Brandr, The Duke of <strike>Weaseltown</strike> Weselton and Prince Hans, the two villainous characters from the original film, no longer feel like
threats, and their portrayal in this story reflects this. Weselton was always more of a boorish
and ridiculous ‘hater’ rather than a true menace, and <b>Frozen Wight</b> stays
true to this characterization. During the second part, Elsa is forced to
negotiate with him to form a new trading agreement, leading to a lot of the awkward
and amusing comedy generated by forcing our protagonists to be nice to someone
who they find totally insufferable. Needless to say, the uneasy business partnership
does not work out. It is a lot more surprising to see Hans played for laughs as
well, but this is handled really well here. Most <b>Frozen</b> fanfics portray Hans as a
<a href="https://www.fanfiction.net/s/9952519/1/Frozen-Hearts">troubled but redeemable</a> <a href="https://www.fanfiction.net/s/11823385/1/A-Marriage-of-Convenience">young man</a> or a <a href="https://www.fanfiction.net/s/11966531/1/The-Price-of-Love">completely evil</a> <a href="https://www.fanfiction.net/s/11959914/1/In-the-Reign-of-Queen-Anna-of-Arendelle">supervillain</a>, so it is
refreshing to see this one try something different, and the material is funny
enough to justify the more comedic interpretation. The Hans we see here is
still a scheming sociopath, but feels pathetic instead of threatening, as he
spends most of his time formulating impractical and ill-conceived plots from
within his jail cell whilst picking his nose and getting increasingly miserable
about the fall from grace that he brought upon himself. The confrontation
between him and our two sisters towards the end of the fanfic is incredibly
one-sided, demonstrating how far Anna and Elsa have come over the course of the
story. It’s telling that whilst Weselton and Hans are mere sideshows in <b>Frozen
Wight</b>, their portrayal here is more interesting and entertaining than they were
in a film where they were the central antagonists.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><u>What Are the
Negatives?</u></b></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">This is an excellent fanfic, but it has its flaws as well, and
whilst these are relatively minor, they are still worth mentioning. The epic
approach of <b>Frozen Wight</b> is one of its strengths, but also generates some problems.
The second and third parts can get a little baggy at times, with the issues of Anna
and Elsa’s daily life sometimes distracting from the bigger picture. The
mythology of this story, involving magical swords fuelled by hate, evil fairies
and a mythical cyromancer called Mother Winter who turned the entire world into
a snowy wasteland, is incredibly convoluted and not easy to follow, going
against the fairytale simplicity which makes Disney films so appealing. There
is also a problem with the otherwise excellent final chapter. The concluding scene
involving Daniel reuniting with a figure from his past ends his story on an
ambiguous but surprisingly hopeful note (Without going too far into spoiler territory,
his final fate is similar to that of The Moon King in <b>Kubo and the Two Strings</b>).
However, it would have been more satisfying to intercut this with Anna and Elsa’s
final conversation together, a simple, moving and sweet scene where Anna
provides Elsa with support as she comes to terms with the awful ordeal she went
through over the fourth part of the story. Ultimately, the most powerful element of <b>Frozen Wight</b> is the
unbreakable bond between two sisters and seeing them put their handprints on Anna’s
snowman one last time would have been the perfect full stop for this tale.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">What Else has
TheBanDragoness Written?</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Thebandragoness has provided two sequels to <b>Frozen Wight</b>.
They are considerably shorter, but still packed with the humour and drama that
are the author’s trademark. <b><a href="https://archiveofourown.org/works/2665370/chapters/5957666">Anatomy of A Snowwoman</a></b> is centred on Mary and her struggles
to find meaning in her life. It continues in the tone set by <b>Frozen Wight</b>, with
Elsa travelling to a kingdom who worships her as a goddess and dealing with a
mysterious force which turns all her snow creatures (even Olaf!) into
rebellious monsters. <a href="https://archiveofourown.org/works/4149891/chapters/9362238"><b>Fritz: The Musical</b> </a>centres on Fritz’s romantic misadventures
and features parodies of numerous famous Disney songs. Both of these stories have
plenty of great moments, and are worth checking out, but Frozen Wight is still
the best story in Thebandragoness universe by some distance, due to its epic scope,
great humour, powerful dramatic moments and its excellent depiction of Anna and
Elsa’s sister dynamic.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Verdict</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Although there are times where it feels a bit excessive and
self-indulgent, <b>Frozen Wight</b> is a must-read for <b>Frozen</b> fans, and even those who
despise the Disney megahit will find something to enjoy in this fanfic. With
its creative combination of funny, sad, scary and heartwarming, the story
deepens our appreciation of the characters in the <b>Frozen</b> universe whilst also
adding some excellent new elements to their world. Ultimately, <b>Frozen Wight</b>
sets an extremely high bar for <b>Frozen 2</b>, and it provides proof that committed and
talented amateur fans can provide a sequel capable of standing toe to toe with
the best from Hollywood.</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Best Lines</span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><span style="margin: 0px;"> </span>“Here’s a secret. All
politics is just a bunch of old rich people who hate each other being locked in
a room to argue about boring legal stuff” (Chapter 1)</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">“In the span of a week, the castle had gone from a quiet,
dignified albeit empty, house of royalty to a place where sentient snowmen ran
amok and princesses dated hairy mountain men. It was starting to dawn on Anders
that the only thing standing between order and hair-splitting madness was one
elderly and overworked butler” (Chapter 3)</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">“<b>Anna</b>: Discussing Talking Snowman philosophy is great and
all, but can we please get back to fixing my brain now?” (Chapter 6)</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">“<b>Anna</b>: When you ran away just now, I was so scared, I didn’t
know what you were going to do, and, well, between today and yesterday, I guess
we both almost lost each other. And all I could think of was how we needed to
build a snowman again because… if we built the snowman, then…then you would
know…that <span style="margin: 0px;"> </span>I don’t care what happens, or
what you’ve done, or what you think you’ve done. I love you no matter what.”
(Chapter 15)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">"Anders thought back to the conversation he'd had with Elsa the previous day. He was glad to see she'd dealt with the issue in her own unorthodox way. He just wished her way hadn't involved freezing the whole castle, that was all. Sudden, drastic change and finicky old men didn't agree with each other." (Chapter 17)</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">“<b>Olaf</b>: I’m great at keeping secrets! Like the time I promised
Marshmallow I wouldn’t tell anyone he wants to wear women’s clothing!” (Chapter 29)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">"Anna glanced back long enough to scream "Evilsnooooooowmaaaaaaan!"</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Okay, Kristoff was seriously confused. But then an ice-creature charged after her down the hallway, and he pieced things together.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Lesson Learned: Never try to surprise Anna. She will outdo you every time" (Chapter 33)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">"<b>Brandr</b>: Please, must this end in violence? […] Wait, who am I kidding? I love violence." (Chapter 37)</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">"<b>Olaf</b>: First Elsa wears boy clothes, then I wear girl clothes...What a day for gender roles, right? Wait. Do snowmen have genders?" (Chapter 55)</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">“Anna had learnt a valuable lesson. No matter how bad a
person could seem, they can always realise their mistakes and find redemption.</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Except Hans. Screw Hans. Anna hoped he was having a
miserable time in prison.” (Chapter 65)</span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">“<b>Morten the Guard</b>: Why can’t the queen stay single, huh? Her
life seems fine without romance in it! And its not like there aren’t already a
gazillion royal chicks out there who turn romance into their defining trait!
Why can’t Queen Elsa stay special? Why can’t she be a strong, independent person?”
(Chapter 74)</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-38305720690820739762018-11-22T00:00:00.000-08:002018-12-18T00:13:56.879-08:0025 Fascinating Facts About Frozen<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXN9s7QiU3ylGkfEX4TcYqpLq2F5iQVQQYWzoVj_Q1LzaaUByiuFh05s1sIVvah40xOLJPVo16aQJjOzIUIZ-Tn7UFKopO07Q6WDYC61Cj0P7TgdlwuKk8JGfbUGCSSwwYlfAzuZIE8ZY/s1600/A17PdqkS1UL._RI_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXN9s7QiU3ylGkfEX4TcYqpLq2F5iQVQQYWzoVj_Q1LzaaUByiuFh05s1sIVvah40xOLJPVo16aQJjOzIUIZ-Tn7UFKopO07Q6WDYC61Cj0P7TgdlwuKk8JGfbUGCSSwwYlfAzuZIE8ZY/s320/A17PdqkS1UL._RI_.jpg" width="240" /></a></div>
<br />
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">On this day five years ago, Disney’s <b>Frozen</b> premiered at the
<a href="https://movieweb.com/frozen-will-open-five-days-early-at-hollywoods-el-capitan-theatre/">El Capitan Theatre</a> in Hollywood, five days before it was officially released in cinemas all over America. <span style="margin: 0px;"> </span>Inspired by the Hans Christian Andersen story
<b>The Snow Queen</b>, <b>Frozen</b> told the story of Princess Anna and her attempts to
repair her relationship with powerful but troubled older sister Queen Elsa. Subverting
numerous fairytale clichés to provide a magical celebration of sisterhood, <b>Frozen</b>
captured the imaginations of millions of viewers across the 2013/14 winter
season. It soon became the most successful animated movie of all time, earning almost <a href="https://www.boxofficemojo.com/movies/?id=frozen2013.htm">$1.3 billion</a> worldwide and winning an Oscar for its inescapable signature song “Let
It Go”. In the time since its release, Frozen has become a merchandising behemoth
all over the world, with the soundtrack selling over <a href="https://www.telegraph.co.uk/culture/disney/11535770/Frozen-soundtrack-named-2014s-biggest-selling-album.html">10 million copies</a> in 2014 alone. Frozen has been spun off into two animated shorts (<b>Frozen
Fever</b> and <b>Olaf’s Frozen Adventure</b>), and numerous theme park rides and shows, with Anna, Elsa and their friends inspiring numerous pieces of merchandise, ranging from toys to lunchboxes. In
addition, the movie has recently been adapted into a Broadway musical seen by <a href="https://www.broadwayworld.com/article/Photo-Flash-The-Piano-Man-Himself-Billy-Joel-Visits-FROZEN-20180607" target="_blank">some </a><a href="http://www.justjared.com/2018/10/12/kelly-clarkson-meets-anna-elsa-while-checking-out-frozen-on-broadway/" target="_blank">of the</a>
<a href="http://www.justjared.com/2018/06/16/kim-kardashian-kanye-west-see-frozen-on-broadway-with-north-for-her-birthday/" target="_blank">biggest </a><a href="https://www.eonline.com/uk/news/957883/beyonce-takes-blue-ivy-carter-to-see-frozen-on-broadway" target="_blank">celebrities </a>in the world. The much-anticipated sequel <b>Frozen 2</b> will
premiere in exactly one year, having recently moved its release date forward <a href="https://www.hollywoodreporter.com/news/frozen-sequel-gets-new-release-date-nov-22-2019-1157137">by 5 days </a>(from 27<sup>th</sup> November 2019 to 22<sup>nd</sup> November 2019) to
take full advantage of the build-up to Thanksgiving. Chris Buck and Jennifer Lee,
the co-directors of original <b>Frozen</b>, will be back for the sequel, with Oscar-nominated screenwriter Alison Schroeder (<b>Hidden Figures</b>) <a href="https://www.hollywoodreporter.com/heat-vision/hidden-figures-writer-allison-schroeder-joins-frozen-2-1137124">joining Lee</a> on the writing team. Songwriting duo Robert Lopez and Kristen Anderson-Lopez are writing the songs for <b>Frozen 2</b>, aiming to emulate the record-breaking success of their soundtrack for the original film. Meanwhile, Kristen
Bell and Idina Menzel will reprise their roles as Anna and Elsa, with Josh Gad
and Johnathan Groff also returning to voice Anna’s sidekicks Olaf and Kristoff.
In addition to our four leads, there will be a variety of new characters, with
TV veterans Evan Rachel Wood and Sterling K.Brown being <a href="https://www.hollywoodreporter.com/heat-vision/evan-rachel-wood-sterling-k-brown-talks-frozen-2-1127088">lined up</a> to voice two
of them. </span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Like most of the great Disney films, <b>Frozen</b> appeals to
viewers of all ages on a variety of levels. Its catchy songs, impressive animation
and colorful characters captured the hearts of youngsters, whilst older audiences
were impressed by its dark and sad undertones, its feminist twists on
traditional princess tropes and its timeless messages about the importance of
family and the power of love over fear. Like most Disney films, <b>Frozen</b> had an
eventful and chaotic journey to the big screen, with numerous twists and turns
in the development process. It took almost 7 decades to come up with a story,
and when this was finalized, the creative team had just 15 months to get the
film ready for release. However, the success of <b>Frozen</b> made all this hard work
worthwhile. <span style="margin: 0px;"> </span>In order to celebrate <b>Frozen</b>’s
5<sup>th</sup> anniversary, here are 25 fascinating facts about the making of
the film and its iconic characters and soundtrack…</span></div>
<br />
<h3 style="margin: 0px 0px 10.66px;">
<u>25 Fascinating Facts About Frozen</u></h3>
<span style="font-family: "calibri";"></span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">1.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Disney planned to make a film based on <b>The Snow Queen</b>
as early as <a href="https://www.bennet.org/features/frozen-70-years-silver-screen/" target="_blank">the 1940s</a>, when it would have been part of a larger anthology film
based on Hans Christian Andersen’s works. However, it was CEO Michael Eisner
who really started pushing for the project to be made, with various versions
consistently in development from the late 1990s. Disney legends such as Glen Keane,
Alan Menken and Linda Woolverton were <a href="https://www.rotoscopers.com/2013/11/24/frozen-in-time-disneys-adaptation-of-a-literary-classic/" target="_blank">attached to the project</a> during this gestation period, but
all dropped out at different points, due to the difficulties involved in adapting
the long and episodic source material. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">2.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>In order to get around these problems, <b>Frozen</b>
made numerous major changes to T<b>he Snow Queen</b>. Despite this, some parallels
to <a href="http://hca.gilead.org.il/snow_que.html" target="_blank">Andersen’s story</a> remain if you look closely. The gruff but ultimately
helpful reindeer herder Kristoff fulfills the same role as the robber girl from source material,
whilst the Finn woman and her incredibly hot house may have been an inspiration
for flamboyant sauna owner Oaken. <b>Frozen</b> also put an unusual spin on the evil mirror which starts the conflict in
<b>The Snow Queen</b>. The treacherous Prince Hans
was modeled after <a href="http://johnaugust.com/2014/scriptnotes-ep-128-frozen-with-jennifer-lee-transcript" target="_blank">a living mirror</a>, with his personality changing depending on
which characters he is interacting with. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">3.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>The title of the movie was changed from <b>The Snow
Queen</b> to <b>Frozen</b>, following in the footsteps of the successful and
controversial renaming of <b>Tangled</b> and <b>Brave</b>. However, <a href="https://www.imdb.com/title/tt2294629/releaseinfo?ref_=tt_dt_dt#akas" target="_blank">some international versions </a>(such as the German and French releases), retained the title <b>The Snow
Queen</b>, with others (Such as Japan) using translations of the title <b>Anna and
the Snow Queen</b> instead. In Spain, Italy and Portugal, the original and final
titles were combined, and the film was called <b>Frozen: The Snow Queen</b>.</span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">4.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Although the sheer scale of <b>Frozen</b>’s cultural impact
took everyone by surprise, the higher-ups at Disney anticipated that it would
be a hit from an early stage. Plans to make it into a Broadway production were
<a href="https://www.youtube.com/watch?v=cSbphnr0XLo&list=OLAK5uy_nx4T0KmDXhfPplmu5Wq8-GfPrEd5ilAec&index=1" target="_blank">put in place</a> before the film was released. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">5.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Not all the songs from <b>Frozen</b> made it into the
Broadway version. "Frozen Heart", sung by a group of Ice Harvesters at the very
beginning of the film, was cut because it was not sufficiently connected to
Anna and Elsa’s story. However, instrumentals from this song are still included
in the score, and elements of it are used in climactic number “Colder by the
Minute”. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">6.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>In order to develop the sibling relationship
between Anna and Elsa, the team behind <b>Frozen</b> held a “<a href="https://twentytwowords.com/the-drastic-change-to-frozens-original-plot-that-made-everyone-love-the-villain/" target="_blank">Sister summit</a>”, where
sisters were invited to talk about their relationship, with anecdotes being used
to form the bond between the two characters. </span><br />
<span style="font-family: inherit;"><br /></span></div>
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">7.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>In <b>The Snow Queen</b>, the protagonists were called
Kai and Gerda. In order to pay tribute to the source material, Anna and Elsa’s
head servants were named after the characters, although these names are only revealed
in the end credits. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">8.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;"> </span></span></span>Director Jennifer Lee had <a href="https://www.imdb.com/title/tt2294629/fullcredits?ref_=tt_cl_sm#cast" target="_blank">a small role</a> in the
film, voicing Anna and Elsa’s mother. Fellow Disney directors Stephen J. Anderson
(<b>Meet the Robinsons</b>) and Chris Williams (<b>Big Hero 6</b>,<b> Moana</b>) also had cameos as
Kai and Oaken respectively.</span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">9.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>“Do You Want to Build A Snowman?” was <a href="https://www.businessinsider.com/do-you-want-to-build-a-snow-almost-cut-from-frozen-2014-8?IR=T" target="_blank">almost cut</a>,
but it was decided to retain the song at the last minute. There were initial concerns that it <a href="http://johnaugust.com/2014/scriptnotes-ep-128-frozen-with-jennifer-lee-transcript" target="_blank">sounded too somber</a>, but the team were forced to revise it again when it became too cheery and upbeat.</span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">10.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>It is widely known that Elsa was originally
intended to be a villainous character, but was changed into a heroine after the
Lopez’s wrote “Let It Go”. They believed that the song made her too sympathetic
to be a villain, and the story was substantially rewritten afterwards to reflect
this. In the earlier versions of <b>Frozen</b> where Elsa was an antagonist, she would
have been modeled after iconic divas <a href="https://io9.gizmodo.com/early-frozen-concept-art-imagined-a-snow-queen-based-on-1516961472" target="_blank">Bette Middler</a> and <a href="http://www.mtv.com/news/1721870/frozen-amy-winehouse/" target="_blank">Amy Winehouse</a> and
voiced by <b>Will & Grace</b> star <a href="https://www.huffingtonpost.com/jim-hill/josh-gad-frozen_b_4370131.html" target="_blank">Megan Mullaly</a>. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">11.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>When it was decided to make Hans a villain
instead, the writing team introduced a prophecy where the protagonists were
instructed to beware a “ruler with a frozen heart”. Elsa and Anna would assume
that the prophecy would relate to the former, but it would really be referring to
Hans. Although this prophecy was mentioned in <a href="https://www.hollywoodreporter.com/heat-vision/disney-frozen-kristen-bell-november-idina-menzel-335875" target="_blank">the original synopsis</a> for <b>Frozen</b>,
it was discarded late in development. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">12.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Anna and Elsa’s bond would have initially been
represented <a href="https://www.youtube.com/watch?v=cSbphnr0XLo&list=OLAK5uy_nx4T0KmDXhfPplmu5Wq8-GfPrEd5ilAec&index=1" target="_blank">by a </a><a href="http://collider.com/frozen-movie-secrets/" target="_blank">snowglobe</a>, but it was eventually decided to make Olaf the embodiment
of their relationship instead. This was because there were too many symbols and
motifs in the movie (such as gloves, doors and ice), so adding an extra one
would have created confusion. Olaf’s status as the symbol of Anna and Elsa’s sisterhood
was explored in more detail in <b>Olafs Frozen Adventure</b> and the Broadway version.
</span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">13.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>One notable question left unanswered by the film
is “who runs the kingdom until Elsa comes of age?”. In early drafts, it would have
been a <a href="https://tvtropes.org/pmwiki/pmwiki.php/WhatCouldHaveBeen/Frozen">female regent</a> who has magic powers, subverting the “villainous advisor” tropes
represented by past Disney villains such as Jafar and Yzma. However, it was
decided that such a character would be superfluous. </span></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">14.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Several racier lines were cut from the songs. “For
the First Time in Forever” would have initially featured Anna singing <a href="http://www.mtv.com/news/2242338/frozen-songs-facts/" target="_blank">“I hope I don’t vomit in his face</a>” but it was decided that this line would have been too
gross – The Lopez’s daughter came up with the replacement line “I wanna
stuff some chocolate in my face”. For Let It Go, the line “<a href="https://www.npr.org/templates/transcript/transcript.php?storyId=301420227&t=1542878939133" target="_blank">God knows I’ve tried</a>”
was replaced with “Heaven knows I’ve tried”, because this use of God in this
context would have been considered blasphemous. <span style="margin: 0px;"> </span></span></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">15.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>If you’re wondering why Hans is so skilled at
pretending to be the good guy, then that’s because his voice actor had
experience as a genuine Prince Charming. Santino Fontana played Prince Topher
in the Broadway version of <b>Rogers and Hammerstein’s Cinderella </b>when it opened
in March 2013, <a href="https://www.broadway.com/buzz/174147/the-prince-had-a-ball-santino-fontana-looks-back-on-his-great-times-silly-mishaps-in-cinderella/" target="_blank">conveniently leaving</a> the role shortly after <b>Frozen</b> was released.
</span></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span>
</span><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;">16.<span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>The scene where Anna and Elsa fall out (causing Elsa
to lose control of her powers) went through <a href="http://collider.com/frozen-movie-secrets/" target="_blank">several revisions</a>. Initially, Anna
was merely asking for Elsa to give Hans a job, but it was decided that having Anna
get impulsively engaged to him would pose a greater threat to Anna and Elsa’s
relationship. </span></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: "courier new" , "courier" , monospace;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><br /></span>
</span><br />
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<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">17.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>The changes to Anna and Hans had an effect on
Anna and Kristoff’s relationship. Anna would have initially been <a href="https://www.nytimes.com/2014/11/10/business/media/alan-horn-rights-the-ship-at-disney-and-fortune-follows.html?_r=0" target="_blank">more flirtatious</a>,
but it was decided that this would make no sense if she was engaged to Hans, so
a more combative initial dynamic was used instead. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">18.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;"> The trading post where Anna first meets Kristoff i</span></span></span>s called “Wandering Oaken’s Trading
Post and Sauna”. According to<a href="https://www.youtube.com/watch?v=s2Y65b1C_Rs&list=OLAK5uy_nx4T0KmDXhfPplmu5Wq8-GfPrEd5ilAec&index=16&t=0s" target="_blank"> the Lopez’s</a>, Lee chose the name because ‘Wandering
Oaken’ is an anagram of ‘Naked Norwegian”. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: "calibri";"></span><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">19.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Olaf was the character most prominently featured
in the <b>Frozen</b> promotional campaign, but his role in the movie was in
doubt for much of the production process. Olaf was initially much more abrasive, but Jennifer Lee changed him substantially when she joined the project,
later saying that the initial scenes written for the character made her want to “<a href="http://johnaugust.com/2014/scriptnotes-ep-128-frozen-with-jennifer-lee-transcript" target="_blank">kill the ****ing snowman</a>”. The
scene near the end when he helps out Anna was added <a href="http://collider.com/frozen-movie-secrets/" target="_blank">relatively late</a> to ensure
that he would have a greater role in the story. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">20.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>A variety of songs were written by the Lopez’s but
eventually discarded, including “Life’s Too Short”, “We Know Better”, “Cool
with Me”, “More than Just the Spare” and “You’re You”. However, some of these
songs have gained a second life in the <b>Frozen</b> universe. Some of the instrumentals for “Life’s
Too Short” were used in the <b>Frozen Fever</b> song “Making Today A Perfect Day”,
whilst a section from “We Know Better” appeared in “Let the Sun Shine On”, the
opening song of the Broadway version. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">21.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Josh Gad previously worked with Robert Lopez in
the bad-taste Broadway hit <b>The Book of</b> Mormon, but he was not the only star
from that long-running show to appear in <b>Frozen</b>. Maia Wilson and Lewis Cleale,
who also <a href="http://www.playbill.com/personlistpage/person-list?production=00000150-aea8-d936-a7fd-eefc3a440004&type=op#oc">had roles</a> in <b>The Book of Mormon</b>, voice Kristoff’s troll guardians
Bulda and Cliff. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="font-family: inherit; margin: 0px;"><span style="font-family: "calibri";">22.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span><span style="font-family: inherit;">British comedian Jack Whitehall recorded lines as
one of the trolls, but went uncredited in the finished film. <a href="https://www.eonline.com/uk/news/984969/lol-jack-whitehall-still-isn-t-over-being-iced-out-of-disney-s-frozen" target="_blank">He claimed</a> that he was cut from Frozen, but his character still appears in the movie anyway. Whitehall has since gone on
to gain roles in Disney’s live-action films <b>The Nutcracker and the Four Realms</b>
and <b>Jungle Cruise</b>.</span><b style="font-family: inherit;"> </b></span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">23.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>The Troll’s song, ‘Fixer Upper’, was finished in
July 2013, just four months before the film was released (In contrast, ‘Let It
Go’ – the first song from <b>Frozen</b> to be completed - <span style="margin: 0px;"> </span>was recorded almost a year before). Several
other songs for the Trolls had been considered and rejected before this,
including one with a boyband theme and one based on getting Anna and Kristoff
to “<a href="https://www.reddit.com/user/Disney_Frozen" target="_blank">walk in each other’s shoes</a>”. </span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 0px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">24.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Hans’ ability at hiding his true nature makes
him one of Disney’s darker villains, but he would have initially been even more
murderous. Instead of simply trying to kill Elsa, early drafts of the story had
Hans plot to defeat her by <a href="https://ew.com/movies/2017/03/29/frozen-original-ending/" target="_blank">triggering an avalanche</a>, fully aware that this would
destroy Arrendelle…</span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"><br /></span>
</span><br />
<div style="margin: 0px 0px 10.66px 48px; text-indent: -18pt;">
<span style="font-family: inherit;"><span style="margin: 0px;"><span style="margin: 0px;"><span style="font-family: "calibri";">25.</span><span style="font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px;">
</span></span></span>Some changes were made so late that the initial
discarded lines and scenes were included in <b>Frozen</b> merchandise. Most notably,
the novelization of <b>Frozen</b> ended with Kristoff being the one to subdue Hans at
the end, but it was decided that it would be <a href="https://www.reddit.com/user/Disney_Frozen" target="_blank">far more satisfying</a> (and feminist!) if
Anna was the one to punch him in the face instead. </span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-90312796974787155122018-10-21T14:57:00.003-07:002018-10-23T00:31:29.754-07:00The Bloody Chamber on Radio 4 – Review<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCGUoNKvLYTsZ9YenbjRmZLoOmDxNsqSjUnb7QFDXcaYKlt0X9K0jVY3rq8nE_pxxFuA74CaCF6Rc6pIHKmSJ_5MvpWvNv6u6zWbXv9GIBeZDdGgMWOT1kL4fe14-gM_89MxYBP_vCTQ/s1600/41YTu7Yj5HL._SX318_BO1%252C204%252C203%252C200_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="320" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCGUoNKvLYTsZ9YenbjRmZLoOmDxNsqSjUnb7QFDXcaYKlt0X9K0jVY3rq8nE_pxxFuA74CaCF6Rc6pIHKmSJ_5MvpWvNv6u6zWbXv9GIBeZDdGgMWOT1kL4fe14-gM_89MxYBP_vCTQ/s320/41YTu7Yj5HL._SX318_BO1%252C204%252C203%252C200_.jpg" width="205" /></a></div>
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<span style="font-family: inherit;">Since her untimely death in 1992, Angela Carter has become
recognised as one of Britain’s greatest female authors. Her vivid and often
fantastical approach makes her a fascinating counterpoint to Britain’s
traditional social realist literature, and her focus on unique and independent
women navigating a world dominated by predatory males is more relevant than
ever in the era of #MeToo and #TimesUp. This increased interest in Carter’s work
has led to a variety of projects inspired by her book and short stories. A
documentary about Carter’s life and career aired on BBC2 in August, and a
theatrical adaptation of her final novel <b>Wise Children</b> has just opened at the
prestigious Old Vic theatre (which recently hosted the stage version of<b> A
Monster Calls</b>). Coinciding with these two major productions is BBC Radio 4’s <b>Get
Carter</b> season, which aired in the last week of September.</span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">Despite the inappropriate title (Michael Caine’s gritty,
masculine gangster movie of the same name represents the antithesis of Carter’s fantastical,
female-centred and often eccentric approach – surely Radio 4 could have come up
with a better Angela Carter-related pun?), the <b>Get Carter</b> season is a must-listen
for Angela Carter fans, with almost seven hours of Carter-related programming.
The season contained radio adaptations of her screenplay <b>The Christchurch
Murders</b>, and her novel <b>Nights at the Circus</b> and retellings of her radio plays
<b>Vampirella</b> and <b>Come Into These Yellow Sands</b>. However, the highlight of the
season was a series of five 15 minute adaptations of stories from her seminal
adult fairy tale collection <b>The Bloody Chamber.</b> The five most iconic stories from Carter’s 1979 anthology <span style="background-color: transparent; color: black; display: inline; float: none; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">(<b>The Bloody Chamber</b>, <b>The Erl King</b>, <b>Wolf Alice</b>,<b> The Tiger's Bride</b> and <b>The Company of Wolves</b>)</span></span></span><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="background-color: transparent; color: black; display: inline; float: none; font-size: x-small; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span>were adapted into radio plays by director Fiona McAlpine and writer
Olivia Tetreed and aired on consecutive mornings between Monday 24</span><span style="font-family: inherit;"><sup>th</sup>
and Friday 28<sup>th</sup> September in the prestigious '15 Minute Drama' slot. Here are reviews of all five adaptations, listed in
the order they aired.</span></span></span></div>
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<span style="font-family: inherit;">All five of these retellings can be currently heard on iPlayer Radio. Whilst you can only watch iPlayer television programmes in the UK, you can hear BBC radio shows all around the world, but you must listen
quickly, as <b>The Bloody Chamber</b> (the first of the five stories to air) will be on iPlayer for just two more days. However, an ‘<a href="https://www.bbc.co.uk/programmes/b0blvktr" target="_blank">Omnibus’</a> episode putting all five episodes of <b>The Bloody Chamber</b>
together will stay on iPlayer Radio until 29<sup>th</sup> October. Overall, this series represents an excellent early Halloween treat for fairy tale fans….</span></div>
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<span style="font-family: inherit; font-size: large;">(Warning: These Reviews May Contain Spoilers)</span></h4>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.bbc.co.uk/programmes/b0bkqt8g" target="_blank">The Bloody Chamber</a></span></u></b></div>
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<b><u>Storyline</u>: A young women gets married to a
sinister Marquis whose previous three wives died in mysterious circumstances.
When they have arrived at his grand castle, the Marquis gives her the keys to
all the rooms but prohibits her from visiting one in the basement. However,
curiosity gets the better of the girl, and when she uses the forbidden key and
enters this room, she discovers a horrible secret...</b><br />
<b><br /></b></div>
<div class="MsoNormal">
At 40 pages, <b>The Bloody Chamber</b> is by far
the longest story in Carter’s collection, so it is not easy to reduce this tale
to a 15-minute time slot (in comparison, <b>The Tiger's Bride</b> is
20 pages and the other stories which were adapted are approximately 10 pages
long). The plot is simple – this is a pretty conventional adaptation of the
Bluebeard story with a few creative updates - but a lot of the appeal comes
from the lurid descriptions of the murderous Marquis and his twisted world.
Unsurprisingly, many of the excesses are toned down in order to stay within the
time limit, but enough of them remain to reinforce the primary theme of this story, that
unlimited power and wealth can conceal unlimited depravity. Sophie Cookson
voices the protagonist Anne, making us care about the safety of a character who
is a lot more frightened and passive than other female leads in this series.
Jaspar Britton makes a pleasingly sinister Marquis, keeping enough flamboyance to remain a memorable and unique villain. Nigel Pilkington is Anne’s blind
ally Jean-Yves – an unusually conventional love interest in the Carter canon -
whilst Rakie Ayola voices her idealised mother, bringing maternal tenderness to
a character defined by her fighting prowess. Despite the constraints of the
15-minute slot, this adaptation succeeds in retelling the story and delivering
the messages, but the edits dilute the atmosphere and ensures that it is one of
the weaker adaptations on this list.</div>
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<span style="font-family: inherit;"><u><b><a href="https://www.bbc.co.uk/programmes/b0bkr5p6" target="_blank">The Erl King</a></b></u></span><br />
<b><u><br /></u></b>
<b><u>Storyline</u>: A women gets lost in the forest, where
she meets the mysterious Erl King. He takes her to his home, and she is
fascinated by his knowledge of the forest and disturbed by his cages full of
birds. She allows the Erl King to seduce her, but when she finds out what he
plans to do with her, she is forced to take desperate action.</b><br />
<br />
Whilst most of the other <b>Bloody Chamber</b> stories
are based on French fairy tales such as<b> Red Riding Hood</b>, <b>Bluebeard</b> and <b>Beauty
and the Beast</b>, <b>The Erl King</b> is based on <b>Jorinde
and Joringel</b>, a fairy tale almost exclusively associated with the Brothers
Grimm. This lends it a unique feel which adds to the eeriness. Rakie Ayola
narrates the story as the unnamed protagonist, and she provides an everywoman
quality which suits the tale well. Ariyon Bakare is a charismatic and earthy Erl
King, with enough of a sinister side to make the reveal of his plans effective.
However, this is more than a direct adaptation. Some of the narrations are
provided by a mysterious childlike voice (referred to as the Goblin in the
credits) enhancing the atmosphere, and seemingly guiding the protagonist as she
fights back at the end. Although it is not as flashy as the ones before and
after it, <b>The Erl King</b> is a creative and mysterious story, and
this adaptation does justice to it.</div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.bbc.co.uk/programmes/b0bksmgm" target="_blank">Wolf Alice</a></span></u></b><br />
<b><u><br /></u></b>
<b><u>Storyline</u>: A girl raised by wolves has more in
common with the species that nurtured her than her own kind. She ends up in the
estate of a Duke with more than a few supernatural secrets of his own. As she
enters puberty, she starts adopting more human traits as the Duke’s Vampiric
side becomes more apparent…</b><br />
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<b><br /></b>
One of three stories from <b>The Bloody Chamber </b>inspired by<b> Little
Red Riding Hoo</b>d, <b>Wolf Alice</b> adopts an unusual approach,
with the innocent young woman and the feral wolf being one and the same. The
fact that the main protagonist is more or less incapable of speech (the
monstrous Duke also spends almost all of his time growling and barking, with
just a single line of dialogue) means that the emphasis here is almost entirely
on atmosphere, but that plays to the strengths of this story perfectly. Lily
Lesser and Johnathan Tafler have the rather thankless tasks of voicing Wolf
Alice and the Duke, but the narration steps in to speak where they cannot. A
recurring feature of the <b>Get Carter </b>programmes is the use of veteran actress
Fiona Shaw as Carter’s narrative voice – this is the only segment in <b>The
Bloody Chamber </b>series to use her elegant and authoritative tone, and
it highlights the quality of Carter’s mysterious and eerie prose. However, a
nun and a hunter (voiced by Adjoah Andoh and Nigel Pilkington respectively)
provide further narration, advancing the story for us and highlighting how
society reacts to the otherworldly main characters. Out of all the
tales here, <b>Wolf Alice</b> is probably least suited for radio, but
this is still an interesting adaptation anyway.</div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.bbc.co.uk/programmes/b0bktw5y" target="_blank">The Tiger's Bride</a></span></u></b></div>
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<b><u>Storyline</u>: A young woman is sold to a reclusive
lord after her father loses a game of cards to him. When she arrives in his
empty Palazzo, he reveals that his one request is for her to appear undressed
in front of him. When she eventually submits, she sees his true form, but it
soon turns out that the Beast is not the only one hiding his animal nature…</b><br />
<b><br /></b>
The second of two <b>Beauty and the Beast</b> inspired stories
in <b>The Bloody Chamber</b> book (The other, <b>The Courtship
of Mr Lyons</b>, is a relatively conventional retelling by Carter
standards), <b>The Tiger's Bride</b> has imaginative imagery, a
creative culture-clash element (the protagonist is a Russian woman who has
moved to Italy) and a memorable and subversive conclusion. There is some
editing to get the story down to 15 minutes, with a lot of the set-up and
world-building being removed. However, the quirks of the source material remain
intact, with the clockwork servants and unusual masks staying in this story and
enhancing it considerably. The voice acting is some of the best in this series,
and the star of the episode is Hannah Genesisiaus, who voices Beauty.
Initially, there is a contrast between her cool narration and the more
emotional tone she uses when speaking in the story itself, but as the story
reaches its climax, she brings the sensual conclusion to vivid life. The Beast
communicates only in growls and purrs, but his requests and commands are
expressed by his sniveling Valet, voiced by Johnathan Tafler in an intriguing
contrast to his role in <b>Wolf Alice</b>. For all the Rococo and
Neoclassical-inspired visuals, this story seems to adhere to the traditional
conventions of the <b>Beauty and the Beast </b>stories, but this makes the
ending even more unique and interesting.<br />
<br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><a href="https://www.bbc.co.uk/programmes/b0bkv4f1" target="_blank">The Company of Wolves</a></span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><br /></u></b></div>
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<b><u>Storyline</u>: One Christmas Eve, Red Riding Hood heads into
the woods to visit her grandmother. On her journey, she befriends a handsome
young Hunter who is actually a werewolf. The werewolf eats her grandmother and
intends to eat Red Riding Hood as well, but she comes up with a very unusual way of
ensuring her survival…</b><br />
<b><br /></b>
For the last of the 15-minute Dramas, McAlpine and Tetreed make an
impressive effort as they adapt one of the most iconic stories in <b>The
Bloody Chamber.</b> For this version of <b>The Company of Wolves</b>,
they find a creative way to translate it to radio which highlights the power of oral storytelling. The mysterious anecdotes
about werewolves which begin the story are told by several old women as they
explain the mythology to Red Riding Hood. These storytellers then go on to
narrate the rest of the story, maintaining the mystery and creepiness and
providing a genuine sense of menace during the scene where the hunter transforms into a werewolf for the first
time. Lily Lesser gives Red Riding Hood an
element of mischief and playfulness which makes it easier to root for her. As
the Hunter, Alexander Vlahos has a smooth and formal delivery which fails to
conceal his monstrous true nature. The ending takes the subtext of these five
stories and makes them explicit, as Red’s sexual awakening allows her to tame
the werewolf. This represents a fitting conclusion to this series, showing that
the female leads from fairy tales can be stronger and more independent than we
usually assume.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Verdict</span></u></b></div>
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<span style="font-family: inherit;">This series of 15 Minute Dramas certainly live up to the advertising
tagline that they are ‘Stories to Gobble you Up’. With such strong source
material, it was almost impossible for Olivia Hetreed and Fiona McAlpine to
fail, and they manage to provide five entertaining takes on Carter’s work. All
five retellings stick as closely as they can to the source material, although
they have varying degrees of success in condensing the stories and adapting
them to the world of radio. The weakest adaptations in this collection, (<b>The
Bloody Chamber</b> and <b>Wolf Alice</b>) are limited by the constraints of the medium, but
are still mysterious and entertaining, whilst the strongest, <b>The Company of Wolves</b>, adapts
the story in a unique and innovative way. In conclusion, all five of the 15-minute
dramas represent an excellent way of introducing audiences to Carter’s brilliant
work, and it goes without saying that fans of her work will have a deliciously
fun time listening to these. </span><br />
<span style="font-family: inherit;"><br /></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-54508242956192573612018-10-06T18:35:00.000-07:002018-10-09T13:28:29.601-07:00Hans Christian Andersen on Stage and Screen<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9vc8q8sTv9mHXN2lz65COmpr6zx1GikTH3QL7h31pWrji8S4hOgopHFG2qonnLYWhBJWq5FIKOn2sWmqZF7uHF2To1U5YRSEirQR7ffdYVcULFDaXcEUqHwoBSbV0Y3ve470h54WcsE/s1600/220px-HCA_by_Thora_Hallager_1869.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="335" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS9vc8q8sTv9mHXN2lz65COmpr6zx1GikTH3QL7h31pWrji8S4hOgopHFG2qonnLYWhBJWq5FIKOn2sWmqZF7uHF2To1U5YRSEirQR7ffdYVcULFDaXcEUqHwoBSbV0Y3ve470h54WcsE/s320/220px-HCA_by_Thora_Hallager_1869.jpg" width="210" /></a></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Out of all the authors to publish fairy tales over the
years, there is no denying that the Danish author Hans Christian Andersen is
one of the best and most iconic. Over a career spanning approximately 4 decades, he wrote several brilliant
fairytales, including <b>The Little Mermaid</b>, <b>The Ugly Duckling</b> and <b>The Emperor’s
New Clothes</b>, and these have inspired numerous films, TV series and plays. This
month, Martin McDonagh’s new play <b><a href="https://bridgetheatre.co.uk/whats-on/a-very-very-very-dark-matter/" target="_blank">A Very Very Very Dark Matter </a></b>will premiere in
London, providing a unique interpretation of Andersen’s life and work which is
certain to divide opinion and offend those who prefer more tasteful fairy tale
projects. McDonagh's play will be the latest in a long line of productions which have allowed Andersen's influence to endure over the centuries. This article will
highlight some of the most interesting works inspired by Hans Christian Andersen and his fairytales, ranging from
record-breaking Disney hits to small-scale animated series, from stop-motion
musicals to TV miniseries. Some of these are straightforward adaptations,
others take inspiration from history and show how Andersen’s eventful life
inspired his finest work. But all the projects here demonstrate how Andersen
has influenced a wide variety of writers and directors from all over the world...</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Disney and Andersen</span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgH8l9Z_sNuUFJU3FpXT5ZR0gjHu_vkLwOfHssreAVyhBLI4ucbg3qgD7-dIXBjOSi7w803i8rFhUdkyLOauGZKXzju7O1fCMhfWl0kBaufjjhfZ1ihvT3Vd2q575cKhgzLE_rjg8h1Tg/s1600/Happy+and+Sad+Andersen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgH8l9Z_sNuUFJU3FpXT5ZR0gjHu_vkLwOfHssreAVyhBLI4ucbg3qgD7-dIXBjOSi7w803i8rFhUdkyLOauGZKXzju7O1fCMhfWl0kBaufjjhfZ1ihvT3Vd2q575cKhgzLE_rjg8h1Tg/s320/Happy+and+Sad+Andersen.jpg" width="320" /></a></div>
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<span style="font-family: inherit;">Hans Christian Andersen’s fairy tales formed the basis for two
of Disney’s most iconic and successful movies – 1989’s <b>The Little Mermaid</b> and
2013’s <b>Frozen</b>, inspired by his epic <b>The Snow Queen</b>. Both have already been <a href="https://fairytalefanboy.blogspot.com/2017/06/wonder-woman-vs-little-mermaid.html" target="_blank">discussed</a> <a href="https://fairytalefanboy.blogspot.com/2017/06/frozen-on-broadway-10-important.html" target="_blank">extensively</a> on this blog, so there is no need to spend too much time talking about them. Walt Disney had wanted to adapt
both tales as early as the 1940s, but had issues expanding the stories to
feature length and dealing with their substantial religious elements.
Therefore, when his studio finally brought them to the big screen, they took numerous
liberties with the source material. <b>The Little Mermaid</b> turned Andersen’s tragic
tale into an upbeat romantic musical with a happy ending, whilst <b>Frozen</b> is
barely recognisable as an adaptation of this tale, keeping the basic plot (a
heroine travels through a wintry world to rescue a loved one) but changing
almost everything else. Andersen purists have often been outraged by such extreme deviations from the source material, but the memorable and engaging characters,
wonderful animation and iconic songs have allowed these films to win the hearts
of audiences all over the world. For better or worse, when you are asked to
think of <b>The Little Mermaid</b> or <b>The Snow Queen</b>, most people will think of
Princess Ariel and her red hair, or Queen Elsa and her ability to control snow
and ice. Both films have been adapted into Broadway musicals and inspired
numerous sequels and spin-offs, such as a <b>The Little Mermaid</b> TV series, which
contained an episode where Ariel meets Hans Christian Andersen and inspires him
to write his legendary fairy tale.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">These two hits are not the only times Disney have adapted
Hans Christian Andersen tales for the screen. In 1999, they created a short
adaptation of <b>The Steadfast Tin Soldie</b>r for their animated anthology film <b>Fantasia
2000</b>. Using primitive CGI animation, they created a silent retelling set to the
Shoshtakovich piece 'Piano Concerto No 2' but added a happier ending to suit the
triumphant conclusion of this composition. This was soon followed by an
adaptation of <b>The Little Match Girl</b>, which was intended for another <b>Fantasia</b>
movie, but released on DVD as a standalone short when that was cancelled. However,
<b>The Little Match Girl</b> stuck to the tearjerking end of the source material and
was nominated for an Oscar. The acclaim it received demonstrated that the House
of Mouse can make a perfectly faithful adaptation of an Andersen tale when it
wishes to. </span></div>
<span style="font-family: inherit;"></span><br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">The Red Shoes</span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwLO2z2VcMDCqHQEZCsFRbW-8EqsOr6U3I5nBoeJwaTtiDYahmp5XCDnknjA8_ZxpT6AWSIAD_KmdEWu7RpzNRzbNMfCxFV68CzTEkzk4C0Z_2PuvqTqEJRK6EGFNzvsBjILusq1Mx-50/s1600/red-shoes-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="874" data-original-width="1080" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwLO2z2VcMDCqHQEZCsFRbW-8EqsOr6U3I5nBoeJwaTtiDYahmp5XCDnknjA8_ZxpT6AWSIAD_KmdEWu7RpzNRzbNMfCxFV68CzTEkzk4C0Z_2PuvqTqEJRK6EGFNzvsBjILusq1Mx-50/s320/red-shoes-3.jpg" width="320" /></a></div>
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<span style="font-family: inherit;">Although it is not a direct adaptation, Michael Powell and Emric
Pressburger’s 1948 film <b>The Red Shoes</b> is widely regarded as the best film to be
inspired by Andersen’s work. Taking its title from an Andersen story about a
foolish young girl and her cursed footwear, <b>The Red Shoes</b> provides a powerful
examination of our need to perform and the destructive effects this can have. In
the film, Andersen’s fairy tale is used as the source material for an elaborate
ballet performed by Victoria Page, a dancer for the ballet company of tyrannical but brilliant director Boris Lermontov. As she finds herself torn between her work and her relationship
with a young composer, life begins to imitate art as Victoria starts to unravel
and lose her sanity. At a time when most films were made in black and white and
resources were limited, <b>The Red Shoes </b>used dreamlike technicolour cinematography
and lavish sets from the painter Hein Heckroth to capture the fantastical grandeur
of the ballet world. This is particularly apparent in the movie’s signature
scene, a 15-minute sequence where we see Victoria perform the 'Red Shoes' ballet.
Whilst it struggled to make money on its initial UK release and was dismissed
by some <a href="http://www.powell-pressburger.org/Reviews/48_TRS/Critics.html" target="_blank">ballet experts</a>, <b>The Red Shoes</b> went on to become a major success – it won
Oscars for its set design and score and was even nominated for Best Picture. Today,
the movie is recognised as one of the finest and most influential British
movies ever made, and its influence has gone beyond cinema, as it has inspired
musicals, ballets and even an album by Kate Bush.</span></div>
<span style="font-family: inherit;"></span><br />
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<b><u><span style="font-family: inherit;">Die Wilde Svaner (The Wild Swans)</span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8-JrAudZ-VP42oWWZH8H9CBHWf94JqhaSQZJljljghWgfkg9QY0j90YYbaWZh1sgOnQ-KcY3vYeN-5_dEuAYovduAo3nTIjSyffIWniYJ9lzu3S6W_o3s8IQqFy8OR9F1DbR8zNzuAJU/s1600/MV5BMTYzMDY4NTk3NV5BMl5BanBnXkFtZTcwNDM1MzI4Mg%2540%2540._V1_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="709" data-original-width="1260" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8-JrAudZ-VP42oWWZH8H9CBHWf94JqhaSQZJljljghWgfkg9QY0j90YYbaWZh1sgOnQ-KcY3vYeN-5_dEuAYovduAo3nTIjSyffIWniYJ9lzu3S6W_o3s8IQqFy8OR9F1DbR8zNzuAJU/s320/MV5BMTYzMDY4NTk3NV5BMl5BanBnXkFtZTcwNDM1MzI4Mg%2540%2540._V1_.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Andersen’s success and popularity has allowed him to attain
legendary status in his native Denmark. A museum about his life and work is one
of the main tourist attractions in his hometown of Odense, whilst the Little
Mermaid statue in Copenhagen has become the defining symbol of Denmark. The
extent to which Andersen has become one of Denmark’s most significant cultural exports
was highlighted by this Danish adaptation of <b>The Wild Swans </b>from 2009. This retelling was
remarkable because one of the main people behind it was the Queen of Denmark
herself. Margrethe II, ruler of Denmark since 1972, has become known for
creating artwork and illustrating children’s books. For this production, she designed
the costumes and sets, co-wrote the script, and even appeared as an extra in
the climax. The film is an extremely close adaptation of one of Andersen’s most
underrated stories, with the remarkably tenacious princess Elisa undergoing a
vow of silence to free her brothers from a curse which has turned them into
swans. This film is not afraid to explore the scarier and more mature aspects
of the story, but the highlight is Margrethe’s artwork. The backdrops and
scenery are made from paper cutouts (A technique known as Decoupage), which enhances
the fairytale feel of the movie. <b>The Wild Swans</b> does not get adapted as often
as other Andersen stories, but Queen Magrethe’s retelling manages to demonstrate
why it deserves to be recognised as one of his best tales.</span></div>
<span style="font-family: inherit;"></span><br />
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">The Fairytaler</span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtD8GThAvKjARnQ-LzSWSPezjhfG_FrHqfASyk7t863XYd_xP8KcXGr4HmdttquPVVyRR86oZJGSK-_Q7NEuYLNZvomEk-oBcu6OdLPftnGAakFWBNFpRn8l9Ay0XGNzf86CTrstDCs5U/s1600/81155_266x0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtD8GThAvKjARnQ-LzSWSPezjhfG_FrHqfASyk7t863XYd_xP8KcXGr4HmdttquPVVyRR86oZJGSK-_Q7NEuYLNZvomEk-oBcu6OdLPftnGAakFWBNFpRn8l9Ay0XGNzf86CTrstDCs5U/s1600/81155_266x0.jpg" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">There have been numerous animated anthology series based on
fairytales, but <b>The Fairytaler</b> is one of the best, representing a particularly
excellent way to introduce children to Andersen’s work. The magical tone is set
by the intro, which is initially done in live-action. Two children in a modern
apartment block wait for a babysitter to arrive and tell them stories. When he
arrives, the three turn off the lights, shut the blinds and light a candle.
When they do this, the scene changes to animation, with the room becoming the
inside of a carriage and the storyteller turning into Hans Christian Andersen
(who narrates every episode) – this opening effectively demonstrates
how Andersen’s stories will always seem as fresh and engaging as they were when
he first told them. The series itself retains the sense of imagination and
wonder implied in this opening sequence. Throughout its run, 30 Andersen tales
are adapted, ranging from iconic stories such as <b>The Little Mermaid</b> and <b>The
Ugly Duckling</b> to incredibly obscure tales such as <b>The Professor and the Flea
</b>and <b>What The Old Man Does Is Right</b>. Each episode sticks closely to Andersen’s
text, but changes and elaborates on occasion. The animation is bursting with
colour, and the characters depicted in an incredibly lively and expressive manner.
For a series which was made on a limited budget and only reached a limited
audience, it is legitimately impressive. <b>The Fairytaler</b> was primarily aimed at
Danish viewers, but has also been aired in other countries, with a British dub getting
a short run on the American channel PBS Kids. All the episodes are now available
to view on YouTube and are definitely recommended for Andersen fans.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Other Andersen
Musicals</span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLqZVuFqXvy1QBf5-ZR9o268kEPErOmKLtpRGKjY3cDnnj1IkUOVnWCpdVc5j4jnmRkYoeZtlvaTdRgIzqwK7X38XiY7Sa9Zpgo7QFNky8ap12EWuJDYqqajPFaVpyRnbdnWVGpqA0s7A/s1600/Once+Up+on.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLqZVuFqXvy1QBf5-ZR9o268kEPErOmKLtpRGKjY3cDnnj1IkUOVnWCpdVc5j4jnmRkYoeZtlvaTdRgIzqwK7X38XiY7Sa9Zpgo7QFNky8ap12EWuJDYqqajPFaVpyRnbdnWVGpqA0s7A/s320/Once+Up+on.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Aside from Disney’s Broadway versions of <b>The Little Mermaid
</b>and <b>Frozen</b>, Hans Christian Andersen has inspired several stage musicals, but
only a few have made it to Broadway. One of these is <b>Once Upon A Mattress</b>, an
adaptation of <b>The Princess and the Pea</b>. Although it is incredibly difficult to
turn this miniscule story into a full-length musical, <b>Once Upon a Mattress</b> expands
its source material substantially, adding a tyrannical queen, a king cursed with
mutism, a couple trying to get married before their baby is born, and an
eccentric jester to the story of Princess Winnifred and the unusual test she
undergoes in order to be recognised as a potential husband to Prince Dauntless.
The silly and comedic tone was ahead of its time (it would be four decades
before <b>Shrek</b> became a hit with a similar irreverent approach), and after an
initial shorter production at the Tamiment Resort, <b>Once Upon A Mattress</b> soon made it to Broadway.
There, it defied mediocre reviews to run for seven months at four different theatres and get
nominated for two Tony Awards. <b>Once Upon A Mattress </b>was revived on Broadway in
1996 and has been adapted for television three times, in 1964, 1972 and 2005. The
iconic comedienne and actress Carol Burnett, who made her stage debut as Princess
Winifred in 1959, reprised the role in the first two televised versions, before
playing the villainous Queen Aggravin in the third. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Although<b> Once Upon A Mattress </b>remains popular with schools
and drama groups all over the world, the 1991 musical <b>Once On This Island</b> is a far
superior Andersen adaptation. Based on a novella by Rosa Guy, this creative
take on <b>The Little Mermaid</b> translated the story to the Caribbean, turning the
mermaid into a black peasant girl and the prince she wants to marry into the
scion of the mixed-race social elite. <a href="https://catapult.co/stories/the-disappearance-a-novel-by-rosa-guy" target="_blank">With approval</a> from Guy, Lynn Ahrens and
Steven Flaherty expanded her short and bleak story into a moving and joyous musical.
Blending a colourful Carribean influenced soundtrack (including catchy and
powerful songs such as 'Mama Will Provide' and 'We Tell the Story') with a
thought-provoking examination of prejudice and colourism, it quickly attracted
favourable reviews from the critics. The original version ran on Broadway for over a
year and became something of a cult favourite amongst Broadway fans. However,
<b>Once On This Island</b> really came to prominence when a revival of it opened on
Broadway in December 2017. This production made use of innovative immersive
staging, featuring costumes and instruments made of recycled rubbish, as well
as real sand and a real lake. The production even included live goats and chickens
on stage! This adaptation was widely acclaimed and even won the Tony Award for
Best Revival Of A Musical, beating productions of the classic musicals <b>My Fair Lady</b> and <b>Carousel</b>.
As a result, <b>Once on This Island</b> has gained the mainstream exposure it richly
deserves.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Eastern European Adaptations </span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHE6P4fW3FfwYEa0XYHdiO_ncCf4WozC1SyYbDgVriKafnRPR9V4L1zxpGFwWksP_BEAbPMZLObDNGHWf5MFlfBwSGzB_fyzVTxK_73URy9MtYNhMYjClrlM7qw0zjxE8l3gSeVVC43nE/s1600/Soviet+and+Czech.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHE6P4fW3FfwYEa0XYHdiO_ncCf4WozC1SyYbDgVriKafnRPR9V4L1zxpGFwWksP_BEAbPMZLObDNGHWf5MFlfBwSGzB_fyzVTxK_73URy9MtYNhMYjClrlM7qw0zjxE8l3gSeVVC43nE/s320/Soviet+and+Czech.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">This article has focused on adaptations of Andersen’s
stories from the western world, but emphasising American and British films,
plays and TV shows means that we often ignore those from other countries.
During the second half of the twentieth century, the Communist countries of
Eastern Europe provided numerous high-quality adaptations of classic fairy
tales. Two of the best live-action adaptations of <b>The Little Mermaid</b> were both
released in USSR and Czechoslovakia in 1976. The Russian version – <b>Rusalochka</b> –
chooses to emphasise historical realities by rooting the story firmly in the
medieval era. Here, the mermaid befriends a tramp called Sulpitus who guides her
through the human world and works to protect her from its various dangers. The
focus on the kindhearted Sulpitus over the shallow prince and princess allows the
film to promote the Communist vision of the virtuous lower classes, but this enhances the story instead of overwhelming it. Meanwhile the Czech adaptation,
<b>Mala Morska Vita,</b> went for a more dreamlike approach. Whereas most productions
depict the merpeople with tails instead of legs, this one depicts them as blue-haired
spirits with flowing blue clothing. Detailed sets and creative designs are used
to reinforce the impression that these characters live underwater, and the
illusion is quite impressive. <b>Mala Morska Vita</b> focuses primarily on the little
mermaid and her family, and this makes the adaptation even more tragic, with an
ending so bleak it makes the original seem like the Disney version in
comparison. Both adaptations are easy to find online and are a must-watch for Andersen
fans who want to see something quite different from the usual mermaid film. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Other Andersen tales have also inspired excellent Eastern
European versions. Many of these were made by the prolific Soviet animation
studio Soyuzmultfilm, who produced up to 47 films a year during the Communist
era. This gigantic repertoire included adaptations of <b>The Little Mermaid</b>, <b>The
Wild Swans</b> and <b>The Ugly Duckling</b>, but their most iconic film is <b>Snezhnaya Koroleva </b><span style="background-color: transparent; color: #222222; display: inline; float: none; font-variant: normal; letter-spacing: normal; line-height: 22.28px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><b>,</b> </span>their 1957 interpretation of
<b>The Snow Queen</b>. This received an impressive amount of international exposure,
and an English-language version was released just two years later. It’s not
hard to see why this film transcended the Cold War divide. The visual style was
close enough to Disney to feel comforting and familiar to western audiences,
but with enough magic and mystery to mark it out as a truly unique product. The
legendary Hayao Miyazaki, founder of Studio Ghibli and director of films such
as <b>Spirited Away</b>, has cited <b>Snezhnaya Koroleva </b>as an inspiration for his output,
<a href="http://nishikataeiga.blogspot.com/2011/05/hayao-miyazakis-taste-in-animation.html" target="_blank">stating that</a> it provided “proof of how much love can be invested in the art of
making drawings move”. Overall, the work of Soyuzmultfilm and other Eastern
European filmmakers demonstrate how Andersen’s stories can be adapted in unique
and creative ways all over the world. </span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Hans Christian
Andersen</span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNYHKOEWacegrqVy8ZW0_Pd8drpnM84bkdHIvhawY_NDwW5IaSy_KuEYsjCnAMtxuGaxh9PIMm1v0yrSI8U9cQ4fUwZXjqP_KrqVZpoqZXA3_RoMVwpGrwLW2646ODS2h8uDtojSHVoI/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="1484" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZNYHKOEWacegrqVy8ZW0_Pd8drpnM84bkdHIvhawY_NDwW5IaSy_KuEYsjCnAMtxuGaxh9PIMm1v0yrSI8U9cQ4fUwZXjqP_KrqVZpoqZXA3_RoMVwpGrwLW2646ODS2h8uDtojSHVoI/s320/maxresdefault.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Most films about Hans Christian Andersen shun historical
accuracy in favour of emphasising his status as a legend of the fairy tale
genre. This approach was epitomised by this 1952 musical, which began with a
prologue stating that it was “a fairy tale about this great spinner of fairy
tales.” The great Danny Kaye applies his signature charm and likeability to the
role of Andersen, as he leaves his hometown to seek fame and fortune in
Copenhagen. There, he pursues his dream of becoming a storyteller whilst trying
to win the heart of Doro, a beautiful ballet dancer married to her
temperamental director Niels. This film is over 65 years old and showing its
age in many ways – the love triangle involving Andersen, Doro and Niels simply
does not work in 2018. That said, many of the songs from the movie, such as
‘Inchworm’, ‘The Ugly Duckling’ and ‘Wonderful Copenhagen’, still manage to
retain their magic today. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">This film inspired a loose West End adaptation in 1974 (long
before screen-to-stage adaptations became the norm), which was given the
simpler title <b>Hans Andersen</b>. Starring Tommy Steele, this version kept the iconic
songs from the film and the basic concept but changed the storyline to make it
closer to Andersen’s real-life adventures, adding historical figures such as
King Christian and Jenny Lind to the tale (This approach is similar to the
recent Broadway adaptation of animated cult hit <b>Anastasia</b>). <b>Hans Andersen</b>
enjoyed a successful 9 month run at the London Palladium, and would be revived
at this theatre in 1977. However, it is almost entirely forgotten today, whilst
the Danny Kaye film retains a significant fanbase through numerous television
airings. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">The Daydreamer</span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ibE8uqt6C_v-FpswrDTYS-WbOjUpWWuBA6eprhDhdqArkbp3oF6TNUIbeJ6GphBo2Jei7nbWNq0av92Zr7kRN6TuoJjTsxM2PJGNGsT3k2ybyiiqwUJN-dVkKF-rdivz7wkTZPU8J64/s1600/KINGS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="400" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ibE8uqt6C_v-FpswrDTYS-WbOjUpWWuBA6eprhDhdqArkbp3oF6TNUIbeJ6GphBo2Jei7nbWNq0av92Zr7kRN6TuoJjTsxM2PJGNGsT3k2ybyiiqwUJN-dVkKF-rdivz7wkTZPU8J64/s320/KINGS.jpg" width="320" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">During the 1950s and 1960s, the animation studio Rankin Bass
gained significant popularity with their unusual brand of stop motion animation,
making numerous holiday specials such as <b>Rudolph the Red Nosed-Reindeer</b>. For
their 1966 film <b>The Daydreame</b>r (the second of three feature-length projects
they made in the 1960s), they used their signature style to tell a strange
story about Andersen’s childhood. In <b>The Daydreamer</b>, Andersen (simply referred
to as Chris in this film) runs away from home in a quest to find the Garden of
Paradise, which contains the Tree of Knowledge. During his quest, he encounters
characters from several of his future stories, including <b>The Little Mermaid</b>,
<b>The Emperor’s New Clothes</b> and <b>Thumbelina</b>. The scenes with Chris and are done in
live-action, but characters from Andersen’s works are entirely in stop-motion
and Chris becomes a stop-motion character as well when he enters their worlds.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The story is thin and the songs are almost all forgettable,
but <b>The Daydreamer</b> is still an interesting curiosity for Andersen fans. The
cast includes several Hollywood icons from the early 20</span><span style="font-family: inherit;"><sup>th</sup> century,
including Tallulah Bankhead, Ed Wynn, Boris Karloff and <b>The Wizard of Oz </b>stars
Ray Bolger and Margret Hamilton, as well as 60’s teen stars Paul O’Keefe,
Hayley Mills and Patty Duke and famous comedy actors Terry-Thomas and Victor
Borge.<span style="margin: 0px;"> </span>However, the stop motion is
easily the most impressive aspect of the film, with plenty of time and effort
going into depicting the mermaids, moles, giant frogs and piemen using the
big-headed puppets and detailed sets which made Rankin-Bass famous. For a
protagonist in a children’s film, Chris makes a lot of bad decisions, assisting
the crooked tailors from <b>The Emperors New Clothes</b> and abandoning his friends
and allies in his quest for knowledge. However, the value of his journey is
highlighted by the closing narrative, which states that Andersen’s acknowledgment
of human flaws and vulnerabilities is what made his fairytales so iconic. For
all the limitations of <b>The Daydreamer</b>, this profound insight demonstrates a
clear understanding of Andersen’s appeal and elevates the film significantly. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Hans Christian
Andersen – My Life As A Fairytale</span></u></b><br />
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit0yNrjTcPnPFlTpY0dH69-54emfsyk2tG6-scuA9zaOMqntuqXyS1V1Xx7eSeZOoe2aV0IZ4P13v_GYHsomLorJDvXLYUQN0isKP41er2W5uJr27fySGo0a-W6PCRjAOZZ_G5vu9gFl8/s1600/v1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="305" data-original-width="206" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit0yNrjTcPnPFlTpY0dH69-54emfsyk2tG6-scuA9zaOMqntuqXyS1V1Xx7eSeZOoe2aV0IZ4P13v_GYHsomLorJDvXLYUQN0isKP41er2W5uJr27fySGo0a-W6PCRjAOZZ_G5vu9gFl8/s1600/v1.jpg" /></a></div>
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;"><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Like <b>The Daydreamer</b> and <b>Hans Christian Andersen</b>, this television
miniseries from 2003 blends a narrative about Andersen with retellings of his
classic stories, demonstrating how he turned his experiences and insecurities into
tales which inspired and enchanted millions of readers. However, <b>My Life As A
Fairytale </b>also features a lot more about Andersen’s own life story, including
his infatuation with famous opera singer Jenny Lind, and his relationship with
Charles Dickens (the two were initially friends, but soon <a href="https://www.theguardian.com/books/2017/sep/10/charles-dickens-hans-christian-andersen-letters-correspondence-auction" target="_blank">fell out</a> with each
other). That said, this is in no way an accurate biopic of Andersen. His unrequited
love for his patron Edvard Collin is omitted, and there is little to no discussion
of the books, plays and poems which Andersen wrote aside from his fairytales. <b>My
Life As A Fairytale </b>also features short retellings of Andersen stories including
<b>The Little Mermaid</b>, <b>The Nightingale </b>and <b>The Ugly Duckling</b>, which are used to
comment on Andersen’s journey from impoverished tailor’s apprentice to literary
legend. Keiran Bew plays Andersen, with British thespians such as Hugh
Bonneville and Simon Callow appearing in substantial supporting roles. The film
is not afraid to address Andersen’s negative features – the retelling of <b>The
Little Mermaid</b> here subverts our traditional view of the story by portraying Andersen
as the Prince who abandons our Little Mermaid for another woman. Overall, <b>My
Life As A Fairytale </b>is generally a rather routine miniseries and probably the
weakest work mentioned in this article, but it illustrates the extent to which
Andersen’s life story has become thoroughly intertwined with the fairy tales
which he created. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">A Very Very Very
Dark Matter</span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNczKxTxTk0JYBFTpkNayfgZyRNJzQzzacCy75imJJQ9u7_XWK7FHiAQaL9aWSqvGivRITrFI_2fy2gn9-WfY_TFJEhUTgB1QCmjfIMeMTBSmUmjuuhq0UpdgadgHH7HedyE7ID1Afnxk/s1600/Very+Very+Very+Dark+Matter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNczKxTxTk0JYBFTpkNayfgZyRNJzQzzacCy75imJJQ9u7_XWK7FHiAQaL9aWSqvGivRITrFI_2fy2gn9-WfY_TFJEhUTgB1QCmjfIMeMTBSmUmjuuhq0UpdgadgHH7HedyE7ID1Afnxk/s320/Very+Very+Very+Dark+Matter.jpg" width="320" /></a></div>
<br />
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Most of the films and musicals mentioned here have adopted a
tone of magic and melancholy similar to Andersen’s work. However, the
controversial playwright, screenwriter and director Martin McDonagh will be
taking a very different approach for his new play <b>A Very Very Very Dark Matter</b>.
Fans of McDonagh’s work (he wrote the plays <b>The Pillowman</b> and <b>The Lieutenant of
Inishmore </b>and directed the Oscar-winning <b>Three Billboards Outside Ebbing
Missouri</b>) know to expect pitch-dark comedy with plenty of foul language and
graphic violence. From what little we know about it at the moment,<b> A Very Very Very Dark Matter</b> seems to be based on the premise
that Hans Christian Andersen’s stories were actually created by an African
woman who he secretly kept imprisoned in his attic. Given that <b>Three Billboards</b>
was <a href="https://eu.usatoday.com/story/life/entertainthis/2018/01/03/growing-racial-backlash-against-three-billboards-explained-explaining-growing-backlash-against-oscar/977024001/" target="_blank">often criticised</a> for its problematic racial politics, it seems almost
foolhardy for McDonagh to create a story with such a controversy-baiting
premise, but there is plenty of satirical potential here (expect plenty of
commentary on how Andersen and The Brothers Grimm took credit for creating
stories which had been told to them by female storytellers), and McDonagh can
be trusted to emphasise this in his usual acerbic fashion. McDonagh’s script will
be brought to life by an impressive cast, with stage and screen veteran Jim
Broadbent playing Andersen, <span style="margin: 0px;">newcomer Johnetta Eula'Mae Ackles as his pri</span>soner Marjory, and Phil Daniels as
Charles Dickens. <b>A Very Very Very Dark Matter </b>will begin previews at London’s
recently opened Bridge Theatre on October 12<sup>th</sup>, and it will run
there until the start of 2019. If it proves successful, expect it to be performed
all over the world over the coming years…</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1tag:blogger.com,1999:blog-5414251166201648982.post-52107006792891388912018-08-07T10:45:00.000-07:002018-08-07T12:59:11.116-07:00A Monster Calls (Stage Version) – Review<span style="font-family: inherit;"></span><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"></span><span style="font-family: inherit;"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7SWqjvA7UAZeoBCPj-wjLHODqvRjF-y5oG6V7POoNETog-_FQsCEFqq0prlXGB9rsAYYn9HBfLwraEM5cm_UF1-MKaNPQWBDeRWsDDxofbLPAydk_0L77RqqcAQzpJlJTjBSHoudRBDc/s1600/event_media-banner_lrg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="275" data-original-width="750" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7SWqjvA7UAZeoBCPj-wjLHODqvRjF-y5oG6V7POoNETog-_FQsCEFqq0prlXGB9rsAYYn9HBfLwraEM5cm_UF1-MKaNPQWBDeRWsDDxofbLPAydk_0L77RqqcAQzpJlJTjBSHoudRBDc/s320/event_media-banner_lrg.jpg" width="320" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: "calibri";"><br /></span></u></b></div>
<div style="margin: 0px 0px 10.66px;">
<b><u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>Who’s It By?</u></b></span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b>A Monster Calls</b> is adapted from a 2011 novel written by Patrick
Ness, based on an idea by the late Siobahn Dowd. This version is
directed by Sally Cookson, famous for her theatrical interpretations of classic
stories such as <b>Peter Pan</b> and <b>Jane Eyre</b>, and the script was created by the
entire cast and crew, with Adam Peck in charge of this collaborative process.</span></div>
<span style="font-family: inherit;"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span></span><span style="font-family: inherit;"></span><b></b><u></u><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<span style="font-family: "times" , "times new roman" , serif;"></span><b></b><u></u><br />
<div style="background-color: transparent; color: black; font-style: normal; font-variant: normal; letter-spacing: normal; margin: 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b><u>What’s It About?</u></b></div>
<div style="background-color: transparent; color: black; font-style: normal; font-variant: normal; letter-spacing: normal; margin: 0px; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b><u><span style="font-family: "times";"></span></u></b><b></b><u></u><br /></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span style="font-family: inherit;"><b>A Monster Calls </b>is about Conor O’Malley (played by Matthew
Tennyson), a troubled 13 year old boy from Britain. His mother (played by Marianne
Oldham) is suffering from cancer and her health is deteriorating rapidly. He
struggles to get on with his strict grandmother (played by Selina Cadell), and
his father (played by Felix Hayes) now lives in America, spending most of his
time focused on his new family there. At school, the situation is no better, as
he has fallen out with his former friend Lily (played by Witney White) and
became the target of a trio of bullies led by Harry (played by John Leader). One
day, Conor is visited by a mysterious Monster (played by Stuart Goodwin) who
emerges from a giant Yew tree. The Monster promises Conor that he will provide him
with three stories that may help him to understand his problems. In return,
Conor will have to tell the monster a fourth tale about himself and his deepest
fear. </span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b><u>How to Experience It </u></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b>A Monster Calls</b> is currently on at London’s prestigious Old
Vic theatre, with the last performance there being on the 25th
August. Considering the acclaim this production has received, and the popularity
of the source material, it would not be surprising if it was performed at
further theatres in the future. If you are unable to see the play, then you can
always buy the script, which is available at bookshops and <a href="https://www.amazon.co.uk/Monster-Calls-Play-Adam-Peck/dp/1406387134/ref=sr_1_4/260-0762230-6499958?ie=UTF8&qid=1533667780&sr=8-4&keywords=a+monster+calls" target="_blank">online</a>. </span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: "arial" , "helvetica" , sans-serif;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: "times" , "times new roman" , serif;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><u><span style="font-family: inherit;">Review</span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: inherit;">(Note: This Review
Contains some Mild Spoilers.)</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKlooYiCfXzbCri-oHiYJwjY7LG_zFQtlYLE15xKUs1j_be4Pj9rfscTvI0mjt8C9e69pHn_o5uSFME4jsMxwiNfvfVdA78uVECpUNKzmTF1P2PyV-53OLuE-FRFUoPx3jmANAPDXPxQ/s1600/image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="472" data-original-width="630" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKlooYiCfXzbCri-oHiYJwjY7LG_zFQtlYLE15xKUs1j_be4Pj9rfscTvI0mjt8C9e69pHn_o5uSFME4jsMxwiNfvfVdA78uVECpUNKzmTF1P2PyV-53OLuE-FRFUoPx3jmANAPDXPxQ/s320/image.jpg" width="320" /></span></a></div>
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<b><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><br /></span></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Since it was first published, <b>A Monster Calls </b>has become a
must-read for older children trying to come to terms with difficult issues such
as grief, loss and anxiety. It has gained excellent reviews, won numerous awards,
and it was even adapted into a 2016 film which starred Lewis MacDougall, Liam Neeson,
Sigourney Weaver and Felicity Jones. Given this popularity, it was inevitable
that it would be adapted for the stage. It is almost impossible for the stage
version to avoid comparisons with the film, but both are separate adaptations
of the same story. The film was mostly faithful to the book but cut several scenes from the school
subplot and added some extra material for Conor and his mother. In contrast,
the play is almost a direct translation of the book. Director Sally Cookson and
book writer Adam Peck adopted a collaborative approach, creating a basic script
and editing it with input and ideas from all the cast members. It is clear that
everyone involved loves the story and wants to do justice to it, and they
definitely bring <b>A Monster Calls</b> to life in unique and high-quality fashion</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The main difference between this version and the film is how
much this one uses the codes and conventions of theatre, where symbolism is key
and smaller objects can be used to represent grand images and ideas. The Monster
is formed using a set of ropes which embody the power and majesty of his tree
form and highlight his status as the symbol of nature. Projections are used
frequently throughout the production, creating a vivid contrast with the stark
white stage. For the climax, when Conor’s recurring nightmare is shown in full, a
section of the wall opens out to form a cliff. Even smaller effects, such as
the use of ropes to depict a car, are creative and interesting. Not every visual
flourish works, but the majority do, and they allow the project to gain a
unique look which enhances its themes and messages.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The most elaborate sequences in the play are the three stories which the
Monster tells Conor. These stories (about a Prince seemingly threatened by his
mysterious step-grandmother, a parson whose war with an apothecary has a tragic
conclusion, and an invisible man who lashes out at society), are powerful and
potent subversions of fairy tale certainties, and are brought to life on stage
in impressive fashion. The first is set in a medieval kingdom of dense forests,
whilst the second is set in an industrialising world where nature has been diminished
but is still visible and necessary. The first tale makes heavy use of
projections and acrobatics, whilst the second depicts key plot developments
through singing. Whilst the film depicted these stories with animation, they
are now acted out by the ensemble, with key figures from Conor’s life playing
the central roles. This makes the parallels between these tales and Conor’s plight
explicit, as the latent symbolism of the stories (The sinister but ultimately non-villainous
Queen represents Conor’s grandmother, and the unreliable parson represents his
father) is now completely obvious. This is generally a good thing, although it
is jarring to see Connor’s grandmother referred to as a “princess”. However, the
third story, which ditches this fantasy element in favour of highlighting Conor’s
isolation, is the most effective and disturbing, with the minimalist staging
revealing how desperate Conor is and demonstrating how dangerous the Monster
can be.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The heart and soul of this production is Matthew Tennyson,
who plays Conor. He is initially sullen and antisocial as he dismisses the Monster
and struggles to understand the messages of his stories, but his grief and
confusion are evident beneath his defensive exterior, and when he finally
expresses his feelings, it is devastating. This powerful performance is made
even more impressive by the staging, which highlights Conor's loneliness. For most of the production, he is alone at the centre of the minimalist
stage, and a synthesiser-heavy score accompanies him as he endures the trials
of daily life. This portrayal of Conor’s outcast status is bleak and powerful,
demonstrating that this is not a production for younger or more sensitive
audiences. Based on his performance here, it seems like Tennyson will have a
bright future in acting.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The supporting cast is utilised well, with the ten-person ensemble generally
doing a solid job bringing the secondary characters to life. Aside from Conor, the Monster is the most
significant and complex character. Stuart Goodwin is imposing and powerful,
bringing plenty of physicality to a creature who embodies the wild earth but
also highlighting the tender and supportive side of the character, particularly
at the end. Connor’s loving mother and distant father are portrayed almost the
same as they were in the book, with Marianne Oldham and Felix Hayes meeting the
requirements of the role. Given that she was almost entirely cut from the film,
it is great to see Conor’s former best friend Lily gain a more prominent role here,
and Witney White captures her feistiness and her guilt over the way she inadvertently
contributed to Conor’s status as an outcast. However, not all of the
characterisation hits the mark in this version. Conor’s grandmother is not as
three-dimensional as she was in the novel and the film, feeling more like a
stereotypically strict grandmother – the contrast between her icy exterior and
her struggle to deal with her impending loss does not feel as fully formed. The
scene where she finds out that Conor has destroyed her room is such a
devastating moment in the book and film (it is rightly used to conclude Act One
here) but Selina Cadell’s grief and fury in this scene feels a bit hammy and
unconvincing – it is the only time in the entire production where the acting misses
the mark. The head school bully, Harry, also loses a lot of his impact due to
attempts to make him into too much of a comic relief character. Harry is meant to be a
star pupil abusing his power and position to make Conor’s life a misery but giving
him grossout jokes and a lame lie about dead pet hamsters dilutes this and makes him
feel like a blustering thug rather than a budding sociopath. The fault here
lies with the writing as opposed to the acting – John Leader does a good job
conveying Harry’s menace when it matters most. The ensemble also adopt a
variety of smaller roles, as they appear in Connor’s nightmare and often sit at
the sides of the stage. Their multitasking allows them to demonstrate their
versatility and showcase their dancing and acrobatic skills. Though their roles
are not as flashy as those of Tennyson and Goodwin, they are still able to prove
their talent and enhance the production substantially. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Ultimately, for all the acting and stagecraft, this version
of <b>A Monster Calls </b>succeeds because it retains the devastating power of the
story and the potency of its emotional messages. The scene where Connor’s mother
reveals her condition is incurable has lost none of its power, and Connor’s
eventual acceptance of his fear and confusion will be relatable to anyone who has
tried to wrestle with difficult issues such as bereavement. <b>A Monster Calls </b>also
stands out due to its messages about human frailties. We are all prone to fear,
uncertainty and borderline-hypocritical self-contradiction, but we need to come
to terms with these and never be afraid to speak the truth and discuss our
problems. Like the Monster himself, these lessons are eternal and will always
be resonant and important. It is this which ensures that <b>A Monster Calls</b> is one
of the most important Young Adult novels of the last decade, and like the film,
the stage version is introducing a wider audience to this moving story and the
valuable truths it contains. Overall, the stage version of <b>A Monster Calls</b> is another excellent adaptation of this tearjerking story, and I hope that the tale of Conor O'Malley will continue to make
people cry and provide wisdom and understanding for years to come.</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-76100112004368186402018-08-05T05:28:00.001-07:002018-08-05T09:54:47.155-07:0010 Things Jennifer Lee Needs to do as Disney Animation’s New Chief Creative Officer (Part 2)<h3>
(Read Part One of this Article <u><a href="https://fairytalefanboy.blogspot.com/2018/07/10-jennifer-lee-needs-to-do-as-disney.html" target="_blank">Here</a></u>)</h3>
<span style="font-family: inherit;"><b></b><u></u><br /></span>
<span style="font-family: inherit;">In June, <b>Frozen</b> director Jennifer Lee <a href="https://deadline.com/2018/06/pete-docter-to-lead-pixar-jennifer-lee-to-head-walt-disney-animation-in-wake-of-john-lasseters-scheduled-exit-1202413622/" target="_blank">took over</a> as Chief
Creative Officer at Disney Animation in the aftermath of the <a href="https://fairytalefanboy.blogspot.com/2018/06/how-will-john-lasseters-downfall-affect.html" target="_blank">sexual harassment scandal</a> which led to the <a href="https://variety.com/2018/film/news/disney-john-lasseter-harassment-bob-iger-1202734060/" target="_blank">resignation</a> of former Disney and Pixar creative head John
Lasseter. Lee is under considerable pressure to maintain Disney Animation’s recent
winning streak whilst also providing more positive and diverse environment to
allow the studio to move into the #TimesUp era. There are various things she
needs to do in order to succeed as Chief Creative Officer, and there is too much
advice to fit into a single post. The <a href="https://fairytalefanboy.blogspot.com/2018/07/10-jennifer-lee-needs-to-do-as-disney.html" target="_blank">first part</a> of this article (published
last month) focused on the films Lee is going to produce and how she can make
them as entertaining and inspirational as possible, so this second part will
focus on her need to project a positive image for Disney Animation and
deal with the behind the scenes tensions and uncertainties caused by Lasseter’s
misdeeds. Being an effective Chief Creative Officer requires both good films
and a welcoming, progressive working environment, and Lee will need to
provide both to flourish in her important new role. </span><br />
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>6. Listen to the Critics</u></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc7udXIbrs1-gURcSi70nzcmzT7_naELuwA9UrtEJw-Na5OiJT3iVakK2WGBrw4IAnqU4T1c42hpJctdlFiepTR_Mi9xscT5aIkM4p3SCnlmlUUaycpGUDkaVcDdp6cpXnzlF7k3b5k0g/s1600/wrinkle1.0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc7udXIbrs1-gURcSi70nzcmzT7_naELuwA9UrtEJw-Na5OiJT3iVakK2WGBrw4IAnqU4T1c42hpJctdlFiepTR_Mi9xscT5aIkM4p3SCnlmlUUaycpGUDkaVcDdp6cpXnzlF7k3b5k0g/s320/wrinkle1.0.jpg" width="320" /></span></a></div>
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<b><u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The main problem with Jennifer Lee is the fact that she is
relatively inexperienced for a Chief Creative Officer. Whilst Pete Docter (who
has taken over as Pixar’s Chief Creative Officer) has been with Pixar for
almost three decades, Lee has only been with Disney Animation for seven years.
This means that she still has plenty to learn. So far, all of Lee’s major work
with the studio has been as part of a team. This is incredibly useful in the
medium of animation, as animated films are continuously changed and altered
until just a couple of months before release, ensuring that the writers and directors need extra feedback and support. Aside from her writing and
directing, Lee has also been <a href="https://www.fastcompany.com/40587764/four-things-you-need-to-know-about-new-disney-animation-chief-jennifer-lee" target="_blank">an important member</a> of Disney’s “<a href="http://www.ign.com/articles/2016/02/18/how-disneys-story-trust-helped-change-big-hero-6-frozen-wreck-it-ralph-and-more" target="_blank">Story Trust</a>” – an
organisation established to emulate the success of Pixar’s legendary “Brain
Trust”. In this capacity, she has contributed ideas to a variety of Disney
Animation hits beyond the three she co-wrote. The collaborative process is very
useful for Lee and has allowed her to build a close relationship with other
Disney Animation creatives, which is necessary in order to take charge of the
studio. However, she needs to assert a degree of dominance without turning to
the <a href="https://www.hollywoodreporter.com/features/he-who-not-be-named-can-john-lasseter-ever-return-disney-1105297" target="_blank">often-autocratic behaviour</a> which was <a href="https://variety.com/2018/film/news/john-lasseter-disney-exit-pete-docter-jennifer-lee-1202841999/" target="_blank">a significant factor</a> in Lasseter’s
downfall.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Lee also needs to listen to professional critics and members
of the public who dislike her work. Since it became a billion-dollar
phenomenon, <b>Frozen</b> has been subject to plenty of criticism from those who
regard it as overrated. Commonly cited problems include <a href="https://www.thegamer.com/disney-frozen-unresolved-mysteries-plot-holes-left-hanging-trivia/" target="_blank">massive plot holes</a>, the
two-dimensional, <a href="https://reelrundown.com/animation/Pop-Culture-Past-Present" target="_blank">superfluous villains</a>, the focus on Anna’s adventure over
Elsa’s <a href="http://elsaletyoufinish.tumblr.com/post/74748363649/should-elsa-have-had-more-screen-time" target="_blank">more interesting arc</a>, and the contrivances which keep the two sisters
apart for most of the runtime. These flaws are closely linked to the twists, messages
and ideas which make Frozen unique and appealing, so they cannot be fixed
without changing the movie substantially. This would alienate most of the
<b>Frozen</b> fandom, so adaptations (such as the Broadway version) have stayed close
to the template laid out by the source material. As pointed out in <a href="https://fairytalefanboy.blogspot.com/2018/07/10-jennifer-lee-needs-to-do-as-disney.html" target="_blank">the previous post</a>, this is a key reason why they have received <a href="https://www.show-score.com/broadway-shows/frozen-the-musical" target="_blank">underwhelming reviews</a> in
comparison. Jennifer Lee’s writing skills recently came under more intense
scrutiny as she co-wrote the <a href="https://www.rottentomatoes.com/m/a_wrinkle_in_time_2018" target="_blank">critically savaged</a> live-action adaptation of <b>A
Wrinkle In Time</b>. Jennifer Lee is certainly <a href="https://www.rottentomatoes.com/m/102_dalmatians" target="_blank">not</a> <a href="https://www.rottentomatoes.com/m/haunted_mansion/" target="_blank">the</a> <a href="https://www.rottentomatoes.com/m/alice_in_wonderland_through_the_looking_glass" target="_blank">only</a> Disney Animation
veteran to face difficulties translating her skills to Disney's live-action
division (which has a reputation for being far less reliable than its animation
studios) but the criticisms of <b>A Wrinkle in Time </b>have reinforced the argument
that she is not able to translate her numerous good ideas into a strong script.
Gaining a good reputation is necessary if you are being given a position of
tremendous power and influence, and Lee’s failures have ensured that her
appointment is being regarded with a considerable degree of scepticism by her
detractors. She needs to win these people over if she wants to enjoy a long and
successful tenure in her new role.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>7. Ignore the Haters</u></b></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIIUE62yY6fGTCLpg5r8pfGwPN7zNPSqSt8Ndy_VTDTaTN2eBMgF82_Rq8-Fy381KO84SgVq3HB-m7wKrrzfkJXCaGA3S2JYoGBugvjrqtn-0mFJZhsNMYuQf5sJ5Z3NznscD8PkpQaPE/s1600/1_NY8ZK6D39fNu4Y018k3Txg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="433" data-original-width="768" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIIUE62yY6fGTCLpg5r8pfGwPN7zNPSqSt8Ndy_VTDTaTN2eBMgF82_Rq8-Fy381KO84SgVq3HB-m7wKrrzfkJXCaGA3S2JYoGBugvjrqtn-0mFJZhsNMYuQf5sJ5Z3NznscD8PkpQaPE/s320/1_NY8ZK6D39fNu4Y018k3Txg.jpg" width="320" /></span></a></div>
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<b><u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">However, whilst films like <b>Frozen</b> have plenty of problems,
there is a world of difference between honest, analytical criticism of Disney
movies and the vitriol of many unhinged internet commentators. There are many
aspects of Disney films which can be discussed, but this should not lead to
racist, sexist, homophobic and violent comments. Unfortunately, in today’s
polarised climate, it happens all too often. Disney films have focused on
promoting tolerance and inclusion, but this provokes hostility from those who
regard these progressive values as a threat, and their prejudiced mentality
needs to be ignored or challenged. When extremely right-wing pundits like
<a href="http://time.com/5176537/jordan-peterson-frozen-movie-disney/" target="_blank">Jordan Peterson</a> and <a href="https://www.theguardian.com/film/2015/feb/04/fox-host-denounces-popular-movie-frozen-anti-male-propaganda" target="_blank">Steve Doocy </a>use <b>Frozen</b> to argue that Hollywood is engaged
in a plot to undermine traditional values of masculinity, it merely highlights
why movies like that are so valuable. One movie with a primarily negative
portrayal of male characters does not pose a threat to the patriarchy, but it
can highlight the fact that many of the members of this patriarchy are
reactionary fanatics afraid of change and innovation. Similar attacks have
accompanied attempts to promote racial and sexual diversity in the <b>Frozen</b>
universe. The fact that Jennifer Lee merely <a href="https://www.huffingtonpost.co.uk/entry/frozen-director-elsa-girlfriend_us_5a9388c5e4b01e9e56bd1ead" target="_blank">expressed interest</a> in giving Elsa a
female love interest in <b>Frozen 2 </b>led to <a href="https://metro.co.uk/2018/03/14/10000-sign-petition-stop-elsa-getting-girlfriend-disney-frozen-sequel-7388245/" target="_blank">extreme</a> and <a href="https://www.thestar.com/opinion/star-columnists/2018/03/02/the-push-to-save-frozen-from-a-potentially-lesbian-elsa-is-disturbingly-misguided.html" target="_blank">ugly</a> homophobia, and the
decision to cast African-American actor Jelani Aladdin as Anna’s love interest
Kristoff in the Broadway version of <b>Frozen</b> led to him receiving <a href="https://www.instagram.com/p/BklM0FoDciE/?utm_source=ig_twitter_share&igshid=t98ao74hidxp" target="_blank">racist insults</a> from people who
cling to the delusion that everyone living in 19th century Europe was white.
Progressive casting and characterisation should be done carefully and
skilfully, but the idea of humiliating and defeating the ugliest and most
obnoxious commentators should give Jennifer Lee extra incentive to continue
subverting the traditional stereotypes by showing that you don’t have to be
white, straight or male to be a hero.</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">An example of how unhinged and extreme internet hatred can
become is apparent in the struggles facing the Disney-owned <b>Star Wars</b>
franchise. Since Disney acquired Lucasfilm in 2012, the once-mighty series has
been faltering, with numerous spin offs getting green-lit and cancelled, and
behind the scenes turmoil leading to <a href="https://www.telegraph.co.uk/films/2017/09/07/kathleen-kennedy-star-wars-universe-safe-hands/" target="_blank">several creative changes.</a> In addition,
there have been increasingly harsh attacks on the finished products, (with most
the films getting criticised for being too safe on one hand, and too radical in
its changes on the other) culminating in the <a href="https://www.bbc.co.uk/news/entertainment-arts-42424445" target="_blank">bitter divisions</a> over <b>The Last
Jedi</b> and the <a href="http://www.vulture.com/2018/05/why-did-solo-a-star-wars-story-bomb-at-the-box-office.html" target="_blank">underwhelming box-office</a> performance of <b>Solo: A Star Wars Story</b>.
As a result, Kathleen Kennedy, the producer in charge of the <b>Star Wars</b>
franchise, has become the target of <a href="http://observer.com/2018/05/star-wars-fandom-toxic-disney-lucasfilm/" target="_blank">fan protests </a>about the new direction of the
<b>Star Wars</b> series. The has led to an outpouring of offensive comments, including
numerous <a href="https://www.polygon.com/2018/6/12/17456020/john-boyega-star-wars-fans-harassment-last-jedi-controversy" target="_blank">racist</a> and <a href="https://www.nme.com/news/film/star-wars-kelly-marie-tran-deletes-instagram-harassment-2332713" target="_blank">misogynistic</a> slurs aimed at female and non-white cast
members. Regardless of their concerns about the story and characterisation, the
fans responsible for this abuse have permanently damaged the reputation of the
<b>Star Wars</b> franchise. If Kennedy’s experience producing some of the best-loved
blockbusters of all time (including <b>ET</b> and <b>Jurassic Park</b>) could not protect her
from extreme hostility when people started to disagree with her handling of the
Star Wars series, then Jennifer Lee will have an incredibly hard time dealing
with fan protests if things begin to go wrong for Disney Animation. Lee needs
time in order to provide her best work (it took eight years for Disney
Animation to go from <b>Chicken Little</b> to <b>Frozen</b>), but if she has too many
failures, then internet trolls may hound her out of a job before she can truly
peak.</span></div>
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<b><u><span style="font-family: inherit;">8. </span><span style="font-family: inherit;"><span style="font-family: inherit;">Keep</span></span><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> the Fans Satisfied</span></span></span></u></b></div>
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<b><u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span></u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0FjuF_wxcIsqgUytlZ4scYPioUfGqo0LDyw13WZ0aJWUm4WuCXGsBCTE0v0FbpJEpXbtQQCYLJLi4s5wHUHLZstTjuW1BnZjFKItzMG93gFD_BlMRRzoeCu5q-bl1ADMIQzko6CLYYE/s1600/ab7adeb2d15267e516b2addfdd6c5c68.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="236" data-original-width="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0FjuF_wxcIsqgUytlZ4scYPioUfGqo0LDyw13WZ0aJWUm4WuCXGsBCTE0v0FbpJEpXbtQQCYLJLi4s5wHUHLZstTjuW1BnZjFKItzMG93gFD_BlMRRzoeCu5q-bl1ADMIQzko6CLYYE/s1600/ab7adeb2d15267e516b2addfdd6c5c68.jpg" /></span></a></div>
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<b><u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><br /></span></u></b></div>
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Frozen has the largest and most passionate fanbase of any
Disney movie by some distance. Over the last five years, millions of fans all
over the world have debated aspects of the movie ranging from the important to
the trivial. Fans have spent hours explaining how <b>Frozen</b> is linked to
<a href="https://www.eonline.com/uk/news/523454/after-reading-this-you-will-never-watch-frozen-tangled-or-the-little-mermaid-the-same-way-again" target="_blank">other Disney movies</a> and discussing the sexuality of a <a href="https://www.telegraph.co.uk/films/0/secret-not-secret-gay-disney-characters/oaken/" target="_blank">flamboyant side character</a>. There have been numerous Frozen parodies, instructional videos and
mash-ups on YouTube and social media, enjoyed by viewers <a href="https://www.theguardian.com/film/2014/may/13/frozen-mania-elsa-anna-olaf-disney-emo-princess-let-it-go" target="_blank">of all ages</a>. The <b>Frozen</b> fandom became so obsessive that <a href="https://www.theguardian.com/film/2014/jun/05/frozen-let-it-go-japanese-woman-divorces-husband" target="_blank">a couple divorced </a>because one of them hated the
film. The popularity of <b>Frozen</b> even inspired one British university to set up a
<a href="https://www.uea.ac.uk/about/-/uea-to-host-symfrozium-first-ever-academic-conference-on-disney-s-frozen" target="_blank">'Symfrozium'</a> - an academic conference in which scholars discussed the various
reactions to the film. Although this conference <a href="https://filmtelevisionmediauea.wordpress.com/2015/05/20/symfrozium-conference-report/" target="_blank">highlighted the limitations</a> of
<b>Frozen</b>, it also demonstrated that the movie had become a legitimate subject for
sociological debate. With the possible exception of <b>Snow White</b> - the first
major feature-length animated film - few Disney movies have made such a
substantial impact amongst the wider public. Lee has been very careful in her
handling of the massive Frozen fandom. Though she has answered some relatively
trivial questions, she has generally left the fanbase alone. In a 2014
interview, she claimed that <b>Frozen</b> "<a href="https://www.imdb.com/name/nm1601644/bio?ref_=nm_dyk_qt_sm#quotes" target="_blank">belongs to the world</a>" and she
wanted to "let the fans talk" and interpret the movie for themselves.
Generally, this approach has been a wise one. Having a giant obsessive fandom
is a major measure of success, and Jennifer Lee’s support of them and her
acceptance of their unusual ideas and theories has helped encourage and
maintain <b>Frozen</b>’s status as a unique and iconic hit.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">However Lee's decision to not interfere with the <b>Frozen</b>
fandom can be a real problem when it comes to expanding the franchise. There
have been thousands of fanfics based on <b>Frozen</b> (There are over 10,700 <b>Frozen</b>
fanfics on <a href="http://fanfiction.net/"><span style="color: #0563c1;">Fanfiction.net</span></a> alone, not
counting crossovers), and a large proportion of these are sequels which take
the characters on new adventures and develop their relationships further. The
amateurs behind these stories are providing Jennifer Lee with quite a bit of
competition. If <b>Frozen</b> fans do not like <b>Frozen 2</b>, they can disregard it in
favour of their favourite fanfic. Why trek to the cinema to watch a
badly-received sequel when you can stay at home and read like an epic,
high-quality fanfic like <b><a href="https://www.fanfiction.net/s/10196597/1/Frozen-Wight" target="_blank">Frozen Wight</a></b>? Furthermore, the fandoms are pulling
Disney’s movies into a dozen different directions. For example, whilst <b>Frozen</b>’s
numerous LGBTQ+ fans were ecstatic about the prospect of Elsa having a
girlfriend, it probably came as a disappointment to those who want to pair Elsa
with a male lead or leave the romantic stories to Princess Anna. Lee does not
have the same vision for her characters as many of her fans, and that is not
necessarily a bad thing. However, she needs to take their ideas for the
franchise into account if she wants to provide a vision which will satisfy
those who prefer a different approach.</span></div>
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
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<span style="font-family: inherit;"><b><u>9. Encourage New Talent</u></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZCVBDMSuljUTaq9KHrn3ygJRGNDGIy_iiHf8eDo9SdV89OUT_dXTMD5FoqKsQInBEPakhhb_PbZdGQ_lAZziuhZXF37_VdXUmONssMqTI0wZqruExcVppejNA7dwpN0tJO82Amii9Fs/s1600/Jennifer+Lee+Girls+Who+Code.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="504" data-original-width="670" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQZCVBDMSuljUTaq9KHrn3ygJRGNDGIy_iiHf8eDo9SdV89OUT_dXTMD5FoqKsQInBEPakhhb_PbZdGQ_lAZziuhZXF37_VdXUmONssMqTI0wZqruExcVppejNA7dwpN0tJO82Amii9Fs/s320/Jennifer+Lee+Girls+Who+Code.jpg" width="320" /></span></a></div>
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<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="font-family: inherit;">As Chief Creative Officer, Jennifer
Lee’s control over Disney Animation’s output will allow her to influence the
creatives directly responsible for writing, animating and storyboarding all new
movies released by the studio. In order to achieve her vision and continue
providing high quality and inspirational movies whilst dealing with the sexist
culture at the studio, Lee will have to hire a variety of new talent. It seems like
the focus on encouraging more filmmakers to join the studio is going to be a central
aim for her. In her first public appearance since she gained the role of Chief
Creative Officer, Lee appeared in <a href="https://www.youtube.com/watch?v=w4VlJC8EOZU" target="_blank">a video</a> to promote the new #DreamBigPrincess initiative,
which will allow female filmmakers to create shorts about a variety of female
role models (including Lee). This will give them a high-profile platform which could
inspire them to continue working with the studio. Lee has also been a prominent figure in many other initiatives, such as <a href="https://disneyprogramsblog.com/girls-who-code-2016-jennifer-lee-director/" target="_blank">Girls Who Code</a>, which has encouraged
young women to learn science and technology. Most of the women involved in
these projects will become trailblazers in other fields, but if just one of them
goes on to work for Disney Animation on a regular basis, then Lee’s support of
these feminist initiatives will have provided more than just good publicity for
the studio…</span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Although most of the key creatives behind the Disney Revival
(such as Chris Williams and Byron Howard) will continue providing hits,
Jennifer Lee will need to bring in new blood to provide additional projects,
and replace departing Disney veterans (such as the <a href="https://www.cartoonbrew.com/animators/john-musker-co-director-aladdin-moana-retires-disney-40-years-157319.html" target="_blank">recently retired</a> John Musker). Some of these additions to the company can go on to
far greater roles. Lee was one of several new screenwriters drafted in to work
on <b>Wreck It Ralph</b> in 2011, but her <a href="http://ew.com/article/2012/11/29/disneys-frozen-wreck-it-ralph-director/" target="_blank">rapid rise</a> to power has confirmed what a
valuable addition she was. Whilst some of the new writers and animators have
become important part of Disney Animation's inner circle, others are hired to
complete a specific film only, but their role should not be downplayed or
diminished. Many of the extra screenwriters they have aided Disney in their
mission to provide greater diversity - would <b>Moana</b> have been such a lively and
engaging portrayal of Polynesian culture without the input from New Zealand's
<a href="https://www.moviefone.com/2017/02/22/disney-moana-politics-taika-waititi/" target="_blank">Taika Waititi</a> and the Hawaiian <a href="https://www.voanews.com/a/disneys-moana-makes-waves/3643870.html" target="_blank">Kandell brothers</a>? Lee will need to hire a wide
range of people who can work together and combined their different skills into
a single exciting project. Hopefully, the results of this team effort can
inspire a new generation of viewers to follow in their footsteps.</span></div>
<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><b><u>10. Make Disney More Diverse</u></b></span></div>
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<b><u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><br /></span></u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJKrQpJ9YhZY80D663vKCQbqHbO072iG16wZSCM4iVgfxFgyXBs7xj8ZlA9pTrVQgdYZvBlOzvijltpxa3bxbzf87Wy4gngW8fN4zhhD9Gif27tflFxSKC6ePIt0gnjHe-nkeLyjt9Vrw/s1600/imagesPS60270X.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="155" data-original-width="326" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJKrQpJ9YhZY80D663vKCQbqHbO072iG16wZSCM4iVgfxFgyXBs7xj8ZlA9pTrVQgdYZvBlOzvijltpxa3bxbzf87Wy4gngW8fN4zhhD9Gif27tflFxSKC6ePIt0gnjHe-nkeLyjt9Vrw/s320/imagesPS60270X.jpg" width="320" /></span></a></div>
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<span style="font-family: inherit;"></span><br />
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The most important challenge facing Jennifer Lee is to provide increased diversity both on screen and behind the scenes. Many critics of Disney have complained about the fact that
the typical Disney protagonist is young (usually under 21), white,
unrealistically thin, and from a traditional fairy tale kingdom heavily based
on medieval (or pre-industrial) Europe. In recent years, there has been
increased demand for older Disney heroines, characters with disabilities and Princesses
who do not fit gender conventions. A recent <a href="https://yougov.co.uk/news/2018/06/28/it-time-gay-disney-princess/" target="_blank">YouGov poll</a> of British Disney fans
stated that 60% wanted to see a Princess who was aged 40 or over, 74% wanted a
princess from an ethnic minority and 52% wanted a plus-sized princess. Since
the 1990s, Disney have been moving away from the Western template, with Middle
Eastern Princess (Jasmine), an African-American Princess (Tiana), a Chinese
Princess (Mulan), a Native American Princess (Pocahontas) and a Polynesian
Princess (Moana) becoming integral to their line-up, but there are still
numerous minority groups yet to be depicted in a Disney Animation film.
Furthermore, the idea of having one princess represent each part of the world
feels rather reductive. If we can have two stories based on German fairy tales,
two stories based on Danish fairy tales, and two stories based on French fairy
tales, then it is reasonable to argue that representation of China should not
end with <b>Mulan</b>, and representation of the Middle East should not end with <b>Aladdin</b>.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">However, increased diversity on the screen means nothing if
it is not accompanied by greater diversity in the animation studios. As the
#MeToo movement transitioned towards #TimesUp, feminist activism went from
exposing sexual misconduct to combatting the culture which allowed it to
thrive. This change in our understanding of harassment has been apparent in
recent discussions over the Lasster scandal and what it means for Disney
Animation and Pixar. A recent <a href="https://variety.com/2018/film/news/pixar-boys-club-john-lasseter-cassandra-smolcic-1202858982/" target="_blank">article</a> from a Pixar employee who quit because of
Lasseter’s misconduct (a condensed version of a much longer <a href="https://byrslf.co/pixars-sexist-boys-club-9d621567fdc9" target="_blank">blog post</a>)
confirmed that the sexist culture there went far beyond one excessively
powerful man, with female workers encountering frequent sexual harassment,
objectification and lewd comments from Lasseter and other prominent men at
Pixar. The damning indictment of Pixar's work environment also included
accounts of women being excluded from meetings for being too weak or difficult,
and a persistent double standard in favour of male creatives. The fallout
generated by Lasseter’s downfall has seemingly affected Disney Animation less
than Pixar, because Lasseter was there for a far shorter period of time, and
Disney have not been as closely associated with the chauvinist "boys
club" culture as Pixar. However, the studio still needs to answer numerous
questions about institutionalised sexism. Their progress towards having a
female director (let alone a female Chief Creative Officer) has been <a href="https://www.buzzfeed.com/arianelange/how-women-modernized-the-disney-princess?utm_term=.ojbXw0bNe#.stvQewlBP" target="_blank">slow and difficult</a>. Female animators at the studio were <a href="https://www.buzzfeednews.com/article/arianelange/creative-work-in-connection-with-preparing-the-cartoons" target="_blank">initially excluded</a> from the
animation department for many years, and a woman did not join the story
department until 1987, when Brenda Chapman became a storyboard artist on <b>The
Little Mermaid</b>. Chapman and the other female creatives who have come to prominence
since have played a valuable role in the development of the strong and powerful
female leads who have come to define the Disney brand, but they remain a
relatively small minority in the Disney Animation team, indicating that the
studio has not <a href="https://www.bustle.com/p/walt-disney-animation-pixar-will-be-led-by-a-female-executive-its-a-bigger-deal-than-you-think-9504162" target="_blank">advanced as far</a> from its initial patriarchal approach as they would like
is to believe. </span></div>
<span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Unfortunately, sexual harassment and gender inequality are
not exclusively Disney’s problem. Many other powerful figures in animation have
been exposed as <a href="https://www.hollywoodreporter.com/news/disney-theatrical-chief-thomas-schumacher-accused-harassment-1086952" target="_blank">creeps</a>, <a href="https://www.buzzfeednews.com/article/arianelange/chris-savino-animation-guild-metoo-allegations-nickelodeon" target="_blank">perverts</a> and <a href="https://www.buzzfeednews.com/article/arianelange/john-kricfalusi-ren-stimpy-underage-sexual-abuse" target="_blank">predators</a>, and representation and protection for
women is still insufficient across the animation industry. In 2016, it was
revealed that only 20% of <a href="https://variety.com/2016/biz/news/women-in-animation-heads-charge-to-get-more-females-in-industry-1201696361/" target="_blank">the animation workforce</a> was made up of women (Only
10% were directors and only 17% were writers) and a 2017 <a href="http://documents.latimes.com/animation-open-letter/" target="_blank">open letter</a> denouncing
sexual harassment and misogynistic behaviour pointed out that only 23% of
members of the Animation Guild were women. As wide-ranging as the problem is,
Disney’s status as the oldest and most important power in the animation
industry means that they are under considerable pressure to set a moral example
for all their rivals and imitators. Disney were rightfully criticised for their
<a href="https://deadline.com/2018/06/john-lasseter-leaving-disney-end-of-2018-1202406682/" target="_blank">slow and indecisive </a>response to the allegations against Lasseter, and hiring
Jennifer Lee to replace him could primarily be seen as a means of assuring
protesters that Disney Animation will <a href="https://www.bustle.com/p/walt-disney-animation-pixar-will-be-led-by-a-female-executive-its-a-bigger-deal-than-you-think-9504162" target="_blank">lead the way</a> in providing women with
increased power and influence in the industry. Therefore, Jennifer Lee needs to
deal decisively with the sort of bullying and predatory behaviour which has
been endemic at Disney Animation and other animated studios. Ultimately, this
will be her biggest and most important challenge. We will probably spend ages
debating the quality of the movies Lee produces and directs as Chief Creative
Officer, but if she improves the situation behind the scenes and makes Disney
Animation a more welcoming environment for female staff and advances Disney
Animation towards gender equality, she will have succeeded in becoming a role
model more powerful and significant than any Disney princess. </span></div>
<span style="font-family: inherit;"></span><br />
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<br /></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-16491390338448242922018-07-19T16:13:00.003-07:002018-07-20T11:04:57.063-07:0010 Things Jennifer Lee Needs to do as Disney Animation’s New Chief Creative Officer - Part One<span style="font-family: inherit;"></span><br />
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimmer0sxb69E_NGkTcZFU1PpNpWljXjV4pOKoU0mommyXFVxV6D3eqqKZULfJxxO_bewZStmxKKGaaZM_hNCHiJQ7puCHcnmh7ty9k6pQdSFz8YPLdaTBziye2DODhJVC4RY14EEyATaw/s1600/Dhrx2T_UwAAgGZZ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="579" data-original-width="1024" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimmer0sxb69E_NGkTcZFU1PpNpWljXjV4pOKoU0mommyXFVxV6D3eqqKZULfJxxO_bewZStmxKKGaaZM_hNCHiJQ7puCHcnmh7ty9k6pQdSFz8YPLdaTBziye2DODhJVC4RY14EEyATaw/s320/Dhrx2T_UwAAgGZZ.jpg" width="320" /></span></a></div>
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<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">After Disney Animation and Pixar’s disgraced chief creative
officer John Lasseter announced his resignation <a href="https://www.hollywoodreporter.com/news/john-lasseter-exit-disney-at-end-year-1069547" target="_blank">last month</a>, Disney were quick
to confirm <a href="https://www.hollywoodreporter.com/heat-vision/pete-docter-jennifer-lee-lead-pixar-disney-animation-1121432" target="_blank">his replacements</a>. Pete Docter, the director of <b>Up</b> and<b> Inside Out</b>, is
replacing Lasseter at Pixar, whilst <b>Frozen</b> director Jennifer Lee is taking over
as Chief Creative Officer at Disney Animation. Pete Docter is a safe and
reliable choice, but Jennifer Lee is a much bigger risk, and her appointment is
far more interesting. Coverage of the change in leadership has focused on the
extent of Lasseter’s misconduct and the need to clean up the toxic culture at Disney
and Pixar. In spite to this, Lee's appointment is a real cause for celebration, as it is incredibly significant to see a woman take charge
of one of the oldest and most iconic animation studios in the world.</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Although most of us are really pleased to see Lasseter go, (his
behaviour has gone against everything Disney is meant to stand for), there is
no denying that he did an excellent job as Disney Animation’s Chief Creative
Officer. When he arrived in 2006, Disney was trying to recover from the failure
of movies like <b>Home on the Range</b> and <b>Chicken Little</b>, but within a decade, they
were providing megahits like <b>Wreck-It-Ralph</b>, <b>Frozen</b>, <b>Zootropolis</b> and <b>Moana</b>,
reasserting their status as the most successful animation studio in the world. In
many ways, Lee simply has to continue the formula which made Lasseter’s movies
so successful, minus <a href="https://www.hollywoodreporter.com/features/he-who-not-be-named-can-john-lasseter-ever-return-disney-1105297" target="_blank">the bullying</a> and <a href="https://deadline.com/2017/11/john-lasseter-behavior-pixar-disney-1202213821/" target="_blank">sexual harassment</a> which went on behind the
scenes. However, she also has a golden opportunity to create change and make
Disney Animation into a more diverse and innovative studio. </span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">This article is so big that it will be separated into two
parts. The first part will focus on the films themselves, and the approach Jennifer
Lee should take to stories and characterisation as she seeks to maintain the
winning blend of old and new which has defined Disney’s recent revival. The second
part will focus on dealing with fans and critics, encouraging new talent, and most
important of all, ensuring that Disney Animation moves on from the scandals
which have undermined the reputation of the company.</span><br />
<br /></div>
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<b></b></div>
<div style="margin: 0px 0px 10.66px;">
<b><u>
(Note: This post contains spoilers for Frozen and Zootropolis...)</u></b><br />
<b><u><br /></u></b>
<b><u><br /></u></b></div>
<h3>
<u>
10 Things Jennifer Lee Needs to do as Chief Creative Officer - Part One</u></h3>
<span style="font-family: inherit;"></span><b></b><u></u><u></u><b></b><b></b><b></b><br />
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<u><span style="font-family: inherit;"><b>1. Focus on the Women</b></span></u></div>
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<u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span></u></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Lasseter’s resignation marks the third time Disney animation
has lost an all-powerful and consistently successful creative head. When Walt
Disney died in 1966 and Jeffrey Katzenberg was fired in 1994, Disney Animation
entered major creative slumps which left the studio under threat of becoming
irrelevant. Without Disney and Katzenberg, the studio lacked direction, and their
attempts to move away from the classic fairy tale formula merely alienated
their traditional audience. That said, Jennifer Lee has one key selling point
which should ensure she does not repeat that same mistake – most of us expect
her to take Disney Animation in a specific direction. It would be unwise (and
possibly sexist) to imply that the first female Chief Creative Officer at
Disney should focus entirely on female-led projects. However, Jennifer Lee is
in a great position to encourage the development of new female characters and
the emergence of new female writers and animators. In addition to Lee, women like
<a href="https://www.imdb.com/name/nm0962596/" target="_blank">Pamela Ribbon</a> and <a href="https://www.imdb.com/name/nm0534041/" target="_blank">Lauren MacMullan</a> have played significant roles in Disney
Animation’s recent hits, and it would be great if they were allowed to enjoy their
moment in the spotlight. Emphasising female talent should give Disney Animation
a clear vision and strategy under Lee, and this will make it easier to provide
exciting and appealing movies…</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Lee should also build on the iconic status of Disney’s
existing library of female characters. Although adventure films with male leads
(like <b>Aladdin</b>, <b>The Lion King</b>, <b>Tarzan</b> and <b>Wreck-It Ralph</b>) will always be an integral
part of the Disney Animated canon, Disney’s princesses have usually been the
most important (and profitable) characters provided by the studio. In fact,
advertisements for <b>Ralph Wrecks the Internet</b> (Formerly <b>Wreck It Ralph 2</b>) have
extensively promoted a scene where we get to meet all the Disney Princesses
from Snow White to Moana. In 2012, the year the first <b>Wreck-it</b> <b>Ralph</b> movie was
released, Disney Princess toys had generated <a href="https://www.forbes.com/sites/jennagoudreau/2012/09/17/disney-princess-tops-list-of-the-20-best-selling-entertainment-products/#65aa6524ab06" target="_blank">$3 billion</a> worldwide. Today, this revenue
is probably far greater, and when you consider the sales for <b>Frozen</b> and <b>Moana</b> merchandise
(Anna, Elsa and Moana are not officially listed as Disney Princesses, but they
are considered part of this line-up by many fans) it becomes clear that Disney’s
female leads are a total merchandising goldmine. For the most part, female
protagonists are still a relative rarity in animated movies, but the Disney Princesses
provide the most notable exception to this, as the most iconic and visible
female leads in the genre. However, Disney Animation do not need to rely
exclusively on one type of film. In addition to directing Frozen, Jennifer Lee
co-wrote the recent Disney smash <b>Zootropolis</b>. This movie traded the historical
fantasy of Disney Princess stories for a gritty modern setting, whilst keeping many
of the tropes which have defined these movies in the past decade (Strong female
lead, buddy adventure dynamic, self-referential humour, surprise villains). The
Revival-era approach of alternating between Princess stories and more modern
adventures has allowed Disney to provide their signature stories on a regular
basis whilst preventing them from getting too tedious. With experience working
on both types of tale, Jennifer Lee is well placed to continue balancing fairy
tale tradition with stories which take Disney Animation in a variety of new
directions, whilst maintaining the emphasis on strong female representation. </span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<u><span style="font-family: inherit;"><b>2. Start Trends, Don’t Follow Them</b></span></u></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlnWGvfa8hnO2x7l16UPAqa5yFvAYOnGobJ5qMJFA-aUYD1zFao87DiNANsCs2lucP1vsCKeTFwR_rxDxuMMli8anJU7_5jdCcnblr2gKC5QXmN4hOT2QFLooUQw6R8jYkHFmPcCbVHQ/s1600/wanted_wide-a4a868cedd4484b6dcf460cff2294a135f816733.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="563" data-original-width="1000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlnWGvfa8hnO2x7l16UPAqa5yFvAYOnGobJ5qMJFA-aUYD1zFao87DiNANsCs2lucP1vsCKeTFwR_rxDxuMMli8anJU7_5jdCcnblr2gKC5QXmN4hOT2QFLooUQw6R8jYkHFmPcCbVHQ/s320/wanted_wide-a4a868cedd4484b6dcf460cff2294a135f816733.jpg" width="320" /></span></a></div>
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<u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span></u></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The failures of movies like <b><a href="http://www.boxofficemojo.com/movies/?id=blackcauldron.htm" target="_blank">The Black Cauldron</a></b> and <b><a href="http://www.boxofficemojo.com/movies/?id=treasureplanet.htm" target="_blank">Treasure Planet</a></b> illustrates the fact that Disney are usually not very good at following contemporary trends. It takes years to create an animated film, and a style popular and
relevant when production starts can become painfully dated by the time it is
released. The best way of demonstrating this is by examining the films which
Disney Animation were providing at the turn of the millennium. At the time,
animation studios were trying to make their movies more ‘adult’ and appeal to
the stereotypically masculine audience for action blockbusters. Although movies
like <b><a href="http://www.boxofficemojo.com/movies/?id=titanae.htm" target="_blank">Titan AE</a></b> and <b><a href="http://www.boxofficemojo.com/movies/?id=roadtoeldorado.htm" target="_blank">The Road to Eldorado</a></b> underwhelmed at the Box Office, Disney persevered
regardless, and this led to the failures of <b><a href="http://www.boxofficemojo.com/movies/?id=atlantis.htm" target="_blank">Atlantis</a></b> and <b>Treasure Planet</b>. It is
probably not a coincidence that Disney’s most successful movie of the early
2000’s was <b><a href="http://www.boxofficemojo.com/movies/?id=lilostitch.htm" target="_blank">Lilo and Stitch</a></b>, which did not adhere to this overly masculine
approach. This movie was boosted by a <a href="https://www.youtube.com/watch?v=ru0UqJ6xM60" target="_blank">marketing campaign</a> which inserted the destructive
alien Stitch into several recent Disney hits, paying tribute to the iconic
nature of movies such as <b>Beauty and the Beast</b> and <b>Aladdin</b> at a time when the
studio seemed to be turning its back on these.</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Eventually, Disney Animation’s decision to defy conventions and create a new distinctive style would lead to their resurgence. During the
2000’s, the dominance of the <b>Shrek</b> movies led to numerous attempts to copy
their irreverent parodies of classic fairy tales. Initially, Disney wanted to
emulate them with a film called <b>Rapunzel Unbraided</b>, a modern and silly take on
the famous Brothers Grimm story <b>Rapunzel</b>. For <a href="https://books.google.co.uk/books?id=nKV6DQAAQBAJ&pg=PA146&lpg=PA146&dq=rapunzel+unbraided+squirrel&source=bl&ots=C8THMEwDwW&sig=536dvG9B3bXlCildm4Eh0f8tWC8&hl=en&sa=X&ved=0ahUKEwj19dW60KPcAhWJJ8AKHSuEATEQ6AEIfjAU#v=onepage&q=rapunzel%20unbraided%20squirrel&f=false" target="_blank">this adaptation</a>, a pair of
ordinary Americans would be sucked into the fairy tale after a witch turns
Rapunzel into a squirrel. However, Disney Animation eventually rejected this in
favour of <b>Tangled</b>, a straightforward and reasonably faithful (though still
comedic) adaptation of the well-known fairy tale. <a href="http://www.boxofficemojo.com/movies/?id=rapunzel.htm" target="_blank">The success</a> of <b>Tangled</b> proved
that it was possible to maintain the classic Disney style in the more cynical
modern age, and this inspired Disney Animation to establish the traditional but
also subversive new approach which would define the films of their ‘Revival’
period.</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Following Disney’s dominance in the During the 1990s,
animation studios bent over backwards to copy the successful recipe of the
Disney Renaissance films. Films like <b>Ferngully: The Last Rainforest</b>, <b>Thumbelina</b>,
<b>Quest for Camelot</b> and <b>Anastasia</b> aimed to emulate the assertive female leads,
colourful sidekicks, intimidating villains and catchy songs to varying degrees
of success. Though they have acquired large fandoms in recent years (<b>Anastasia</b>
has become a popular <a href="https://www.show-score.com/broadway-shows/anastasia" target="_blank">Broadway Musical</a>, whilst <b>Quest for Camelot</b> gave us the
iconic Classical Crossover song ‘<a href="https://www.youtube.com/watch?v=o3KKQc5EqiM" target="_blank">The Prayer’</a>) these films were <a href="https://www.nytimes.com/1997/11/09/movies/after-the-revolution-comes-anastasia-the-cartoon.html" target="_blank">widely</a>
<a href="https://www.rottentomatoes.com/m/quest_for_camelot/" target="_blank">criticised</a> for their derivative nature. This contributed to fatigue with the
Disney Renaissance formula, which led to their movies falling out of fashion.
The films of Pixar and Dreamworks provided a clear alternative, but they soon
became overwhelmed by imitators as well. However, there is a greater diversity
today, with numerous rival studios having different styles. Some may specialise
in specific genres (comedy for Illumination, adventure for Dreamworks) or
specific forms of animation (the stop-motion of Laika) but they all ensure that
studios have a unique selling point with less need to chase trends.<span style="margin: 0px;"> </span>In this environment, it is necessary for
Jennifer Lee to preserve a distinctive approach whilst also updating it enough
to remain fresh and appealing.</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<u><span style="font-family: inherit;"><b>3. Preserve Links to the Past</b></span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbNjYjpaQptk5h8wLNPsA4GgQEibbV6rTA2gzvjHnPeqxLcPbbf7JBI92q1GzgKFIddbAvwzhhRK6uIJVhpVobWMKjQm_drvyQw-7CRlJoEDa76mblrZWYWrae0qdgIe6XBznJYro-wHU/s1600/t1larg.princess.disney.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="360" data-original-width="640" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbNjYjpaQptk5h8wLNPsA4GgQEibbV6rTA2gzvjHnPeqxLcPbbf7JBI92q1GzgKFIddbAvwzhhRK6uIJVhpVobWMKjQm_drvyQw-7CRlJoEDa76mblrZWYWrae0qdgIe6XBznJYro-wHU/s320/t1larg.princess.disney.jpg" width="320" /></span></a></div>
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<u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span></u></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Disney have been most successful when drawing on their
reputation for providing magical and escapist fairy tales. When he took over at
Disney Animation, John Lasseter made no secret of the fact that he wanted to
return the studio to its roots. He greenlit <b>The Princess and the Frog</b>, the
first hand-drawn Disney film in half a decade and brought back <a href="https://www.awn.com/news/comic-con-sees-stars-2d-officially-back-disney" target="_blank">several writers and animators</a> who had left the studio or been forced out during the shift to
CGI. In an interview in 2009, he claimed that it was “ridiculous” to dismiss 2D
movies as old-fashioned and attributed their demise to “<a href="https://www.theguardian.com/film/filmblog/2009/jan/16/bolt-pixar-disney" target="_blank">bad storytelling</a>”, also
promising that Disney would return to releasing traditionally animated films on
a regular basis. Unfortunately, this did not occur and the experiment with
traditional animation formally ended in 2013, when numerous animators <a href="https://www.cartoonbrew.com/disney/breaking-disney-just-gutted-their-hand-drawn-animation-division-81043.html" target="_blank">were laid off</a> and Disney president Bob Iger announced that the studio were <a href="https://www.theguardian.com/film/2013/mar/07/disney-hand-drawn-animation" target="_blank">no longer creating</a> any new hand-drawn films. However, many of the Disney veterans who
returned during this period, including <a href="https://www.imdb.com/name/nm0118333/" target="_blank">Chris Buck</a>, <a href="https://www.imdb.com/name/nm0166256/" target="_blank">Ron Clements</a> and <a href="https://www.imdb.com/name/nm0615780/" target="_blank">John Musker</a>,
stayed to work on the CGI films. Collaborating with newer directors and
screenwriters like <a href="https://www.imdb.com/name/nm1601644/" target="_blank">Jennifer Lee</a>, <a href="https://www.imdb.com/name/nm2320658/" target="_blank">Don Hall</a> and <a href="https://www.imdb.com/name/nm0930261/" target="_blank">Chris Williams</a>, they lent their experience
to the creation of megahits like <b>Frozen</b> and <b>Moana</b>. This encouraged the combination
of old storytelling and new ideas which allowed these films to be so popular. </span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">Demands for hand-drawn animation have remained persistent,
but this classic form of filmmaking has failed to make much of an impact in an
era dominated by technological advances. After <b><a href="http://www.boxofficemojo.com/movies/?id=princessandthefrog.htm" target="_blank">The Princess and the Frog</a>
</b>struggled in a competitive Winter 2009 season dominated by motion-capture 3D
epic <b><a href="http://www.boxofficemojo.com/movies/?id=avatar.htm" target="_blank">Avatar</a></b>, Disney Animation dropped the traditional 2D animated style (with
the exception of 2011’s widely overlooked <b>Winnie the Pooh</b> reboot), with the classic
Disney approach being applied to the stories rather than the techniques used to
create them. However, traditional animation has not been discarded entirely, as
the 2012 short <b>Paperman</b> received acclaim for its use of <a href="https://www.indiewire.com/2012/10/hiff-review-disneys-2d-3d-animated-paperman-a-romantic-inventive-short-250934/" target="_blank">new technology</a> to place
2D faces and items into a 3D environment, whilst <b>Moana</b> used <a href="https://www.hollywoodreporter.com/behind-screen/how-moanas-animators-brought-a-tattoo-life-950985" target="_blank">traditional drawing</a>
to depict Maui’s living tattoo Mini Maui. Today, traditional animation is
widely seen as being too old fashioned, with only smaller and more independent
studios such as <a href="https://www.fastcompany.com/40497147/how-an-irish-animation-studio-tackled-the-taliban-in-the-breadwinner" target="_blank">Cartoon Saloon</a> and <a href="https://www.indiewire.com/2017/12/birdboy-the-forgotten-children-animated-fable-oscars-1201906775/" target="_blank">GKIDS</a> continuing to use it. However, the acclaim
they have earned has firmly proved that 2D films are now synonymous with high
quality and have entirely lost their reputation for mediocrity. If Jennifer Lee
wants to take a risk and increase Disney’s artistic credibility, then providing
one of two traditional animations to accompany the now-standard CGI movies would
be a good idea.</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
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<u><span style="font-family: inherit;"><b>4. Take Risks</b></span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgykP1e0ELe5pcL0YgeLKer2luIWgHn6XwzdloUwCDX6dRTGQ0rnlQojzyBcRAqAVII6-FDjuCzDyBlIBNugEG86ZXTrbJxD_zu9R-WLpMEB1iAaJoqx5IQfyJnnIk8snCX4myfE3hGIl0/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="863" data-original-width="1059" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgykP1e0ELe5pcL0YgeLKer2luIWgHn6XwzdloUwCDX6dRTGQ0rnlQojzyBcRAqAVII6-FDjuCzDyBlIBNugEG86ZXTrbJxD_zu9R-WLpMEB1iAaJoqx5IQfyJnnIk8snCX4myfE3hGIl0/s320/maxresdefault.jpg" width="320" /></span></a></div>
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<u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span></u></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The movie which allowed Jennifer Lee to take power at Disney
Animation after just seven years with the studio was undoubtedly <b>Frozen</b>, which
is still the <a href="http://www.boxofficemojo.com/movies/?id=frozen2013.htm" target="_blank">most successful</a> Disney Animation film of all time. <b>Frozen</b> became
such a unique hit because it unafraid to take risks and subvert the traditional
template, with the traditional romantic certainties of Disney Princess films
being challenged and defied as Anna and Elsa’s relationship takes centre stage.
Although some Disney films (such as <b>The Little Mermaid</b> and <b>Enchanted</b>) had pointed
out the problems with 'True Loves Kiss' before, <b>Frozen</b> was the first to clearly demonstrate
that the bond between sisters is more powerful and important. One of the most
controversial twists in <b>Frozen</b> – and one of the twists most central to this message
- is the reveal that the seemingly friendly and supportive Prince Hans has
actually been a manipulative scheming villain for the whole movie. Regardless of
your opinions on the character and the way the twist is handled (It is probably
better in concept than in practise), you must admire Jennifer Lee for taking
such a provocative approach. ‘Prince Charming’ turning out to be a horrible
person or outright villain is hardly new in the fairy tale genre (see <b>Into the
Woods</b> and the <b>Shrek</b> sequels), but as those well-known examples are primarily
comedic, it is rare to see this trope played for both drama and shock value. Jennifer
Lee did not just dismantle the image of a nauseatingly perfect Prince Charming
who will solve all your problems, she actively dynamited it, and this is the sort
of bold attitude which should be encouraged from a studio which has become
synonymous with overly safe and sanitised fairy tales. <b>Frozen</b>’s bold and subversive
approach made it an iconic hit, but Jennifer Lee cannot continue recycling its winning
formula indefinitely. This is most apparent when you compare <a href="https://www.rottentomatoes.com/m/frozen_2013/" target="_blank">the acclaim</a> the
film received to the <a href="https://www.show-score.com/broadway-shows/anastasia" target="_blank">considerably cooler</a> reception given to the new Broadway
version, written (but not directed) by Lee. With the exception of some
structural and cosmetic changes, the Broadway adaptation of <b>Frozen</b> stays close to the
template of the film, but a narrative which was so bold and interesting in 2013
lost a lot of its spontaneity after almost half a decade. We have enjoyed Anna
and Elsa’s initial adventures enough times – now Lee needs to venture into
unknown territory, whether by giving Anna and Elsa new stories or creating new
heroes for audiences of all ages.</span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<u><span style="font-family: inherit;"><b>5. Provide Original Films</b></span></u></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRukic024dc4GUWDXDtYhj-190CpFaSVmZ66K3yrrDIhHFPKFX3R_f6e9X5i-42TyvpEr6F2CTGEMpBLWOj_r6J9VruldBDsUTQVt8XRqsEkmP4lM7upChd5StVHZA6uWrz5Bx70hTzek/s1600/476149926e2a4c45d46bc3b169eea549.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="757" data-original-width="1032" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRukic024dc4GUWDXDtYhj-190CpFaSVmZ66K3yrrDIhHFPKFX3R_f6e9X5i-42TyvpEr6F2CTGEMpBLWOj_r6J9VruldBDsUTQVt8XRqsEkmP4lM7upChd5StVHZA6uWrz5Bx70hTzek/s320/476149926e2a4c45d46bc3b169eea549.jpg" width="320" /></span></a></div>
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<u><span style="font-family: "calibri";"><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br /></span></u></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">With <b>Ralph Wrecks the Internet</b> and<b> Frozen 2,</b> Disney Animation are trying to turn their recent hits into full franchises. </span></span></span></span></span><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">However, focusing too much on a handful of iconic brands would be an unwise
approach. Pixar’s decline since 2010 has been heavily tied to their
overreliance on sequels. Most of these movies were very good (with the conspicuous exception of <b>Cars 2</b>), but Pixar were
previously known for their bold and innovative approach, so films set in a
familiar world with familiar characters inevitably seem like a downgrade most
of the time. This has also affected Disney Animation as well. Disney Animation
fans are anxious about sequels, in no small part due to the widely criticised
direct to video sequels to Disney Animation classics created by DisneyToon
studios between the mid 1990s to the mid 2000s (This group of movies ranges
from <b>Bambi 2</b> to <b>Brother Bear 2</b>). Disney Animation themselves have not done many
sequels, but <b>Ralph Wrecks the Internet</b> and <b>Frozen 2 </b>mark the first time the
studio has done two sequels in consecutive years, and here have also been
rumours of a sequel to <b>Zootropolis</b>. The occasional sequel is not a problem, but
greenlighting several in quick succession whilst delaying and <a href="https://www.hollywoodreporter.com/heat-vision/disney-shelves-jack-beanstalk-film-gigantic-1047482" target="_blank">eventually cancelling</a> the original animated project <b>Gigantic</b> has sent the message that
Disney Animation are actively prioritising sequels at the expense of new
projects. This approach is unnecessary, as Disney franchises can continue
outside of film, with <b>Big Hero 6 </b>and <b>Tangled</b> being turned into <a href="https://fairytalefanboy.blogspot.com/2018/06/tangled-series-first-season-reviews-and.html" target="_blank">perfectly serviceable</a> TV series. Therefore, Jennifer Lee should be free to focus on
greenlighting new work. In addition, she should consider resurrecting discarded
projects – After all, the decision to take long-gestating fairy tale films out
of development hell led to <b>Tangled</b> and <b>Frozen</b>…</span></span></span></span></span></span></div>
<span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><span style="font-family: inherit;"></span><br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: inherit;">The pivot towards sequels may have been encouraged by the
sense that Disney has already adapted the majority of children’s stories.
However, there are numerous fairy tales, myths and legends all over the world which
would be ideal for the studio, including several with strong and compelling
female leads. The Norwegian fairy tale <b><a href="https://www.pitt.edu/~dash/norway034.html" target="_blank">East of the Sun and West of the Moon</a></b>
gender flips the archetypal fairy tale plot by depicting a girl going on an
adventure to rescue a prince from a villainous troll. <b><a href="http://www.pitt.edu/~dash/grimm049.html" target="_blank">The Six Swans</a></b> features a
tenacious heroine who overcomes a variety of obstacles to free her brothers
from a curse. The Icelandic fairy tale <b><a href="http://www.sacred-texts.com/neu/lfb/cr/crfb33.htm" target="_blank">The Horse Gullfaxi and the Sword Gunnfoder </a></b>subverts one of the most infamous fairy tale tropes by featuring a
loving and heroic stepmother as one of the protagonists. These three stories
alone could provide Disney Animation with at least 5 further years of success
and popularity, and this is before we consider thousands of other fairy tales
which have been told for centuries. There is no shortage of material to turn
into hit films, and Jennifer Lee needs to be open to greenlighting new films
and new ideas to take advantage of this. In the statement she made when her new
role was confirmed, Lee stated that “<a href="https://www.thewaltdisneycompany.com/walt-disney-and-pixar-animation-studios-name-chief-creative-officers/" target="_blank">telling original stories</a>” was one of her primary
aims. Hopefully, these stories will build on Disney Animation’s past hits, allowing
the studio to evolve and provide entertainment </span><span style="font-family: inherit;">which can resonate with today’s
audiences whilst also inspiring and enchanting future generations. </span></div>
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<br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-size: large;">(Part Two of this Article Will Follow Soon...)</span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "calibri";"></span>Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1tag:blogger.com,1999:blog-5414251166201648982.post-27912156513078407162018-06-23T18:50:00.000-07:002018-06-24T06:35:08.735-07:00Tangled the Series – First Season Reviews and Second Season Previews<div class="MsoNormal">
<b><u><span style="font-size: medium;">(Note: This article contains plenty of spoilers for Tangled:
The Series)</span></u></b><br />
<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.comingsoon.net/assets/uploads/2018/05/tangledadvnt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.comingsoon.net/assets/uploads/2018/05/tangledadvnt.jpg" data-original-height="450" data-original-width="800" height="180" width="320" /></a></div>
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Last year, <b>Tangled: The Series</b>, a follow-up to Disney’s 2010
animated hit <b>Tangled</b>, premièred on the Disney Channel, allowing Rapunzel, the
lost princess of Corona, and former bandit Eugene Fitzherbert (previously known as Flynn
Rider) to go on further adventures. The series picks up where the film left
off, as Rapunzel and Eugene adjust to life in Corona, and Rapunzel’s new handmaiden
Cassandra becomes a feisty new sidekick for the princess. However, things get
complicated when Rapunzel comes across magical rocks which cause her long and
magical blond hair (cut off at the end of <b>Tangled</b>) to return. The first season
ended with the rocks destroying the walls of Corona, and King Frederic allowing
Rapunzel and her friends to leave the kingdom in order to find out more about these
rocks and their mysterious powers. The second series will continue from here,
with Rapunzel getting to explore the world outside of Corona.<o:p></o:p></div>
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The ratings for the first series, whilst not spectacular, remained
<a href="http://www.showbuzzdaily.com/articles/showbuzzdailys-top-150-friday-cable-originals-network-finals-3-24-2017.html" target="_blank">reasonably</a> <a href="http://www.showbuzzdaily.com/articles/showbuzzdailys-top-150-saturday-cable-originals-network-finals-1-13-2018.html" target="_blank">consistent </a>in spite of some horrific scheduling. After six episodes,
the series went on a three-month hiatus, and then moved to a Sunday <a href="http://www.showbuzzdaily.com/articles/showbuzzdailys-top-150-sunday-cable-originals-network-finals-7-23-2017.html" target="_blank">prime time</a>
slot (putting it in direct competition with the iconic <b>Game of Thrones</b>). For
the last few episodes, the show was shifted from Sunday evenings to <a href="http://www.showbuzzdaily.com/articles/showbuzzdailys-top-150-saturday-cable-originals-network-finals-11-25-2017.html" target="_blank">Saturday mornings</a>,
which made it difficult for the shows older fanbase to access it. In spite of
this, <b>Tangled: The Series</b> has maintained a loyal and highly enthusiastic audience,
gaining <a href="https://www.thewaltdisneycompany.com/disney-receives-35-annie-award-nominations/" target="_blank">three nominations</a> at the Annie Awards and winning a <a href="https://deadline.com/2018/04/daytime-creative-arts-emmy-awards-winners-2018-list-1202378665/" target="_blank">Daytime Emmy</a>. As a
result, <b>Tangled: The Series</b> has been renewed for a second season, but it has now
been renamed <b>Rapunzel’s Tangled Adventure</b> (more on this later) and will now air
on <a href="https://www.hollywoodreporter.com/live-feed/tangled-starring-mandy-moore-renewed-at-disney-channel-new-name-1115914" target="_blank">Sunday mornings</a>, starting from this weekend. The series will begin with an hour-long episode called ‘Beyond
the Corona Walls’, which will feature brand new songs and start an epic new
adventure for Rapunzel. <o:p></o:p></div>
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<b><u><span style="font-size: large;">The New Title</span></u><o:p></o:p></b><br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://vignette.wikia.nocookie.net/disney/images/3/33/Rapunzel's_Tangled_Adventure_logo.jpg/revision/latest?cb=20180531161614" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="634" data-original-width="800" src="https://vignette.wikia.nocookie.net/disney/images/3/33/Rapunzel's_Tangled_Adventure_logo.jpg/revision/latest?cb=20180531161614" /></a></div>
<b><br /></b></div>
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<b><br /></b></div>
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For its second series, the title of <b>Tangled: The Series</b> been
changed to <b>Rapunzel's Tangled Adventure</b>. It’s a bit jarring to see the title get
changed, but the new name still makes it clear that this show centres on
Rapunzel and is part of the <b>Tangled </b>universe. There are both advantages and
disadvantages with this new title. It makes it clear that Rapunzel is the main
character and her coming-of-age is the central focus of the show. It also
implies that the adventure elements of the series (which have always been its
strongest aspects) will take centre stage, allowing for a more and consistent
tone. However, the new title also seems juvenile and generic, with an
uncomfortably close resemblance to the title of the widely criticised <b>Frozen</b> Christmas
special <b>Olaf's Frozen Adventure</b>. There is also a risk that an excessive focus on
Rapunzel could distract from the other leads. When <b>Tangled </b>gained its title (it
had initially been called Rapunzel before being controversially renamed late in
production), the filmmakers claimed this was because Eugene was as much of a protagonist
as Rapunzel. The idea that the <b>Tangled </b>brand is bigger than a single princess
has also informed <b>Tangled: The Series</b> to an extent. During the first season,
there were numerous episodes centred on Eugene or Cassandra, with Rapunzel playing
a secondary role (there were even episodes where animal sidekicks Pascal and
Maximus were the leads). Rapunzel is an interesting character, but so are her
friends, so putting them in the background might be a problem. Nonetheless, the
new title will not be too much of a hindrance if the stories remain interesting
and the characters remain likeable and engaging. Regardless of the title, a series
centred on Rapunzel and Eugene will hopefully remain an entertaining show. <o:p></o:p></div>
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<div class="MsoNormal">
<b><u><span style="font-size: large;">A Quick Review</span></u><o:p></o:p></b><br />
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://i0.wp.com/nerdsloth.com/wp-content/uploads/2018/02/tangled-smcb.jpg?fit=741%2C486" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="741" height="209" src="https://i0.wp.com/nerdsloth.com/wp-content/uploads/2018/02/tangled-smcb.jpg?fit=741%2C486" width="320" /></a></div>
<b><br /></b></div>
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<b><br /></b></div>
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<b>Tangled: The Series</b> is generally great entertainment for
fans of the original movie, and even those with little interest in that film will
find plenty of merit in it. Disney series are aimed at a younger and narrower
audience than Disney films, so they tend to be lighter, softer and less
sophisticated than the original movie. However, the first season of <b>Tangled: The Series </b>has plenty of darker and more mature moments, which elevate it above
conventional Disney Channel fare. Rapunzel’s experiences being imprisoned in a
tower for 18 years have clearly had a significant effect on her psychology, and
her two signature traits – her obsession with exploring and need to be liked – can
be closely linked to her awful childhood. In two episodes, Rapunzel has to
revisit the tower, and it is clear that this is quite traumatic for her. This
dark undercurrent does not overshadow the character’s upbeat and fun
personality, but it adds an unsettling layer which is more likely to be
understood by adults. In addition, there is some welcome emphasis on the
pressures and responsibilities Rapunzel faces as a royal, ensuring that the
show has more depth than the traditional princess wish-fulfilment fantasy. <o:p></o:p></div>
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<a href="https://i.ytimg.com/vi/QPhgwypIAYs/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="240" src="https://i.ytimg.com/vi/QPhgwypIAYs/hqdefault.jpg" width="320" /></a></div>
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As well as having appealing characters and interesting
storylines, <b>Tangled: The Series</b> also contains plenty of genuinely impressive
animation. The 2D storybook-inspired style may seem fairly primitive compared
to the detailed CGI animation of the original film, but the characters remain
as expressive as ever, and the bright colours make the series feel like a
recognisable part of the Tangled universe. The action sequences are fluid and
often impressive, although there are some distracting uses of blocky CGI more
suited to an animated series from 1997 than one from 2017. In addition to the
lively animated style, there have been some more unusual touches with have enhanced
the fairy tale identity of the show. One episode featured a story being told
with illustrations from a <a href="https://www.youtube.com/watch?v=jrrd7h9LphM" target="_blank">pop-up book</a>, (which were filmed in stop-motion), and
concluded with a scene where the shadows of Cassandra and the
villain-of-the-week <a href="https://www.youtube.com/watch?v=w91ZczxqRIQ" target="_blank">were projected</a> on the sides of a hot-air balloon as they
duelled inside. Meanwhile, the final episode featured a <a href="https://www.youtube.com/watch?v=KMTJSC7r9_I" target="_blank">flashback sequence</a> told
through mosaics. The interesting storylines, themes and visuals confirm that
<b>Tangled: The Series</b> is willing to be creative and take risks, and this ensures
that older audiences can enjoy it as much as the children.<o:p></o:p></div>
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However, <b>Tangled: The Series</b> has plenty of flaws, many of
which stem from the fact that it tends to alternate between adventure and
comedy without combining the two as well as the original film. The central plot
arc, involving the growth of the mysterious black rocks, was neglected for long
stretches in favour of sitcom antics. Furthermore, the portrayal of the lead
characters could be somewhat erratic, with comedic episodes often exaggerating
the worst aspects of Rapunzel, Eugene and Cassandra in order to gain cheap
laughs. However, it is worth enduring the filler to get to the interesting
material. Overall, <b>Tangled: The Series</b> is a pretty solid continuation of the
Tangled franchise, and it seems like it will still be worth watching when it becomes <b>Rapunzel's Tangled Adventure</b>. <o:p></o:p></div>
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<b><u><span style="font-size: large;">The Cast </span></u><o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.animationmagazine.net/wordpress/wp-content/uploads/rapunzels-tangled-adventure-post4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.animationmagazine.net/wordpress/wp-content/uploads/rapunzels-tangled-adventure-post4.jpg" data-original-height="349" data-original-width="620" height="180" width="320" /></a></div>
<b><br /></b>
<b><br /></b></div>
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It goes without saying that Rapunzel and Eugene will return,
with Mandy Moore and Zachary Levi continuing to bring <b>Tangled</b>’s core duo to
life. They are a lively and likeable pair of protagonists and it is fun to see
their journey towards the inevitable wedding. The pub thugs at the Snuggly
Duckling will accompany them on their adventures, literally putting their tavern
on wheels and taking it on their adventures with them. Cute animal sidekicks Pascal
and Maximus are also there to provide Rapunzel and Eugene with extra support. The
fact that are protagonists are moving away from Corona means that the supporting
characters from the first season will mostly be absent from this one. It is
doubtful that the quirky denizens of Corona will return in any major capacity,
as the mysterious blacksmith Xavier (voiced by Adewale Akinnuoye-Agbaje) is the
only one with a real role in the larger storylines. Rapunzel’s parents will
also have a significantly reduced role, but Rapunzel’s growing maturity could
lead to interesting changes in her relationship with them. Last season, King
Fredric (voiced by Clancy Brown) was generally defined by the tiresome ‘overprotective
father’ tropes, and his stifling attempts at keeping Rapunzel safe could get
pretty annoying. Hopefully, he will be allowed to become a more unique and
likeable character, and it would also be great if the underused Queen Ariana
(Voiced by Julie Bowen) gained more opportunities to come into her own.<o:p></o:p></div>
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<br /></div>
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However, for all of the characters who may be absent, the
three strongest additions to the <b>Tangled</b> cast will definitely be back for more
adventures. Cassandra (Voiced by Eden Espinosa) is going to get more
opportunities to fight for Rapunzel and friends after leading Corona into
battle at the end of the last season. Eugene’s childhood friend Lance Strongbow
(Voiced by James Monroe Iglehart) has joined the pub thugs, which will probably
allow him a larger role in the series. Finally, fan-favourite villain Varian
(Voiced by Jeremy Jordan) will be back, still looking for revenge on Rapunzel
and a means to free his father Quirin from the crystal prison created by the
black magic of the rocks. It will be fun to see how these three characters
evolve in this season.<o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://vignette.wikia.nocookie.net/disney/images/5/5b/Rapunzel's_Tangled_Adventure_6.png/revision/latest?cb=20180619182850" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="800" height="179" src="https://vignette.wikia.nocookie.net/disney/images/5/5b/Rapunzel's_Tangled_Adventure_6.png/revision/latest?cb=20180619182850" width="320" /></a></div>
<br /></div>
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<br /></div>
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A variety of <a href="http://www.thefutoncritic.com/news/2018/05/31/rapunzels-tangled-adventure-a-new-chapter-of-disney-channels-tangled-the-series-starring-mandy-moore-and-zachary-levi-premieres-sunday-june-24-94003/20180531disney01/" target="_blank">new characters</a> will be added in this series,
with many of them being female. Two of the most interesting are Madam Carnadist,
a mysterious figure seen in a teaser at the end of last season, and Stalyan,
Eugene’s ex-fiancée. Carnadist is voiced by stage and screen veteran Carol
Kane, whilst Stalyan is voiced by Yvonne Strahovski. Strahowski’s role is especially
significant for fans of the action comedy series <b>Chuck</b>, as she starred opposite
Zachary Levi as the female lead. Both characters seem like they will cause
significant trouble for Rapunzel and friends, but they will hopefully be given
the depth and nuance needed to make them appealing and memorable.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The up and coming Lil Rel Howery will star as a character
called Goodberry, and Britt Robertson is voicing a new teenage character called
Vex. B-Movie icon Bruce Campbell has been cast as the ‘bizarrely charming’ King
Edmund, whilst former James Bond Timothy Dalton (another actor who had a
central role in <b>Chuck</b>) will voice an adventurer and inventor called Demanitus.
Both have worked with Pixar in the past, but it’s pretty surprising to see them
appear in a Disney channel series, and their presence will certainly entertain
any fathers who happen to be watching. Meanwhile, Kathy Mixon has been cast as an
alluring character called Seraphina and Kathy Namijy will voice an eccentric
forest dweller. The most recent actor <a href="https://www.instagram.com/p/BkUV1Rjnm2c/?taken-by=followpascal" target="_blank">confirmed </a>to be joining the cast is Lance
Henriksen, who will apparently be voicing the Baron, a hitherto unseen crime
boss whose minions have created trouble for Eugene and Lance in previous
episodes. It is likely that all these characters are going to be recurring
presences, and we could see further celebrities make one-off appearances
throughout the season. The first season featured one-episode guest appearances
from the likes of <a href="https://www.yahoo.com/entertainment/tangled-series-sneak-peek-danny-trejo-comes-like-wrecking-ball-143002805.html?guccounter=1" target="_blank">Danny Trejo</a>, Bradley Whitford, <a href="https://www.etonline.com/media/videos/jane-krakowski-makes-memorable-entrance-disney-channels-tangled-series-exclusive-89583" target="_blank">Jane Krakowski</a> and Ellen
Greene, and more notable actors and actresses could follow in
their footsteps. <o:p></o:p></div>
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<div class="MsoNormal">
<b><u><span style="font-size: large;">Tangled: The Series
Soundtrack – A Review</span><o:p></o:p></u></b></div>
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<b><br /></b></div>
<div class="MsoNormal">
<b>Tangled: The Series</b> is not a full-on musical series in the vein of
something like <b>Glee </b>or <b>Crazy Ex-Girlfriend</b>, but it often makes use of music,
with each of the three ‘tentpole’ episodes containing two or three songs. Past
animated series based on Disney films, such as <b>The Little Mermaid</b> and <b>Hercules</b>,
also had semi-musical formats (although they featured more songs than <b>Tangled:
The Series</b>), but <b>Tangled: The Series</b> stands out because it is the first Disney
Channel series to feature new songs from Alan Menken, who composed the music
for Disney classics like <b>Beauty and the Beast </b>and <b>Aladdin</b>. Menken wrote the
songs for Tangled with Glenn Slater, and the duo returned to create ten new
songs (two of which are reprises). The three ‘tentpole episodes’ of <b>Tangled:
The Series</b> are pilot episode <i>Tangled: Before Ever After</i>, winter special <i>Queen
for a Day</i> and season finale <i>Secret of the Sundrop</i>. All three feature songs
which range from enjoyable diversions to genuinely interesting anthems worthy
of comparison to the music from the original film – a pretty impressive feat
given the reduced standards of a Disney Channel series.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The songs mostly fit an upbeat guitar-pop style reminiscent of
‘When Will My Life Begin’ from the original <b>Tangled</b>. Although this relative sameness
narrows the audience (if you dislike acts such as Colbie Caillat, or hate the
early songs of Taylor Swift, this soundtrack is not for you), it generally
suits the sunny fairy tale approach of <b>Tangled: The Series</b>, even if the use of
electric guitars in ‘Life After Happily Ever After’ and ‘I’ve Got This’ feels a
bit jarring. However, it’s no coincidence that the best songs in the soundtrack
are the ones which do something a little different. The translation of the
songs from screen to album is somewhat inconsistent, as some songs keep the
dialogue surrounding them (‘I’ve Got This’ and ‘Listen Up’) but in for other numbers (‘Wind in My Hair (reprise)’ and ‘Ready as I’ll Ever Be) all the extra dialogue
gets cut. It’s no surprise to learn that former popstar Mandy Moore, and
Broadway regulars Zachary Levi, Eden Espinosa and Jeremy Jordan, all give excellent performances, as they really do a great job bringing their characters to life. Clancy
Brown does not have their technical ability, but his smooth and deep voice is
always a pleasure to listen to.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.movieforkids.it/wp-content/uploads/2017/02/tangled-before-ever-after-rapunzel-canzone-wind-in-my-hair-alan-menken-glenn-slater-wpcf_400x225.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.movieforkids.it/wp-content/uploads/2017/02/tangled-before-ever-after-rapunzel-canzone-wind-in-my-hair-alan-menken-glenn-slater-wpcf_400x225.jpg" data-original-height="225" data-original-width="400" height="180" width="320" /></a></div>
<br />
<br /></div>
<div class="MsoNormal">
The overriding theme of <b>Tangled: The Series</b> is Rapunzels’
struggle to balance the pressures and responsibilities of royal life with her
own desire to see the world and go on adventures, and the songs in <i>Tangled: Before Ever After</i>, set this conflict up pretty strongly. The opening song, ‘Life
After Happily Ever After’ does a solid job establishing what life is like in
Corona’s royal palace for Rapunzel, Eugene and King Frederic. It also
introduces the reliably compelling ‘after ever after’ theme of the series, as
Rapunzel realises that struggles to cope with the pressures and responsibilities
of life as a princess. The song conveys the rush of Rapunzel’s royal life very
well, and the downbeat ending does a good job of highlighting Rapunzel’s
anxieties. ‘Wind in My Hair’ is the second song from <i>Tangled: Before Ever After,</i>
but it appears first on the album, most likely because it functions as the
theme song for the entire <b>Tangled </b>series. As a lively pop anthem, it works
excellently in this context, as it highlights Rapunzel’s enthusiasm and her desire
to go on adventures, which is the overriding theme of the series. The song also
gets a short reprise at the end of the episode, further cementing its status as
the signature tune of the series. <o:p></o:p><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://i.ytimg.com/vi/JmMWCq8G_00/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="180" src="https://i.ytimg.com/vi/JmMWCq8G_00/maxresdefault.jpg" width="320" /></a></div>
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<i>Queen For A Day</i> shows Rapunzel being put in temporary charge
of the kingdom while her parents are away. Whilst managing life in Corona, she
sings ‘I've Got This’, which adds old-fashioned folkier elements to the <b>Tangled
</b>sound. It’s another energetic tune, but it features Rapunzel realising she is
out of her depth as ruler of Corona, as every decision she makes leads to
further problems. It is followed by ‘Let Me Make You Proud’, the signature song for new character Varian. This troubled young alchemist seeks to make his father
Qurin proud at all costs, and his single-mindedness begins to turn into fanaticism
throughout the episode. As Varian heads to Corona in a doomed attempt to seek
help for Qurin, he sings this soaring power ballad, which is full of energy and
passion, and easily the best song on this soundtrack. The short, downbeat
reprise at the end of the episode sets up Varian’s descent into villainy in
powerful fashion, as his pain and dismay at losing Quirin turns to anger. The
closing lines are delivered in an aggressive fury which is genuinely quite
menacing. Overall, Varian is probably the best Disney villain since Mother
Gothel from the original <b>Tangled</b>, and the two versions of ‘Let Me Make You
Proud’ demonstrate why he is such an effective character.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Although the vast majority of music in <b>Tangled: The Series</b>
is confined to the tentpole specials, two songs came from other episodes. <i>Pascals
Story</i> features a catchy new song called ‘Friendship Song’, sung by 15 year-old
The Voice semi-finalist Brennley Brown. This tune was only heard for about 30
seconds in that episode, and is probably better in that smaller dose, as Brown’s
energetic but immature voice and the relentlessly upbeat arrangement make the
song feel rather cloying when extended to four times that length. Meanwhile, ‘Listen
Up’ comes from Halloween special <i>The Wrath of Ruthless Ruth</i>. The song is
performed by the titular ghost, who haunts the Snuggly Duckling tavern until
she gets to fulfil her dream of singing in public. It represents a bit of a
departure from the <b>Tangled: The Series</b> style, with a ‘haunted house’ atmosphere
which is pleasingly spooky but never remotely scary – essentially, it’s what
you would expect from a Halloween special for a Disney Channel series, but it’s
still fun to listen to. <o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://vignette.wikia.nocookie.net/disney/images/a/ab/Secret_of_the_Sun_Drop_29.jpg/revision/latest?cb=20180113142331" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="180" src="https://vignette.wikia.nocookie.net/disney/images/a/ab/Secret_of_the_Sun_Drop_29.jpg/revision/latest?cb=20180113142331" width="320" /></a></div>
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<br /></div>
<div class="MsoNormal">
The two songs from season finale <i>Secret of the Sundrop</i> come
late in the album, as they effectively feel like eleven o'clock songs for the
first season as a whole. ‘Set Yourself Free’ is one of the weaker numbers on
the album, as it sounds a little too much like a slightly more sombre version
of ‘Wind in My Hair’. However, Mandy Moore does a good job of conveying
Rapunzel’s need to keep her spirits up and her desire to escape the confines of
her castle. The second song in the special, ‘Ready as I’ll Ever Be’ is far
better. As Varian, Cassandra and Rapunzel prepare for the final battle, this
song provides a warlike, invigorating prelude to the climax, demonstrating how
strong the series can be when dealing with big themes and providing epic adventures.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The album concludes with ‘More of Me’, an end credits song
performed by Natasha Bedingfield, who had big hits in the mid 2000’s
with songs like ‘These Words’, ‘Pocketful of Sunshine’ and ‘Unwritten’. Her
generally sunny and optimistic style is an excellent fit for the <b>Tangled
</b>universe, but ‘More of Me’ also has a more modern feel which separates it from the rest of the songs on this soundtrack. It probably would have been a decent hit if Natasha had released it as a single at the peak of her career.</div>
<br />
<div class="MsoNormal">
Overall, the <b>Tangled: The Series</b> soundtrack is a decent
little album for fans of <b>Tangled: The Series</b>. When all the songs are put
together, it becomes clear that their lively guitar-based approach can get a
little annoying when overused. However, like the larger series, this soundtrack is colourful and entertaining, and there are enough genuinely
interesting songs and moments to give it a much-needed edge.<o:p></o:p></div>
Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com2tag:blogger.com,1999:blog-5414251166201648982.post-81139835116171360702018-06-19T16:16:00.006-07:002018-06-21T03:26:00.295-07:00How Will John Lasseter’s Downfall Affect Disney?<div class="MsoNormal">
In the past year, almost every walk of life has been
affected by revelations of sexual misconduct and exploitation, with numerous
prominent figures having been accused of a wide range of awful actions. One of
the most devastating scandals to occur during this time has been the set of revelations about the sordid and sleazy behaviour of John Lasseter, the chief creative officer at Walt Disney Animation Studios (AKA Disney Animation) and
Pixar. There is no underestimating Lasseter’s impact on animation (and American
cinema as a whole) since he co-founded Pixar in 1984, becoming its chief creative
officer. The studio have become one of
the most acclaimed and successful creative forces in Hollywood, with eight of
their films winning Best Animated Film at the Oscars and two (<b>Up </b>and <b>Toy Story
3</b>) even competing in the Best Film category. In 2006, Lasseter also become chief creative officer at Disney Animation and spearheaded the 'Disney Revival’ by producing films like <b>Frozen
</b>and <b>Moana</b>. However, this glittering career has ended in total disgrace, as the damage
caused by Lasseter’s misbehaviour and the outrage it generated meant that
dismissing him was the only acceptable option.<br />
<br />
<o:p></o:p></div>
<div class="MsoNormal">
John Lasseter’s downfall has significantly tarnished the
Disney brand, and the company will need to change their internal culture
without disrupting the constant stream of animated classics which have made
them so powerful and influential. Earlier today, Disney announced Lasseter’s
<a href="https://www.hollywoodreporter.com/heat-vision/pete-docter-jennifer-lee-lead-pixar-disney-animation-1121432" target="_blank">two replacements</a>. Pete Docter, the director of <b>Up </b>and <b>Inside Out</b>, will become
Pixar’s chief creative officer, whilst Jennifer Lee, the writer and co-director
of <b>Frozen</b>, will take over at Disney. Both are under enormous pressure to
continue providing hits whilst allowing their studios to move forward in new
directions…<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u>The Lasseter
Scandal – A Brief Outline<o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><u><br /></u></b></div>
<div class="MsoNormal">
During the autumn of 2017, the #MeToo campaign led to the exposure
of predators and perverts who had occupied powerful positions in almost every major
industry. Abuses of power at <a href="https://variety.com/2017/tv/news/loud-house-showrunner-chris-savino-fired-nickelodeon-sexual-harassment-charges-1202594788/" target="_blank">other animation studios </a>had already came to light, so it was only a matter of time before Disney became implicated in a major sexual harassment scandal as well. Lasseter’s misconduct was revealed towards
the end of November, after a memo he circulated to Disney Animation and Pixar employees
was leaked to the press. In this document, Lasseter admitted to a range of <a href="https://variety.com/2017/biz/news/john-lasseter-pixar-walt-disney-animation-studios-leave-of-absence-1202620923/" target="_blank">‘missteps’</a>,
including ‘unwanted hugs’, and announced he was taking a six-month sabbatical to
reflect on his conduct. As soon as the statement was published, insiders <a href="https://www.hollywoodreporter.com/news/john-lasseters-pattern-alleged-misconduct-detailed-by-disney-pixar-insiders-1059594" target="_blank">quickly came forward</a> with stories of Lasseter groping female staff members during
meetings and parties. These were followed by <a href="https://deadline.com/2017/11/john-lasseter-behavior-pixar-disney-1202213821/" target="_blank">revelations</a> that he had committed further
invasions of privacy, including forcibly kissing female subordinates and harassing
models who worked for the <b>Disney Fairies</b> product line. In addition, Lasseter
was revealed to be an alcoholic, drinking heavily during a variety of important
events. He was also accused of <a href="https://www.hollywoodreporter.com/features/he-who-not-be-named-can-john-lasseter-ever-return-disney-1105297" target="_blank">mistreating critics</a> and perceived rivals at Disney and Pixar, and even falsely taking credit for the ideas of others. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In retrospect, it was
probably inevitable that Lasseter, who was widely known for his uninhibited personality (he
was once filmed <a href="https://www.wsj.com/articles/SB10001424052748704816604576333623057426528" target="_blank">hugging 48 people</a> in a single day) would frequently cross the
line into inappropriate and offensive behaviour. However, the revelations were
still devastating for Disney Animation and Pixar’s numerous fans, as the seemingly affable
and enthusiastic face of these iconic studios was exposed as a lecherous bully. The
revelations also reflected badly on Disney as a whole, as it was revealed that
they had hired ‘minders’ to keep Lasseter in check during events but had not
taken any real action to stop him. Furthermore, a ‘Day of Listening’ aimed at addressing
discontent with Lasseter’s behaviour at Pixar had been held in 2011, but <a href="https://www.hollywoodreporter.com/news/disney-animation-sets-staff-day-listening-speculation-john-lasseter-s-fate-1080339" target="_blank">failed to</a> generate any change. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
During the six months after Lasseter announced his
sabbatical, Disney kept discussion of the case to a minimum, possibly in the
hope that the scandal would die down. However, it proved impossible to suppress
the bad publicity affecting the company. In May, as <a href="https://www.theguardian.com/world/2018/may/27/metoo-sexual-assault-claims-accused-men-plot-redemption-charlie-rose-mario-batali" target="_blank">concern grew</a> that other
wrongdoers exposed around the same time as Lasseter would return to their former
power, an article from <a href="https://www.wsj.com/articles/disney-considers-letting-pixar-co-founder-john-lasseter-return-1526464166" target="_blank">Wall Street Journal</a> implied that Lasseter could regain
his status as creative head, albeit with reduced managerial powers. This
misguided proposal attracted <a href="https://www.hollywoodreporter.com/news/john-lasseter-hollywood-s-infuriating-journey-metoo-toosoon-guest-column-1115152" target="_blank">considerable condemnation</a>, and protests against
Lasseter’s actions gained new potency. A #LoseLasseter hashtag was <a href="https://deadline.com/2018/06/pixar-co-founder-john-lasseter-departs-amid-growing-sense-he-wasnt-welcome-1202406805/" target="_blank">shared across social media</a>, with numerous workers at Disney promoting petitions
opposing his return. These probably convinced the heads of Disney that it was no
longer possible for Lasseter to stay at the studio. Earlier this month, Disney
announced that Lasseter would leave Disney Animation and Pixar for good on
December 31<sup>st</sup> 2018, spending the period until then demoted to a consulting
role. Bob Iger, president of the Walt Disney Company, issued a <a href="https://www.hollywoodreporter.com/news/john-lasseter-exit-disney-at-end-year-1069547" target="_blank">sanitised statement</a> in which he praised Lasseter’s success at Pixar and Disney Animation,
and expressed optimism about the future of the two studios. Lasseter also
issued a statement where he claimed that the end of 2018 was the right time to
leave and “begin focusing on new creative challenges”. In true Disney fashion,
the upbeat statements concealed an unpleasant and seedy reality, but the unspoken
implications were clear – the outrage at Lasseter’s misconduct had led to him
going into an early retirement.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It goes without saying that there are numerous problems with
the final settlement. Lasseter’s ‘Creative Consultant’ role is essentially the
proposed ‘creative lead’ role used as a temporary, stop-gap measure. The
six-month transition period is too long, and there is little clarity over how
he will contribute to the company during this time (he will not even have <a href="https://variety.com/2018/film/news/john-lasseter-disney-exit-pete-docter-jennifer-lee-1202841999/" target="_blank">an office</a> at their studios). The highlights the fact that Disney’s response has been focused on
trying to find compromises in a situation where this brand of diplomacy feels extremely
inadequate. One explanation for this is Iger’s fear that a tougher response
could cause Lasseter to become a major rival to Disney. This situation is
not without precedent (Jeffrey Katzenberg, Disney’s Head of Production during
their early 1990’s ‘Renaissance’, was <a href="https://www.theguardian.com/film/2004/jul/04/features.review" target="_blank">fired in 1994</a> and responded by establishing the rival Dreamworks studio) but it feels insensitive to promote the prospect that Lasseter will find a way to remain a major power in the animation industry, given that so many people are disgusted by his conduct. Disney’s failure to deal quickly or decisively with
Lasseter has made the company seem <a href="https://variety.com/2018/film/news/disney-john-lasseter-harassment-bob-iger-1202734060/" target="_blank">weak and uncaring</a> in the face of
the demands for change generated by #MeToo and the subsequent #TimesUp
movement. Nonetheless, the fact that he has finally been held to account for his awful behaviour is proof that
the #MeToo movement can succeed in forcing seismic change.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u>Disney's Future</u></b>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Whilst Lasseter’s dismissal is a notable victory for the
employees at Disney and the battle for a more diverse and progressive studio,
there will be numerous questions over the extent to which a change in
leadership will affect the quality of Disney Animation and Pixar’s output. <b>The
Incredibles 2</b> was the first Disney/Pixar film to still be in production when
Lasseter went on leave, but the <a href="https://www.rottentomatoes.com/m/incredibles_2/" target="_blank">generally positive</a> critical reception indicates
that it has survived the behind-the-scenes turmoil. However, there are three
more Disney/Pixar sequels deep in production. <b>Wreck It Ralph 2</b> (AKA <b>Ralph Breaks the
Internet</b>), <b>Toy Story 4</b> and <b>Frozen 2</b> are under extra pressure to succeed, as
their critical and commercial reception will indicate how well Disney Animation and Pixar
have adjusted to the changes caused by the scandal. Disney Animation have often struggled
without a strong leader, with the death of Walt Disney and the firing of
Jeffrey Katzenberg leading to long wilderness periods that left Disney’s animation
wing in seriously poor health. If this situation repeats itself again, it could
lead to serious questions about their long-term future.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This article has often conflated Disney Animation and Pixar due to Lasseter’s leading role at both studios, but they have very <a href="https://www.fastcompany.com/40551146/inside-disney-and-pixar-the-debate-over-john-lasseters-return" target="_blank">different creative environments</a>, with
different key figures. Although Lasseter has been in charge at Pixar for 34
years (compared to his 12 years as Disney Animation’s chief creative officer), they will
probably be less affected by his departure, due to the more experienced ‘brain
trust’ firmly established there. However, Disney Animation have a far younger and less experienced
set of creatives, and this could easily be a major problem. The difference in
experience at both studios is made clear when you look at the careers of their
new creative chiefs. Pete Docter has been working with Pixar for almost 30
years, and as Vice President of Creativity at Pixar, effectively became Lasseter’s
second-in-command there. With his reputation for writing and directing some of
Pixar’s best films, and a collaborative leadership style which has made him
popular in <a href="https://www.hollywoodreporter.com/news/who-will-disney-promote-fill-john-lasseter-void-1120592" target="_blank">the animation community</a>, Docter was probably the most obvious
choice to take over at Pixar. In contrast, Jennifer Lee has only been part of
Disney Animation’s writing team since 2011, and her inexperience has generated both
advantages and disadvantages. <b>Frozen </b>became such a successful film because it
took chances and subverted traditional Disney tropes in spectacular fashion
whilst still providing colourful family-friendly entertainment full of catchy
songs. A more experienced director would have provided a safer, more
conventional film which would not have captured the imagination of the public
in the same way. However, there were problems with <b>Frozen</b>’s story and
characterisation, which were placed into sharp focus by the sheer inescapable
popularity of the movie. Jennifer Lee is still at a relatively early stage in
her career, and needs training and assistance in order to transition from a raw
talent to a figure as acclaimed and respected as Pixar’s veteran directors (It
is worth noting that Lee’s co-director on <b>Frozen </b>was Chris Buck, who has been
with Disney Animation since 1978). Therefore, giving her such an important leadership role
so quickly is a tremendous risk.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The presence of a new creative head will hopefully provide
some benefits. During the 2010’s, Pixar have often been criticised for their over-reliance
on sequels, with <b>Cars 2</b> receiving a <a href="https://www.rottentomatoes.com/m/cars_2/" target="_blank">particularly hostile</a> reception. Disney Animation have
also been struggling to provide new and original movies, with <b>Gigantic</b>, a new
take on Jack and the Beanstalk, <a href="https://www.hollywoodreporter.com/heat-vision/disney-shelves-jack-beanstalk-film-gigantic-1047482" target="_blank">getting cancelled</a> in favour of sequels to <b>Wreck
It-Ralph </b>and <b>Frozen</b>. There is also a risk that the winning formula used in most
recent Disney Animation and Pixar hits is wearing thin. Most of the movies produced under
Lasseter’s leadership at both studios have featured stories about an odd couple
going on an incredible journey, large helpings of self-deprecating humour, and <a href="https://fairytalefanboy.blogspot.com/2017/03/the-nostalgia-critic-vs-lindsay-ellis.html" target="_blank">surprise villains</a> whose true nature is only revealed near the end of the film (the idea
of a seemingly friendly and likeable character turning out to be a horrible
person feels a lot more uncomfortable in hindsight, for obvious reasons). Although
their movies have still generally ranged from being very good to being
excellent, there has definitely been some stagnation at both Disney Animation and Pixar
in recent years, reminiscent of the overly prosaic approach which caused Disney Animation to fall from grace during the late 1990s. A new creative head could allow the
studios to become more innovative and exciting whilst avoiding the failures
which defined their previous eras of transition. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u>Practise What You Preach<o:p></o:p></u></b></div>
<div class="MsoNormal">
<b><u><br /></u></b></div>
<div class="MsoNormal">
Lasseter’s misdemeanours led to increased focus on the
diversity issues which have affected Pixar in particular. The studio has been
known as a ‘Boys Club’, with their movies excessively focusing on the journeys
of male protagonists. Recently, Pixar have sought to move away from its excessively
masculine image. <b>Inside Out</b> centred on two female leads, whilst <b>Finding Dory</b> and <b>The
Incredibles 2</b> both upgraded the most prominent female characters from the
original movies into the primary protagonists. However, the greater levels of
female representation in the films has not done much to change the problematic
culture behind the scenes. In 2008, Brenda Chapman was hired to direct <b>Brave</b>,
the first Pixar film with a female protagonist. However, she was dismissed from
the project in 2011 and replaced with a male director. In a widely circulated
article, Chapman complained about the way in which she had continually been
<a href="https://www.nytimes.com/roomfordebate/2012/08/14/how-can-women-gain-influence-in-hollywood/stand-up-for-yourself-and-mentor-others" target="_blank">ignored and dismissed</a> by the Pixar elite. Unfortunately, the discontent generated
by this episode did not result in major change. Rashida Jones and her
husband Will McCormick were attached to write <b>Toy Story 4</b>, but withdrew from
the project. After rumours that Jones had been harassed by Lasseter, she
confirmed that her decision to quit the project was based on frustration with
the fact that Pixar did not give women or minority writers an “equal creative
voice”. This departure only confirmed the institutional inequalities at Disney
and Pixar, and Lasseter’s disrespect towards his female employees is only the
most extreme manifestation of this regressive culture. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
(Note: Since Rashida Jones quit <b>Toy Story 4</b>, Pixar have made
steps in the right direction, hiring Stephany Folsom to <a href="https://deadline.com/2018/01/stephany-folsom-toy-story-4-script-rashida-jones-john-lasseter-1202248346/" target="_blank">replace her</a> on that project
and appointing Dommee Shi– director of the acclaimed short <b>Bao </b>– to contribute
to the story team set up following Lasseter’s departure. They still have a long
way to go, but these changes are highly encouraging)<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The need to provide a feminist environment is especially
important for Disney Animation, due to their focus on female-orientated output. The films
of the Disney Revival era, such <b>The Princess and the Frog</b>, <b>Tangled</b>, <b>Frozen</b>,
<b>Zootropolis </b>and <b>Moana</b>, have ensured that Disney Animation’s female protagonists are more
popular and important than ever. Characters like Tiana, Rapunzel, Anna, Elsa
and Moana enjoy an appeal that goes far beyond the traditional ‘young girl’
demographic associated with Disney Princesses. Men and women of all ages have
become increasingly open in expressing their love for Disney Animation’s recent movies,
and the protagonists of these have become icons amongst those seeking to fight discrimination
and exclusion. Therefore, Disney are under considerable pressure to set a
positive example for this expanding audience. This is why the attempts to
downplay or excuse Lasseter’s actions by comparing him to more extreme
offenders are so misguided, as dismissing workplace harassment demonstrates a
complete disrespect towards those affected by it (many of the women mistreated
by Lasseter <a href="https://www.hollywoodreporter.com/features/john-lasseters-missteps-how-did-disney-execs-know-1062361" target="_blank">quit working for Disney</a> as a result of his actions), and implies that they
should remain subservient. Before they can provide positive, forward-thinking movies,
Disney Animation need to provide a positive, forward-thinking workplace for their
employees. Therefore, Jennifer Lee is the ideal choice to replace Lasseter.
Animation is still dominated by males, so giving Jennifer Lee the opportunity to
take over will allow them to lead the way in terms of female
representation. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><u>Conclusion <o:p></o:p></u></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It goes without saying that John Lasseter’s misconduct, and
Disney’s failure to deal with it properly, have done considerable damage to the
studio and undermined its family-friendly reputation. However, now that he has
finally left, we need to start looking to the future, and it is worth being
highly optimistic about the evolution of Disney Animation and Pixar. The two studios have never
just been about one man, and the numerous talented creatives there should be able to flourish in a more positive and stable environment,
without the tension and animosity generated by Lasseter. I am hopeful that Disney can go on providing
appealing and inspirational animated films, and the new generation of writers
and directors headed by Docter and Lee will be able to create a new range of
animated classics which can be enjoyed for decades to come. <o:p></o:p></div>
Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.comtag:blogger.com,1999:blog-5414251166201648982.post-67515611947380917992018-03-20T16:01:00.003-07:002018-03-21T17:21:23.530-07:00Frozen: The Musical - Articles and Links (Part Two)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCXGFT8hL1LWLZ62ghc9zYT8Q8Iqk5tF7qpAYgQlnwzBUt3eRosXUkU5fDhyhEJhyIF_NqVBixeo47MXfgbzRqyIkas2y9Cpu5Rq_C4mA2VecUKsaW_tySVa2_Fa9TWNNPhhz4RJeW4mqW/s1600/FROZEN-Company-at-First-Broadway-Performance.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="527" data-original-width="1000" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCXGFT8hL1LWLZ62ghc9zYT8Q8Iqk5tF7qpAYgQlnwzBUt3eRosXUkU5fDhyhEJhyIF_NqVBixeo47MXfgbzRqyIkas2y9Cpu5Rq_C4mA2VecUKsaW_tySVa2_Fa9TWNNPhhz4RJeW4mqW/s320/FROZEN-Company-at-First-Broadway-Performance.jpg" width="320" /></a></div>
<br />
<br />
Four weeks ago, <b>Frozen: The Musical</b>, the stage adaptation of Disney's iconic 2013 film <b>Frozen</b>, made its Broadway debut, as previews commenced at the iconic (and newly-renovated) St. James' Theatre. This week, the much-loved story of Anna and Elsa, the royal sisters of Arendelle (played by Patti Murin and Caissie Levy), celebrates its official opening night on Broadway. This represents the culmination of a long and eventful journey- the <a href="https://nypost.com/2016/05/19/just-when-you-thought-the-frozen-craze-was-over/" target="_blank">first readings</a> of the script took place two years ago, and there were numerous changes to the cast and crew before <b>Frozen: The Musical</b> was ready to be shown to theatregoers. There even have been a few substantial changes over the preview period- Elsa has recently been given an <a href="https://www.broadwayworld.com/article/PHOTO-The-Cold-Never-Bothered-Her-Anyway-Get-a-Sneak-Peek-at-Elsas-FROZEN-Act-Two-20180220" target="_blank">impressive new costume</a> to wear during the climax of the production. However, it seems like all the hard work will pay off. <b>Frozen </b>fans have generally been full of praise for the musical, and the preview performances have already earned <a href="https://www.broadwayworld.com/grosses/FROZEN" target="_blank">large amounts of money</a>. It seems like <b>Frozen: The Musical</b> will be another big hit for Disney Theatrical, emulating the success previously enjoyed by their adaptations of <b>Beauty and the Beast</b>, <b>The Lion King</b> and <b>Aladdin</b>.<br />
<br />
When the preview period began, this blog provided <a href="https://fairytalefanboy.blogspot.co.uk/2018/02/frozen-musical-articles-and-links.html" target="_blank">a post</a> highlighting a variety of fascinating articles about <b>Frozen: The Musical</b>. Here, we will showcase 33 more articles about this new Broadway spectacular, including interviews with the cast and crew, information about the costumes and choreography, and exclusive revelations about the new songs created especially for this production...<br />
<br />
<b><u>(Note: This post contains spoilers, as it assumes that most of us are familiar with the story of Frozen by now. If you aren't, be careful...)</u></b><br />
<br />
<h4>
<b><u><span style="font-size: large;">Behind the Scenes</span></u></b></h4>
<br />
With an estimated budget of up to <a href="https://www.telegraph.co.uk/theatre/what-to-see/frozen-musical-opens-broadway-will-audiences-warm/" target="_blank">$50 million</a>, it took plenty of effort to make <b>Frozen: The Musical</b> into a unique and impressive spectacle. The costumes, sets, choreography and music have been edited and refined extensively during the production process, and these articles show that the team behind <b>Frozen: The Musical</b> are working incredibly hard in order to live up to the high standards set by the original film...<br />
<br />
<b><a href="https://www.timeout.com/newyork/news/a-deep-dive-into-the-costumes-from-frozen-on-broadway-021618" target="_blank">A Deep Dive Into the Costumes from Frozen on Broadway</a> </b>- The sets and costumes for <b>Frozen: The Musical</b> were designed by Christopher Oram, who has collaborated with director Michael Grandage on numerous projects over the years. In this interview with Time Out, Oram discusses how he designed the costumes of the main characters, staying true to the look and feel of the film whilst altering the clothes to meet the requirements of a stage musical where actors sing and dance in them up to eight times a week. He also reveals how he was inspired by his visits to Norway and his research into traditional Norwegian clothing...<br />
<br />
<b><a href="https://www.usatoday.com/story/life/theater/2018/03/18/broadway-gets-frozen-how-modern-movie-classic-became-hot-new-musical/407046002/" target="_blank">Broadway gets 'Frozen': How A Modern Movie Classic Became a Hot New Musical</a> </b>- This article from USA Today provides plenty of information about <b>Frozen: The Musical</b>, as the Lopezes discuss the new songs added to the musical and its "Shakespearean" tone, Patti Murin and Caissie Levy explain why they love Anna and Elsa so much, and Jelani Aladdin reveals what he brings to the role of Kristoff. In addition, we learn how Murin and Levy prepare for their performances in Levy's dressing room...<br />
<br />
<a href="https://www.nytimes.com/2017/08/09/theater/replicate-or-reinvent-disneys-frozen-moves-to-the-stage.html" target="_blank"><b>Disney's Challenge: Keeping it Frozen, But Still Fresh</b></a> - This article from The New York Times was published shortly before the Denver tryouts commenced, and it provided audiences with plenty of intriguing information about <b>Frozen: The Musical</b> . This article was the first official source to reveal some of the biggest changes made for <b>Frozen: The Musical,</b> such as the decision to re-imagine Kristoff's troll guardians as Scandinavian forest spirits called 'Hidden Folk' and the removal of Elsa's snow monster Marshmallow. The cast and crew also explain how much effort went into turning <b>Frozen </b>into a stage musical, and we get to see Caissie Levy rehearsing her take on Elsa's signature song, 'Let It Go'...<br />
<br />
<a href="https://www.newsday.com/entertainment/theater/frozen-on-broadway-1.17368921" target="_blank"><b>Dressed to Chill: The Costumes of ‘Frozen’ </b></a>- In this interview with Newsday, Christopher Oram and Michael Grandage reveal how the costumes used in <b>Frozen: The Musical</b> were created, talking about the challenges posed when adapting clothing from an animated movie to a world of "gravity, physics and mic packs". However, they also reveal the advantages of using these costumes, including the ability to constantly alter them after every performance, and add the sort of details which would be impossible to include in an animated movie...<br />
<br />
<a href="http://www.vulture.com/2018/03/how-frozen-reimagines-its-icy-world-for-the-broadway-stage.html" target="_blank"><b>How Frozen Reimagines Its Icy World for the Broadway Stage</b></a> - One of the most important selling points of <b>Frozen: The Musical</b> is seeing how Elsa's ice powers are brought to life on stage. This article from Vulture reveals how a wide range of equipment was used by Christopher Oram in order to convey the illusion that the young queen has accidentally created an eternal winter. The items utilised by Oram include crystal curtains, a giant bridge covered in ice, icicles sprouting from the floor, video projections, dry ice, and even dancers dressed entirely in white. There are also a couple of new photos, which show just how spectacular this production is...<br />
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<a href="http://time.com/disney-frozen-broadway/" target="_blank"><b>Inside Disney’s Ambitious Plan To Bring Frozen To Broadway</b></a> - This in-depth report from Time highlights the challenges faced by the cast and crew of <b>Frozen: The Musical</b> as it arrives on Broadway, where it will compete with other family-friendly productions such as <b>Wicked </b>and <b>Harry Potter and the Cursed Child</b>. The article provides plenty of information about the ways in which <b>Frozen: The Musical</b> will appeal to an older audience (around 70% of Broadway theatregoers are adults seeing a show without children) and how the production will try and maintain the feminist appeal of the source material in an era where women's issues are more prominent than ever. We also learn how Patti Murin and Caissie Levy used fanfiction to help them prepare for their roles as Anna and Elsa, and discover how much effort went into designing costumes and scenery...<br />
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<b><a href="http://www.dancemagazine.com/frozen-on-broadway-2528653888.html" target="_blank">What Can You Expect from Disney's "Frozen" on Broadway? We Sat Down with the Choreographic Team.</a> </b>- Elaborate dance sequences are one of the key features of musical theatre, but they meed to be planned and rehearsed in great detail in order to impress audiences. In this report from Dance magazine, we follow Rob Ashford, the head choreographer of <b>Frozen: The Musical</b>, and his assistants as they edit the choreography for the song 'Fixer Upper' in order to emphasise Anna and Kristoff's growing connection to each other. The article highlights the demanding and insecure nature of work in the choreography team, but also shows how important every single movement is when you are making a musical...<br />
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<h4>
<b><u><span style="font-size: large;">Changes Since Denver</span></u></b></h4>
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Given the intense levels of anticipation for <b>Frozen: The Musical</b>, the <a href="http://www.slate.com/blogs/browbeat/2017/09/15/review_roundup_of_the_frozen_musical.html" target="_blank">mixed reviews</a> for the Denver try-out were a bit of a disappointment. In the five-month period between the end of the Denver run and the beginning of previews on Broadway, around 30% of <b>Frozen: The Musical</b> has been altered in order to make it as impressive as possible and win over audiences. These changes were covered in more detail by a variety of media outlets.<br />
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<b><a href="https://www.hollywoodreporter.com/news/frozen-comes-broadway-a-tighter-focus-a-timely-message-1093132" target="_blank">'Frozen' Comes to Broadway with a Tighter Focus and a Timely Message</a> </b>- Here, the cast and crew of <b>Frozen: The Musical</b> tell The Hollywood Reporter about the need to explore Elsa and Anna's emotional turmoil in greater detail, whilst also preventing the production from getting too dark. Michael Grandage reveals that he has responded to criticism of the Denver try-outs by adding a lighter opening, whilst Patti Murin confirms that Anna and Elsa have been given more time together...<br />
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<a href="http://variety.com/2018/voices/columns/disney-broadway-frozen-1202724709/" target="_blank"><b>How Broadway's 'Frozen' Will Surprise Movie Fans</b></a> - In this article from Variety, Michael Grandage discusses some of the new scenes created for <b>Frozen: The Musical</b> and outlines a few interesting changes made since the Denver tryouts. A narration provided by Pabbie (head of the 'Hidden Folk') has been cut, more scenes with Anna and Elsa have been added, and (this is the most exciting change of all) the conclusion has been altered to include a reprise of an iconic song from the original film...<br />
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<b><a href="https://www.washingtonpost.com/entertainment/theater_dance/will-the-cool-of-a-smart-british-director-prove-the-right-temperature-forfrozen/2018/02/21/c2106238-119c-11e8-827c-5150c6f3dc79_story.html?utm_term=.44be6b7c133b" target="_blank">Will ‘Frozen’ Succeed on Broadway with a British director and a Different Ending?</a> </b>- In this article from The Washington Post, Michael Grandage discusses the challenges faced when directing a mega -musical like <b>Frozen: The Musical</b>, explaining how he chose to depict characters such as Olaf the snowman. He also reveals how the feedback for <b>Frozen: The Musical</b> in Denver influenced him whilst preparing for the arrival of the show on Broadway...<br />
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<h4>
<b><u><span style="font-size: large;">Reactions to the Previews</span></u></b></h4>
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Although reporters and critics are unable to publish reviews of <b>Frozen: The Musical</b> until opening night, the start of the preview period is still an incredibly significant event worth mentioning in the media. As a result, several prominent newspapers provided articles commemorating the first performances on Broadway, and commenting on the <b>Frozen </b>fans who were the first people to see <b>Frozen: The Musical</b> at the St James' Theatre...<br />
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<a href="https://www.theguardian.com/stage/2018/feb/23/frozen-movie-disney-musical-broadway" target="_blank"><b>Disney's Frozen musical opens on Broadway: 'More nudity than expected' </b></a>- The day after previews officially began, The Guardian provided a report on the reactions of the audience. Viewers of all ages were present at the first performance of <b>Frozen: The Musical</b> on Broadway, and they seemed to be full of praise. The title of this article refers to the fake nudity which occurs during the new musical number 'Hygge', which is sung by flamboyant salesman/sauna owner Oaken and a chorus of sauna users. Unsurprisingly, this sequence has generated quite a bit of debate amongst theatregoers...<br />
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<a href="http://www.latimes.com/entertainment/arts/la-et-cm-frozen-musical-preview-20180224-story.html" target="_blank"><b>'Frozen' has its First Performance on Broadway, and the Fan Frenzy Begins</b></a> - Here, The LA Times highlight the excitement of audiences at the first preview performance of <b>Frozen: The Musical,</b> their passion for Anna, Elsa and friends, and their enthusiastic reaction when watching the production for the first time. They also provide photos of fans (and a few key members of the crew) waiting to enter the St James' Theatre and watch the show...<br />
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<b><a href="https://www.telegraph.co.uk/theatre/what-to-see/frozen-musical-first-look-elsa-annas-surprisingly-risque-broadway/#comments" target="_blank">Frozen: The Musical First Look: Elsa and Anna's Surprisingly Risque Broadway Debut is a Hit with Adults</a> </b>- Like the Guardian article, this report from The Daily Telegraph highlights some of the racier aspects of <b>Frozen: The Musical</b>, including several "kissing scenes" and the "Hygge" sequence. It also features interviews with audience members, who generally provided positive reviews (although some expressed criticisms and doubts) and ends by speculating that its only a matter of time before <b>Frozen: The Musical</b> debuts in London's West End...<br />
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<a href="https://www.telegraph.co.uk/theatre/what-to-see/frozen-musical-opens-broadway-will-audiences-warm/" target="_blank"><b>Frozen: the Musical Opens on Broadway – but Will Audiences Warm To It?</b> </a>- Here, The Daily Telegraph comment on the popularity of <b>Frozen</b> and its accompanying merchandise, whilst Michael Grandage provides some information about the development of <b>Frozen: The Musical</b> and the changes made since the Denver try-outs. Like most of the other articles unveiled the morning after the previews began, this report also highlights the numerous positive comments provided by the <b>Frozen </b>fandom...<br />
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<a href="http://www.latimes.com/entertainment/arts/la-et-cm-frozen-musical-broadway-preview-20180222-story.html" target="_blank"><b>Inside the 'Frozen' Dress Rehearsal: Broadway's New Musical Prepares to Lift the Curtain</b></a> - This article from the LA Times chronicles the 'Gypsy Run' - a special dress rehearsal for <b>Frozen: The Musical</b> attended by numerous key Broadway figures. Jennifer Lee, who wrote and co-directed the original <b>Frozen </b>and has written the book for <b>Frozen: The Musical</b>, praises the actors and discusses the importance of a live audience, whilst the actor Alfred Molina (Jennifer Lee's boyfriend and one of the guests at the 'Gypsy Run') gets to provide his opinions on the production. This rehearsal took place just two days before previews began, but Jennifer Lee and the rest of the <b>Frozen: The Musical</b> team were still making changes to the opening number...</div>
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<h4>
<b><u><span style="font-size: large;">The Cast</span></u></b></h4>
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Media coverage of <b>Frozen: The Musical</b> have unsurprisingly focused on Patti Murin and Caissie Levy, the actresses who play Anna and Elsa. There has been considerable interest in the reasons why they love playing <b>Frozen</b>'s two iconic protagonists, and numerous reports have highlighted their unique bond. However, other cast members, such as Jelani Alladin and Greg Hildreth, have also revealed what its like to have a lead role in such a prominent musical...<br />
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<b><a href="https://nypost.com/2018/03/14/bow-down-to-the-frozen-stars-ruling-broadway/" target="_blank">Bow Down to the ‘Frozen’ Stars Ruling Broadway</a> </b>- In this article from The New York Post, Caissie Levy and Patti Murin explain their contrasting backgrounds and growing friendship, and also reveal why they don't like it when people refer to Elsa and Anna as 'Princesses'. In addition, Levy gets to talk about some of the elaborate costumes which Elsa gets to wear during <b>Frozen: The Musical</b>, including an all-new second-act outfit (complete with boots and trousers) to make Elsa seem more bold and assertive as she prepares to fix the damage her actions have caused...<br />
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<b><a href="https://www.nytimes.com/2018/03/06/theater/frozen-sisters-disney-broadway.html" target="_blank">‘Frozen’ on Broadway Made Them Sisters. Heartbreak Made Them Friends</a>. </b>- This report from the New York Times focuses on the friendship between Caissie Levy and Patti Murin, as they discuss their interests and explain why they relate to Elsa and Anna so much. More tragically, the two actresses reveal their experiences coping with miscarriages, and we find out how Murin's loss of a child has influenced her portrayal of Anna's search for a proper family....<br />
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<a href="https://nypost.com/2018/02/22/meet-the-guy-behind-olaf-in-broadways-frozen/" target="_blank"><b>Meet the Guy Behind Olaf in Broadway’s ‘Frozen’</b></a> - In <b>Frozen: The Musical</b>, Anna's snowman sidekick Olaf - one of the most memorable characters from the original movie - has been re-imagined as a full-bodied puppet being controlled by actor Greg Hildreth (The Olaf puppet has been designed in a manner similar to the 'double event' puppets in the stage version of <b>The Lion King</b> - both the actor and the character are fully visible at all times). This New York Post article reveals how Hildreth brings his puppet to life, and we also learn why Olaf is more than mere comic relief...<br />
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<b><a href="https://www.ctpost.com/living/article/Propelled-by-New-Canaan-program-Jelani-Alladin-12613720.php" target="_blank">Propelled by New Canaan program, Jelani Alladin stars in Broadway’s ‘Frozen’</a> </b>- One of the biggest talking points about <b>Frozen:The Musical</b> is the casting of African-American actor Jelani Aladdin as Anna's love interest Kristoff, which adds some much-needed racial diversity to the cast. Here, Alladin tells Connecticut Post about winning a theatrical scholarship at high school inspired him to pursue his acting dreams. He explains the demanding training regime he has to go on in order to prepare for the role, and talks about meeting his idol, Lin-Manuel Miranda...<br />
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<a href="https://broadway.showtickets.com/articles/q-and-a-jelani-alladin-frozen/" target="_blank"><b>Q&A: Jelani Alladin of ‘Frozen'</b></a> - In addition to his Connecticut Post interview, Jelani Alladin has talked to Showtickets.com about playing Kristoff on Broadway. He reveals how he reacted when he first saw <b>Frozen</b>, and explains why he loves that movie so much. Alladin also praises the some of the changes made for <b>Frozen:The Musical</b>, including a new solo for Kristoff in Act two...<br />
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<a href="https://broadway.showtickets.com/articles/q-and-a-patti-murin-of-frozen/" target="_blank"><b>Q&A: Patti Murin of 'Frozen' </b></a>- Showtickets.com have also provided a Q&A with Patti Murin, who is finally receiving a solo interview after sharing numerous interviews with Caissie Levy. Here, Murin explains how she became a fan of musical theatre, reveals how Anna became her favourite Disney Princess, and talks about having a "real life Elsa" in her older sister...<br />
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<a href="http://www.latimes.com/entertainment/arts/la-ca-cm-frozen-musical-olaf-20180315-htmlstory.html" target="_blank"><b>The Curious Care and Feeding of Olaf the Snowman in Broadway's 'Frozen'</b> </a>- This article from LA Times provides more information on Greg Hildreth, as he discusses the physical demands of bringing Olaf to life, and reveals how Michael Grandage taught him to base the character on the silly but wise comic fools traditionally found in Shakespeare plays. The article also highlights the work of Daniel Mura, who is in charge of maintaining the Olaf puppet and ensuring that it remains in good condition during every performance...<br />
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<h4>
<b><u><span style="font-size: large;">The Crew</span></u></b></h4>
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The stars of <b>Frozen: The Musical</b> are aided by a large crew who help transfer the characters and their world from the screen to the stage. In addition to director Michael Grandage and songwriters Robert Lopez and Kristen Anderson-Lopez (who appeared extensively in <a href="https://fairytalefanboy.blogspot.co.uk/2018/02/frozen-musical-articles-and-links.html" target="_blank">the previou</a><a href="https://fairytalefanboy.blogspot.co.uk/2018/02/frozen-musical-articles-and-links.html" target="_blank">s <u>collection of links</u></a>) a variety of prominent crew members have also enjoyed some time in the spotlight during the <b>Frozen: The Musical</b> publicity campaign...<br />
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<a href="http://www.dancespirit.com/frozen-on-broadway-2530562553.html" target="_blank"><b>Exclusive: Choreographer Rob Ashford Gives Us All the Deets on Broadway's 'Frozen'</b> </a>- In this interview with DanceSpirit, Rob Ashford, the head choreographer for <b>Frozen: The Musical</b>, talks about the need to add dance to the story and explains how choreography was used to highlight the differences between the kingdom of Arendelle and the world of the mountains. He also discusses the constraints posed by the elaborate costumes, and reveals what his favourite sequence in the musical is...<br />
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<b><a href="https://www.metro.us/things-to-do/new-york/disney-frozen-broadway-for-adults" target="_blank">Frozen on Broadway is a Grown-Up version of the Disney Movie</a> </b>- This interview with the Lopezes is from Metro.US, and features them explaining how <b>Frozen: The Musical</b> is aimed at more mature audiences. Kristen Anderson-Lopez discusses the dark themes and the Scandinavian-inspired sets and costumes, whilst Robert Lopez talks about the staging of Elsa's coronation, which is soundtracked by a new ballad called 'Dangerous to Dream'...<br />
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<a href="https://uk.news.yahoo.com/frozen-changed-screen-stage-including-elsas-brand-new-power-ballad-163055595.html" target="_blank"><b>How 'Frozen' Has Changed from Screen to Stage, Including Elsa's Brand-New Power Ballad</b></a> - Here, The Lopezes tell Yahoo Entertainment about the differences between <b>Frozen: The Musical</b> and the original movie. They explain why the world of <b>Frozen </b>means so much to them, and provide some intriguing comments about the forthcoming sequel <b>Frozen 2</b>. They also reveal some of the most interesting changes made to <b>Frozen: The Musical </b>since the Denver tryouts concluded...<br />
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<a href="https://www.nytimes.com/2017/08/04/theater/heres-the-new-frozen-musical-poster-and-seven-that-didnt-make-the-cut.html" target="_blank"><b>Here’s the New ‘Frozen’ Musical Poster (and Seven That Didn’t Make the Cut)</b> </a>- As most theatre fans tend to focus on the play and the people who bring it to life, the importance of good marketing (even for a property as iconic as <b>Frozen</b>) is often overlooked. In this article from the New York Times, Disney Theatrical executive Andrew Flatt reveals the official poster for <b>Frozen: The Musical</b>, and shows us seven rejected designs. His comments highlight how much time and effort go into selecting the perfect poster - considering the quality of the final image, he definitely made the right choice...<br />
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<a href="http://www.latimes.com/entertainment/arts/la-ca-cm-frozen-songs-songwriters-20180315-story.html" target="_blank"><b>They Wrote the 'Frozen' Musical for Broadway, but Can they Make it Sing? </b></a>- The Lopezes have appeared in more promotional material for <b>Frozen: The Musical</b> than anyone else, but Jennifer Lee, who wrote and co-directed the original film, has not appeared very often in the promotional campaign. However, this LA Times article rectifies that imbalance by putting the trio together, and they provide a variety of insights about how closely the songs and dialogue are linked. The Lopezes and Jennifer Lee also explain how a psychologist helped them work on <b>Frozen: The Musical</b> and <b>Frozen 2 </b>(which is due at the end of 2019), and discuss the need to communicate feminist messages in the era of Times Up...<br />
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<a href="http://www.latimes.com/entertainment/arts/la-ca-cm-frozen-michael-grandage-20180318-story.html" target="_blank"><b>Why is a Master of Shakespeare Directing the Musical 'Frozen'? Because 'Let It Go' isn't too Far From the Bard </b></a>- Michael Grandage has spent several interviews discussing the parallels between <b>Frozen: The Musical</b> and iconic Shakespeare plays such as <b>As You Like It</b> and <b>Hamlet</b>. He repeats these comparisons in this interview with LA Times, but also provides some new insights, pointing out that the St James' Theatre is famous for hosting some of the greatest American musicals (including <b>Oklahoma!</b> and <b>The King and I</b>), revealing why he needs to make <b>Frozen: The Musical</b> feel new and unique, and explaining why theatre means so much to him...<br />
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<h4>
<b><u><span style="font-size: large;">The New Songs - Frozen Fridays</span></u></b></h4>
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Since the preview period began, four of the most significant new songs from <b>Frozen: The Musical</b> have been officially released on-line on four consecutive Fridays. The four new songs released during these 'Frozen Fridays' were: 'Monster' (an epic eleven o'clock song for Elsa), 'What Do You Know About Love' (a upbeat duet for Anna and Kristoff), 'Dangerous to Dream' (a song which Elsa sings as she prepares for her coronation) and 'True Love' (a sombre second-act ballad for Anna). All four of these songs can be heard <a href="https://ohmy.disney.com/news/2018/03/16/listen-four-new-songs-frozen-broadway/" target="_blank">here</a>, and they represent interesting and memorable additions to the Frozen soundtrack. The Lopezes have provided plenty of insights into these new songs, and the way in which they advance the narrative and develop the characters...<br />
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<a href="https://www.nytimes.com/2018/02/22/theater/elsa-monster-frozen-broadway-preview.html" target="_blank"><b>Watch a New Song From ‘Frozen’ on Broadway</b></a> - The first new song to be released was 'Monster', which Elsa sings as she prepares to face up to the damage which her ice powers have caused. In this New York Times article, the Lopezes provide further information about Elsa's "Moment of Reckoning", discussing the need to explore her emotional turmoil in detail whilst also providing hope and optimism for audiences who want Elsa to be a strong and powerful role model. The article also provides audiences with an exclusive look at the music video, which shows Levy performing the song at Manhattan's Gotham Hall...<br />
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<a href="https://ohmy.disney.com/news/2018/03/13/broadway-stars-react-new-song-frozen-broadway/" target="_blank"><b>These Broadway Stars Reacting To A New Song From Frozen On Broadway Are All Of Us</b></a>- With its dark lyrics and powerful rock-orientated hook, 'Monster' seems to be one of the most popular of the new songs added to <b>Frozen: The Musical</b>. This article from OhMyDisney shows several Broadway stars (who have appeared in Disney Theatrical hits such as <b>The Lion King</b>, <b>Aladdin </b>and <b>Newsies</b>), listening to 'Monster' for the first time, and their excited and emotional reactions indicate that the song is going to be a major fan favourite...<br />
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<a href="https://uk.news.yahoo.com/inside-story-behind-anna-kristoffs-new-broadway-frozen-duet-exclusive-song-premiere-165520552.html" target="_blank"><b>The Inside Story behind Anna and Kristoff's new Broadway 'Frozen' Duet (plus exclusive song premiere)</b> </a>- The song released on the second 'Frozen Friday' was 'What Do You Know About Love?', a number where Anna and Kristoff sing about their conflicting perspectives on romance as they cross a treacherous bridge. In this article from Yahoo Entertainment, the Lopezes reveal how they adapted Anna and Kristoff's journey for the stage, and explain how they drew on their own relationship in order to develop the dynamic between the two protagonists, as their initial hostility towards each other gradually turns into a powerful friendship...<br />
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<b><a href="https://www.usatoday.com/story/life/theater/2018/03/08/frozen-exclusive-hear-elsas-emotional-new-song-broadway-musical/399551002/" target="_blank">'Frozen' Exclusive: Hear Elsa's Emotional New Song from the Broadway Musical</a> </b>- In this article from USA Today, written to coincide with the release of 'Dangerous to Dream' (the third song to be released during the 'Frozen Fridays), The Lopezes provide a brief but interesting commentary on all four of the 'Frozen Fridays' songs. They explain how Dangerous to Dream functions as "an 'I want' song for a character who's not allowed to want anything", and how Kristen Anderson-Lopez's history of heartbreak inspired 'True Love'...<br />
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<b><a href="http://www.vulture.com/2018/03/listen-to-the-frozen-musicals-new-solo-for-anna-true-love.html" target="_blank">Listen to the Frozen Musical’s New Solo for Princess Anna, ‘True Love’</a> </b>- The final 'Frozen Fridays' release was 'True Love', an eleven o'clock ballad which Anna sings at her absolute lowest point, after Hans betrays her and the 'Frozen Heart' curse accidentally inflicted by Elsa begins to take its toll. In this article from Vulture, Patti Murin and Kristen Anderson-Lopez reveal how 'True Love' conveys Anna's growing disillusionment, and we also learn how the song elaborates on the arrangement and themes of <b>Frozen</b>'s iconic opening ballad 'Do You Want to Build A Snowman?'...<br />
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<h4>
<b><u><span style="font-size: large;">Summary</span></u></b></h4>
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Based on these articles and interviews, it seems like <b>Frozen: The Musical</b> will satisfy <b>Frozen </b>fans whilst providing enough unique elements to please more critical audiences. As the official opening night gets increasingly close, the enthusiastic reactions of <b>Frozen </b>addicts and the goings on behind the scenes have been emphasised in greater detail, but the publicity campaign for <b>Frozen: The Musical</b> has not changed much over the past month, with the Lopezes, Michael Grandage and Caissie Levy still extensively promoting the darker, more mature tone of this production. Overall, <b>Frozen: The Musical</b> is likely to enjoy a long and successful run on Broadway. It will probably receive several nominations in the Tony Awards (Broadway's equivalent to the Oscars) and audiences all over the world can look forward to seeing <b>Frozen: The Musical</b> arrive in major theatres all over the world over the next few years...Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1tag:blogger.com,1999:blog-5414251166201648982.post-92181453452564977882018-02-25T17:27:00.003-08:002018-02-26T07:01:26.443-08:00The Shape of Water - Review<div class="separator" style="clear: both; text-align: center;">
<a href="https://images-na.ssl-images-amazon.com/images/M/MV5BNGNiNWQ5M2MtNGI0OC00MDA2LWI5NzEtMmZiYjVjMDEyOWYzXkEyXkFqcGdeQXVyMjM4NTM5NDY@._V1_UY1200_CR90,0,630,1200_AL_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="420" height="320" src="https://images-na.ssl-images-amazon.com/images/M/MV5BNGNiNWQ5M2MtNGI0OC00MDA2LWI5NzEtMmZiYjVjMDEyOWYzXkEyXkFqcGdeQXVyMjM4NTM5NDY@._V1_UY1200_CR90,0,630,1200_AL_.jpg" width="168" /></a></div>
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<u><b><span style="font-size: large;">Who Made The Shape of Water?</span></b></u><br />
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<b>The Shape of Water </b>is directed by Guillermo Del Toro, who is best known for creating fairy-tale inspired gothic horror movies such as <b>Pan's Labyrinth</b> and <b>Crimson Peak</b>. Del Toro came up with the story for <b>The Shape of Water</b> and co-wrote the screenplay with Vanessa Taylor.<br />
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<b><u><span style="font-size: large;">What’s it About?</span></u></b><br />
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<b>The Shape of Water</b> centres on Elisa Esposito (Sally Hawkins) a mute woman living in 1960s Baltimore. Elisa spends her nights working as a cleaner at a mysterious research facility with her friend Zelda (Octavia Spencer). During the day, she lives in an apartment above a cinema, spending her time with neighbour Giles (Richard Jenkins), a struggling artist. One day, Elisa finds a mysterious amphibious creature (Doug Jones) being held in the facility, with the tyrannical American government agent Strickland (Michael Shannon) and principled Soviet spy Dr Hoffstetler (Michael Stuhlbarg) both taking an interest in studying the so-called ‘Asset’. Elisa forms a relationship with the creature, and after finding out about Strickland’s barbaric treatment of the creature and his plans to have it vivisected, she hatches a plan to help it escape…<br />
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<b><u><span style="font-size: large;">My Review</span></u></b><br />
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<span style="text-align: center;"><b>(<u>NOTE</u>: This Review Contains Some Minor Spoilers, So Be Careful...)</b></span><br />
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<b>The Shape of Water</b> is one of the most prominent competitors in this year’s Academy Awards, (having received an impressive 13 nominations) and it has received plenty of nominations and awards in the other major ceremonies of Awards Season. It’s easy to see why the movie has been so popular with critics, as Del Toro has provided a timeless and appealing romance without sacrificing his signature dark, atmospheric and mysterious style. Overall, <b>The Shape of Water</b> is definitely worthy of the accolades it has received, living up to the promise (used in the tagline for the official novelization) that it will be “a fairy tale for troubled times”…<br />
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The fairy tale nature of the movie is established perfectly through an opening voice-over from Giles, as he prepares us for “a tale of love and loss” about “the princess without voice” and “the monster who threatened to destroy it all”. <b>The Shape of Water</b> certainly fits this poetic description. Elisa is the latest in a long line of mute fairy tale heroines (she even shares her name with the protagonist of Hans Christian Andersen's story <b>The Wild Swans</b>), and in spite of some early attempts at misdirection, It doesn’t take long to figure out that violent, bigoted and misogynistic Strickland, who embodies every negative feature of American masculinity, will be the monster. Giles and Zelda also fit the familiar archetypes of the struggling artist and the sassy black best friend, respectively. However, Del Toro and Taylor ensure that these characters are more than just stock figures. Few fairy tale films begin with the protagonist performing sexual activities in the bath, and Elisa is a quirky and sometimes mischievous character who is not your traditional paragon of integrity. Furthermore, in spite of all the familiar tropes and conventions in this story, the final scenes actually come as a bit of a surprise. Although a bittersweet and mysterious conclusion was an inevitability, given the tone of the story and its development, the way the ending plays out is darker and more shocking than expected, and all the better for it.<br />
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<b>The Shape of Water</b> tells a simple story, but the technical aspects are handled brilliantly. The prologue, featuring the camera taking us through a series of rooms flooded with water, perfectly establishes the mysterious and atmospheric mood. The effects work used to bring the ‘Asset’ to life (Costumes and facial prosthetics were utilised to create the creature, with computer effects added to enhance its expressions) is seamless, and the cinematography is effective. Del Toro originally planned to shoot <b>The Shape of Water</b> in black and white, and whilst this would have been really interesting, the use of colour is justified. The predominantly blue and green colour palette is a bit murky, but it suits the film very well, and there are plenty of excellent shots. The score from Alexandre Desplat is worthy of special mention, as it conveys both old-fashioned romance and the beauty and mystery of the underwater world. Del Toro’s love of cinema is evident throughout the movie, especially in scenes where Elisa visits to the cinema below her apartment and watches old Shirley Temple movies with Giles. At one point, she even briefly gains a voice in a black-and-white song-and-dance sequence set to the song ‘You’ll Never Know’. There are also numerous subtle allusions to films ranging from 1950s monster movies (The ‘Asset’ is essentially <b>The Creature from the Black Lagoon</b>) to Fred Astaire/Ginger Rogers movies such as <b>Top Hat</b> and <b>Follow the Fleet</b>. In a sense, <b>The Shape of Water</b> is to the 2018 Oscars what films like <b>The Artist</b> and <b>La La Land</b> were to past Academy Award ceremonies – a charming throwback to the classic cinematic genres which have fallen into decline. However, regarding <b>The Shape of Water</b> as just another celebration of Hollywood’s past is a real insult – this film uses its technical magic to provide something deeper and more substantial than mere escapism...<br />
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The acting is excellent across the board. As Elisa, Sally Hawkins (<b>Paddington 2</b>) communicates entirely in sign language (On some occasions, she is subtitled, but on others, Giles and Zelda explain what she is saying). Even when she is with more talkative characters, Hawkins has little trouble gaining our attention and providing a protagonist both unique and relatable. The ‘Asset’ is also unable to speak, but Del Toro regular Doug Jones (<b>Pan’s Labyrinth</b>) brings him to life with agile and fluid body language. The 'Asset' shares Elisa’s empathy and fascination with movies, TV and music, but the character has a darker side which gets unleashed if you make him angry or scared. The wordless romance which develops between Elisa and the ‘Asset’ is engaging and totally plausible. The initial scenes of Elisa sharing her food with the creature soon blossom into a relationship both ordinary and extraordinary, as moments where the two sit at a table and eat breakfast are contrasted with a memorable sex scene in a flooding bathroom. As odd as the inter-species romance may seem on paper, Del Toro manages to convince us that the human and sea-creature are meant for each other.<br />
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Aside from our two protagonists, the supporting cast is also memorable. Richard Jenkins (<b>Let Me In</b>) plays Giles, a closeted gay man who comes to recognise the extent to which he is forbidden from expressing his desires and begins to understand why Elisa cares so much about the ‘Asset’. Michael Shannon (<b>Man of Steel</b>) has a reputation for playing intimidating and volatile villains, and uses this to disturbing effect as Strickland, making the character a major threat from the beginning and giving his eventual villainous breakdown greater impact. As he loses control of the ‘Asset’, and a gruesome injury inflicted by the creature begins to take its toll on him, Strickland drops all pretences of normalcy, resulting in the most brutal scenes of the movie. Octavia Spencer (<b>The Help</b>) is likeable as Zelda, and gets some amusing lines, but she is relatively underused for most of the story. Meanwhile, Michael Stuhlbarg (<b>Hugo</b>) is excellent as Dr. Hoffstetler, who is torn between serving his Soviet superiors and protecting the fascinating ‘Asset’. His internal dilemma generates a level of ambiguity which makes his scenes tense and engaging. Although Stuhlbarg’s turn has received less recognition than the rest of the cast, he deserves to be singled out for praise as well.<br />
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<b>The Shape of Water</b> is set in the early 1960s (any indications of a specific year are vague and contradictory) and the period setting is used brilliantly, with most of the main characters being associated with certain aspects of American culture. Elisa is fascinated by the entertainment offered by both grand cinemas and boxy, black and white TVs. Giles spends his time buying key lime pies from an isolated diner and pitching advertisements to an unappreciative ad agency, whilst Strickland’s suburban house and flashy new Cadillac demonstrate his single-minded obsession with being successful. The Cold War skulduggery threatens to distract from the main story at times, but it raises the stakes for Elisa and her friends, and the idea of contrasting a monstrous American agent with a compassionate Soviet spy is an impressively subversive touch. Most of the unpleasant aspects of the early 1960s, such as the homophobia and racism, are depicted clearly but subtly, highlighting the extent to which Elisa, Giles and Zelda are isolated. This makes it easy to understand are willing to risk everything they have to protect the creature. The message in favour of social justice is clear and unambiguous, and this gives <b>The Shape of Water</b> dramatic resonance which elevates it beyond traditional Hollywood fare. Ultimately, for all the scenes of sex and violence, it is the political messages and enthralling atmosphere which make <b>The Shape of Water</b> feel like an adult fairy tale, and this is why it has been so successful...<br />
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<b><u><span style="font-size: large;">Conclusion</span></u></b><br />
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<b>The Shape of Water</b> resoundingly succeeds in its goal of providing a classic fairy tale with a modern and subversive edge. Although the story is a familiar one, Del Toro makes it his movie feel unique and engaging, due to its intriguing setting, likeable protagonists and despicable villain. The film also stands out due to its distinctive atmosphere, enhanced by distinctive cinematography and an excellent score. <b>The Shape of Water</b> is brimming with interesting ideas, celebrating the tenacity and compassion of Elisa and her friends whilst protesting against the injustices and cruelties which make life so difficult for them. In lesser hands, <b>The Shape of Water</b> could have been a formulaic and ridiculous mess, but Del Toro has the talent to make it into something special. <b>The Shape of Water</b> deserves all the recognition it has received this awards season, and it is a must-watch for older viewers seeking a mature but magical fairy tale which captures the mystery and enchantment which the best works in the genre provide.<br />
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<b><u><span style="font-size: large;">If You Liked This, See…</span></u></b><br />
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<b><u>La Belle Et La Bete (1946) </u></b>– <b>The Shape of Water</b> is essentially a variation on Gabrielle Suzanne Barbot De Villeneuve’s legendary fairy tale <b>Beauty and the Beast</b>, as a beautiful woman falls in love with a mysterious creature. Although numerous changes have been made to the traditional template (the Beast is the one being held in capitivity in this story), <b>The Shape of Water</b> still has plenty of similarities to Jean Cocteau’s iconic adaptation of Villeneuve’s story, with a focus on physical expression over dialogue, a powerful gothic atmosphere, and an aggressive alpha-male villain…<br />
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<b><u>Let Me Hear You Whisper (1969)</u></b> – The harshest criticism affecting <b>The Shape of Water</b> has come from those accusing Del Toro of plagiarising his story from the play <b>Let Me Hear You Whisper</b>, adapted into a TV film in 1969. Both films concern a cleaner at a research facility seeking to free an aquatic creature. The two movies have undeniable similarities, but Del Toro’s story feels distinct enough to not seem like a blatant copy. Regardless of whether you think Del Toro copied from <b>Let Me Hear You Whisper</b>, it is interesting to see how these two different films tackled the same basic ideas…<br />
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<u><b>Pan’s Labyrinth (2006)</b> </u>– Del Toro previously won three Oscars for this Spanish-language film about a girl in Fascist-era Spain who comes across a mysterious fantasy word. Although darker and scarier, <b>Pan's Labyrinth</b> contains many of the same elements as <b>The Shape of Water,</b> including a plucky female protagonist, mysterious creatures played by Doug Jones and a sadistic, authoritarian villain more terrifying than any fictional monster…<br />
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Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-90022078079534634362018-02-18T09:37:00.002-08:002018-02-18T14:27:47.437-08:00Frozen: The Musical - Articles and Links<div class="separator" style="clear: both; text-align: center;">
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<b>Frozen: The Musical</b>, the long-awaited stage adaptation of Disney's 2013 animated megahit <b>Frozen</b>, is finally about to arrive on Broadway. Previews begin at the St. James Theatre on Thursday, and the show officially opens there on 22nd March. <b>Frozen: The Musical</b> was greenlit shortly after the original film became a major pop-cultural phenomenon, and its arrival on Broadway represents the culmination of months of hard work from the cast and crew. Audiences of all ages are incredibly interested in seeing the adventures of Anna and Elsa brought to life on stage, and during a seven-week tryout in Denver last summer, <b>Frozen: The Musical</b> attracted audiences of <a href="https://www.broadwayworld.com/article/FROZENs-Pre-Broadway-Run-Makes-Impact-in-Denver-20171013" target="_blank">almost 126,000 people</a>. Reviews of the Denver performances provided plenty of <a href="http://www.slate.com/blogs/browbeat/2017/09/15/review_roundup_of_the_frozen_musical.html" target="_blank">constructive criticism</a>, and the show has undergone some substantial alterations (around 30% of the musical - approximately 40 minutes worth of material - has apparently been changed since the end of the Denver tryout) in order to get it ready for Broadway. Hopefully, it will prove a major critical and commercial success and appeal to both fans of <b>Frozen </b>and casual audiences...<br />
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Here, we will showcase a variety of articles about <b>Frozen: The Musical</b>, including interviews with key members of the cast and crew, and previews of some of the new songs created for this version of Anna and Elsa's story.<br />
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<u style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13px; line-height: 18.200000762939453px;"><b style="background-color: white;">(Note: This post contains spoilers, as it assumes that most of us are familiar with the story of <i>Frozen</i> by now. If you aren't, be careful...)</b></u><br />
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<b><u>Interviews with Michael Grandage</u></b><br />
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<b>Frozen: The Musical</b> will be brought to life by the British director Michael Grandage. Although best known for directing acclaimed plays such as <b>Red </b>and <b>Frost/Nixon</b>, he has also overseen major revivals of the grand and glitzy musicals <b>Evita </b>and <b>Guys and Dolls</b>. Grandage has talked extensively about his aims of making <b>Frozen: The Musical</b> deeper and more dramatic without losing the entertainment value and spectacle of the source material...<br />
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<a href="https://broadway.news/2018/02/13/director-michael-grandage-frozen-took-shape/" target="_blank"><b>‘Frozen’ Director Michael Grandage On How the Show Took Shape</b></a> - In September 2016, Michael Grandage was appointed director of <b>Frozen: The Musical</b> after Disney Theatrical's initial choice, Alex Timbers, left the production. In this interview with Broadway News, Grandage explains why he joined the project, and reveals how he developed his vision for the project in the ten months before the Denver tryouts began. He also talks about the need to make <b>Frozen: The Musical</b> feel like a unique work independent from the original film...<br />
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<a href="http://ew.com/theater/2017/08/17/frozen-musical-first-look/" target="_blank"><b>Frozen Musical: First Look at the Stars in Costume</b></a> - This article from Entertainment Weekly was unveiled on the day <b>Frozen: The Musical</b> began its run in Denver, and it provided us with our first look at the lead actors in costume. It also features Grandage promoting the advantages of theatrical productions, including the increased length and the opportunity to make constant alterations every night. He also discusses the changes made to the characters and the need to provide new surprises for the audience. Meanwhile, Christopher Oram, who designed the sets and costumes for the musical, reveals how he was inspired by his trips to Norway and explains how he provided detailed and elaborate costumes which could also be suitable for the demands of a spectacular stage musical....<br />
<a href="https://www.vanityfair.com/hollywood/2017/12/frozen-on-broadway-inside-disneys-latest-stage-adaptation" target="_blank"><br /></a>
<a href="https://www.vanityfair.com/hollywood/2017/12/frozen-on-broadway-inside-disneys-latest-stage-adaptation" target="_blank"><b>Frozen on Broadway: Inside Disney’s Latest Stage Adaptation</b></a> - In this short but interesting article from Vanity Fair, Grandage explains how <b>Frozen </b>resembles Shakespeare's comedy <b>As You Like It</b>, and reveals how he has made <b>Frozen: The Musical</b> more mysterious and magical, with the comedic trolls from the original movie re-imagined as 'Hidden Folk' based on Scandinavian forest spirits. We also get a pretty photo of protagonists Anna, Elsa and Kristoff interacting with each other against a snowy mountain backdrop...<br />
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<a href="https://www.newyorker.com/magazine/2018/01/29/michael-grandage-finds-shakespeare-in-frozen" target="_blank"><b>Michael Grandage Finds Shakespeare in “Frozen”</b></a> - In a directing career lasting over two decades, Michael Grandage has supervised productions of a number of iconic Shakespeare plays. In this article from The New Yorker, Grandage explains how has been inspired by Shakespeare's comedies <b>Twelfth Night</b> and <b>As You Like It</b>. He also reveals that wintry themes and settings have been used frequently in his Shakespeare productions, and explains the parallels between Elsa and Shakespeare's iconic tragic protagonist Hamlet, as both are defined by their existential journeys...<br />
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<a href="http://www.telegraph.co.uk/men/thinking-man/man-taking-frozen-broadway-never-grown-tired-let-go/" target="_blank"><b>Michael Grandage on 'Frozen on Broadway': I'll Never Grow Tired of 'Let it Go'</b></a> - In this article from The Daily Telegraph, Michael Grandage discusses his career as a director, producer and head of the Michael Grandage Company. Although the article is focused on Grandage's British work, with very little about <b>Frozen: The Musical</b>, he gets to explain why 'Let it Go' is such a popular and iconic song, and demonstrates his knowledge of <b>Frozen </b>through a mini pop quiz...<br />
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<a href="http://www.playbill.com/article/why-broadways-frozen-will-be-a-different-story-from-the-disney-animated-musical" target="_blank"><b>Why Broadway’s Frozen Will Be a Different Story From the Disney Animated Musical</b></a> - The original <b>Frozen </b>was such a huge success because its subversions of the traditional Disney Princess formula felt unique and exciting. As <b>Frozen: The Musical</b> will stick very closely to the storyline of the movie, it will not be easy to capture the surprise value of these iconic moments. However, in this interview with Playbill, Grandage claims that <b>Frozen: The Musical</b> will feel like an entirely unique story, and the possibility that things may develop differently ensures that the memorable twists from the movie will seem fresh and exciting again. He points to the success of <b>Frost/Nixon</b> (his play about David Frost's interviews with Richard Nixon in 1977) as proof that a retelling of a familiar story can engage audiences and feel completely new to them...<br />
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<u><b>Interviews with Kristen and Robert Anderson-Lopez</b></u><br />
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One of the biggest selling point of Disney's stage musicals is the opportunity to hear numerous new songs alongside the old favourites, and Kristen and Robert Anderson-Lopez who wrote the songs for <b>Frozen</b>, have added a variety of new tunes for the Broadway version. The songs from the original movie, such as "Do You Want to Build A Snowman?", "For the First Time in Forever" and "Let It Go", will be joined by new songs like "What Do You Know About Love?", "Dangerous to Dream" and "Monster". Based on the interviews which the Lopez's have conducted to discuss the additions to the soundtrack, it seems like a few of them could be incredibly popular with <b>Frozen </b>fans...<br />
<a href="https://stagebuddy.com/theater/theater-feature/5-things-learned-broadwaycons-frozen-show-spotlight" target="_blank"><br /></a>
<a href="https://stagebuddy.com/theater/theater-feature/5-things-learned-broadwaycons-frozen-show-spotlight" target="_blank"><b>5 Things We Learned At BroadwayCon’s ‘Frozen’ Show Spotlight</b></a> - In January, the Lopez's promoted <b>Frozen: The Musical</b> at the major musical theatre festival BroadwayCon. This article from StageBuddy explains five of the most interesting facts revealed by the Lopez's at this event, as they told audiences how they used 'Let It Go' to develop Elsa's character, explained how their daughter helped them create lyrics for 'For the First Time in Forever' and discussed the Japanese puppetry used to bring Anna's snowman sidekick Olaf to life on stage. The most exciting comment from the Lopez's was their reveal that four of the songs they created for <b>Frozen: The Musical</b> ('Dangerous to Dream', 'What Do You Know About Love?, 'Monster' and 'True Love') will be released on consecutive 'Frozen Fridays' during the four weeks leading up to opening night...<br />
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<a href="http://www.clevver.com/frozen-broadway-facts/" target="_blank"><b>8 Things You Need to Know About Frozen‘s New Show on Broadway</b></a> - Another article about the Lopez's BroadwayCon appearance, this report from Clevver provides a bit more information. In this article, we get to hear the Lopez's discuss the new songs for each major character, talk about the ability to revisit material which they could not use in the original <b>Frozen</b>, and reveal how they listened to audience feedback when editing <b>Frozen: The Musical</b> following the Denver tryouts...<br />
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<a href="https://nerdist.com/robert-lopez-on-how-star-wars-influenced-frozen-the-broadway-musical/" target="_blank"><b>Robert Lopez On How Star Wars Influenced Frozen the Broadway Musical</b></a> - In <b>Frozen: The Musical</b>, all the major characters (and a couple of minor ones) from the original movie will get their own signature songs. One of the hardest characters to write for is Hans, the seemingly perfect prince who eventually becomes <b>Frozen</b>'s primary villain. Facing the challenge of trying to trick fans of <b>Frozen </b>into trusting Hans a second time, Robert Lopez turned to John Williams' iconic score for <b>Star Wars</b> movies in order to find inspiration. In this article, he reveals to Nerdist how he used Williams' leitmotif for Luke Skywalker as as a model for Hans' new theme song, 'Hans of the Southern Isles'...<br />
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<a href="http://www.charlotteobserver.com/entertainment/ent-columns-blogs/lawrence-toppman/article111926497.html" target="_blank"><b>She was ‘Frozen.’ Now ex-Charlottean Kristen Anderson-Lopez is On Fire</b>.</a>- This article from Charlotte Observer was written to promote the 2016 Broadway production of Kristen Anderson-Lopez's a capella musical <b>In Transit</b>, but it provided an excellent opportunity for her and Robert to talk about the new music which they were creating for <b>Frozen: The Musical</b>. They reveal that it took 9 months to create enough new songs to fill a stage musical, and explain how they will use these additional songs to develop the characters and overcome the constraints of the stage...<br />
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<a href="http://www.playbill.com/article/robert-lopez-talks-the-challenges-in-adapting-frozen-for-the-broadway-stage" target="_blank"><b>The Challenges in Adapting Frozen for the Broadway Stage</b></a> - This article from Playbill was written in 2016, when <b>Frozen: The Musical</b> was at a relatively early stage in development (Alex Timbers was still attached to direct at this point). Here, Robert Lopez talks about the need to radically expand the score and story for <b>Frozen: The Musical</b>, and discusses the challenges faced when adapting a film like <b>Frozen </b>for the stage, as a story which was previously told through action sequences and close-ups now needs to be driven by the music...<br />
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<a href="https://broadwaydirect.com/writing-score-screen-stage/" target="_blank"><b>Writing A Score From Screen to Stage</b></a> - In this article from Broadway Direct, the Lopez's discuss the difference between animated movies and stage musicals, and explain how the process of writing songs changed as <b>Frozen: The Musical</b> went deeper into production, with even the smallest things needing to be altered in order to make the musical as engaging and spectacular as possible. The Lopez's place particular focus on 'Colder by the Minute', an elaborate musical number which will be the soundtrack to the climatic confrontation between our main characters. They reveal how they used the lyrics and melodies to create atmosphere and tension and provide a strong structure for the sequence, as Anna has to choose whether to seek help from Kristoff or save Elsa from Hans...<br />
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<b><u>Interviews with Caissie Levy </u></b><br />
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Given her status as <b>Frozen</b>'s most iconic and interesting character, it is little surprise that promotional material for <b>Frozen: The Musical</b> has focused primarily on Elsa. In <b>Frozen: The Musical</b>, Elsa will be played by Caissie Levy, who has starred in hit musicals such as <b>Wicked</b>, <b>Les Miserables</b> and <b>Ghost: The Musical</b>. In these interviews, she explains what it's like to bring Elsa to life, and discusses the songs which she will get to perform, including a certain Oscar-winning power ballad...<br />
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<a href="https://broadwaydirect.com/new-frozen-every-age/" target="_blank"><b>A New Frozen For Every Age</b></a> - Unsurprisingly, many interviews with Caissie Levy have paired her with Patti Murin, who plays Elsa's sister Anna. In this article, Levy and Murin discuss <b>Frozen: The Musical</b>, promising a deeper version of the familiar story which deals with more mature themes. Furthermore, Levy also explains what it's like to develop Elsa and her internal struggles...<br />
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<a href="https://www.broadway.com/buzz/191192/caissie-levy-patti-murin-redefine-the-disney-princess-in-broadways-frozen/" target="_blank"><b>Caissie Levy & Patti Murin Redefine the Disney Princess in Broadway's Frozen</b></a><span style="color: #0000ee;"> -</span> In this interview with Broadway.com, Caissie Levy and Patti Murin discuss their relationship, revealing how well they get on and explaining what they love most about Anna and Elsa. They also share a couple of personal secrets and talk about their friendships with some of the stars of the original <b>Frozen</b>, such as Elsa's original voice actress, Idina Menzel...<br />
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<b><a href="https://www.todaytix.com/insider/nyc/posts/caissie-levy-breaks-the-ice-in-frozen-on-broadway" target="_blank">Caissie Levy Breaks the Ice in 'Frozen' on Broadway</a> </b>- In this article from TodayTix, Levy praises the fact that Elsa is not defined by her relationship with a man (most of the characters she has played on stage have been in romantic relationships with the male protagonists), reveals why Elsa's character arc resonates with so many people, and talks about performing Elsa's iconic signature song, 'Let it Go', which is being used to conclude Act 1 of <b>Frozen: The Musical</b>. Michael Grandage and Patti Murin also appear in this article, explaining why Levy is the ideal choice to play Elsa...<br />
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<a href="https://www.thestar.com/entertainment/stage/2018/02/12/canadian-caissie-levy-is-warming-up-to-be-broadways-elsa-in-frozen.html" target="_blank"><b>Canadian Caissie Levy is Warming Up to Be Broadway’s Elsa in Frozen </b></a>- In this interview with the Toronto Star, Levy reveals how being a mother has inspired her interpretation of Elsa. She also reveals the endorsement Idina Menzel gave her in a recent meeting, and explains why the narrative of <b>Frozen: The Musical</b> has been simplified since the Denver tryouts...<br />
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<b><a href="http://www.newnownext.com/frozen-broadway-caissie-levy/12/2017/" target="_blank">“Frozen” Star Caissie Levy On Elsa: “She’s Been Taught The Thing That Makes Her Special Needs To Be Denied”</a> </b>- In this interview with NewNowNext, Levy reveals how she gained the role of Elsa, and tells us how she is preparing for belting out numerous power ballads every night on Broadway. She also discusses Elsa's anxieties and her love for Anna...<br />
<a href="https://www.newsday.com/entertainment/theater/frozen-broadway-songs-1.16743951" target="_blank"><br /></a>
<a href="https://www.newsday.com/entertainment/theater/frozen-broadway-songs-1.16743951" target="_blank"><b>‘Frozen’ Stars Look Forward to Performing New Songs in Broadway Show</b></a> - In this article from Newsday, Levy promotes Elsa's new song 'Monster', which she describes as "badass". She also discusses what it's like to sing 'Let it Go', and reveals how focusing on the lyrics and story of that song will allow audiences to rediscover what made that song so iconic in the first place...<br />
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<b><u>Videos</u></b><br />
<b><u><br /></u></b>Murin and Levy will be joined by a large cast of talented actors, with <b>Frozen</b>'s three other main characters, Kristoff, Hans and Olaf, being played by Jelani Alladin, John Riddle and Greg Hildreth respectively. All five of the lead performers have appeared together in numerous videos to promote<b> Frozen: The Musical</b>, as they talk about their characters and reveal what it is like to portray them on stage. Michael Grandage and Kristen and Robert Anderson-Lopez have also appeared frequently in these videos, along with several key members of the creative team...<br />
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<a href="http://www.playbill.com/video/7-reasons-to-get-excited-for-broadways-frozen" target="_blank"><b>7 Reasons to Get Excited for Broadway's Frozen</b></a> - In this interview with Playbill, the lead stars and key creatives of <b>Frozen: The Musical</b> discuss the aspects of the musical which excite them the most. Michael Grandage and Caissie Levy promote the new version of 'Let it Go', Jelani Alladin praises the sophisticated puppetry used to bring Kristoff's reindeer sidekick Sven to life, Kristen Anderson-Lopez reveals that the ending has been changed since the Denver tryout, and Greg Hildreth teases a new song for Olaf...<br />
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<b><a href="https://www.broadwayworld.com/videoplay/BWW-TV-Bundle-Up-and-Watch-the-FROZEN-Team-Preview-New-Songs-for-Broadway-20180213" target="_blank">BWW TV: Bundle Up and Watch the Frozen Team Preview New Songs for Broadway!</a> </b>- In this video from BroadwayWorld, Michael Grandage, Kristen and Robert Anderson-Lopez and the five lead actors tell reporter Richard Ridge about <b>Frozen: The Musical</b>. Patti Murin explains how working with the Lopez's inspired her to continue acting, John Riddle talks about his childhood love of Disney villains, and Greg Hildreth places Olaf in the Shakespearean tradition of silly but wise comic fools. Meanwhile, Kristen Anderson-Lopez talks about the changes made to the story, and sings the new songs 'Dangerous to Dream' and 'What Do You Know About Love?' with Robert accompanying her on piano...<br />
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<a href="https://www.instagram.com/p/BfReY8NgqdZ/?taken-by=frozenbroadway" target="_blank"><b>Frozen Fridays</b> </a> - In this Instagram video released to promote the 'Frozen Fridays' which begin this Friday, the Lopez's reveal that 'Monster', a second-act power ballad for Elsa, will be the first new song released during the promotion. They also reveal their excitement at unveiling four of the new songs early...<br />
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<a href="https://www.youtube.com/watch?v=TNzG5dNay5Q" target="_blank"><b>Frozen The Musical: Official Trailer</b></a> - This video was released shortly before the Denver tryouts began and provided <b>Frozen </b>fans with their first proper look at <b>Frozen: The Musical</b>. It shows us footage of the cast rehearsing for the show and gives us information about the large creative team, headed by director Michael Grandage, writer Jennifer Lee and executive producer Thomas Schumacher...<br />
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<a href="https://www.youtube.com/watch?v=4uXwFCUF7Yg" target="_blank"><b>Frozen The Musical: The Countdown to Broadway</b></a> - In this video, Michael Grandage talks about his excitement at sharing <b>Frozen: The Musical</b> with audiences and critics for the first time at Denver, and explains how this influenced the development of the project. He also teases some of the changes made to the musical since the Denver tryout, with a new opening and conclusion, several changes to the songs, and a more streamlined narrative...<br />
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<b><a href="https://www.youtube.com/watch?v=RP1-GGPMMJA" target="_blank">Frozen The Musical: The Sitzprobe</a> </b>- In the world of musical theatre, the 'Sitzprobe' is the first full runthrough of the songs with an orchestra. In this video, we see the 'Sitzprobe' for <b>Frozen: The Musical</b>, which took place before the Denver tryouts. We get to hear snippets of 'For the First Time in Forever; 'What Do You Know About Love?' and 'Dangerous to Dream', as sung by the cast, whilst the Lopez's and other figures involved in bringing the songs and score to life (such as Dave Metzger, who is in charge of the orchestrations) discuss the diversity of the soundtrack and the new songs given to the characters...<br />
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<b><a href="https://www.youtube.com/watch?v=hTYUeJV8-Nw" target="_blank">Introducing Caissie Levy and Patti Murin of Broadway's Frozen</a> </b>- In this video, Caissie Levy and Patti Murin reveal what it's like to play Elsa and Anna, and explain the journey which their characters undertake as they come of age. Meanwhile, Jennifer Lee, who co-directed the original <b>Frozen </b>and wrote the book for the stage version, explains how the two actresses bring Anna and Elsa to life and put their own distinct spin on the characters... <br />
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<a href="https://www.instagram.com/p/Be-w-lwgoQk/?taken-by=frozenbroadway" target="_blank"><b>What is at the Core of Your Character?</b></a> - In this Instagram video, our five leads provide some brief but interesting comments on their characters, as Patti Murin talks about Anna's optimism, Jelani Alladin discusses Kristoff's relationship with Sven, and John Riddle explains his take on the slippery Prince Hans...<br />
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<b><u>Summary </u></b><br />
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All the interviews and articles listed above indicate that <b>Frozen: The Musical</b> is going to provide something new and different whilst staying true to the iconic source material. The promotional campaign for <b>Frozen: The Musical</b> has focused on the more elaborate story, the increased levels of character development, and the wide range of new songs, creating anticipation amongst <b>Frozen </b>fans whilst also winning the attention of those less interested in the 2013 Disney megahit. Particularly welcome is the emphasis on Caissie Levy, whose comments indicate that Elsa and Anna's sisterly relationship (which has made Frozen into such an iconic and successful franchise) will be expanded upon in this version. Overall, it seems like <b>Frozen: The Musical</b> will be able to emulate the success of Disney Theatrical's stage adaptations of <b>The Lion King</b>, <b>Beauty and the Beast</b> and <b>Aladdin</b>, and it will eventually enjoy long runs in major theatres all over the world...Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-63263994241712197452017-12-22T06:01:00.002-08:002017-12-22T06:57:35.163-08:0015 Fairy Tale Films to Watch on TV This Christmas<div style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 17.77777862548828px;">During the Christmas season, the British TV schedules are full of excellent TV programmes and films which aim to provide escapist entertainment for the whole family. Many of the best films showing on TV over the Christmas period are based on fairy tales and classic children’s stories, and this article highlights 15 of the best fairy tale films being shown over the festive period this year. In order to make this list easier to put together, it only includes films which are being shown on Britain's five terrestrial channels (BBC1, BBC2, ITV1, Channel 4 and Channel 5).</span><br />
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<span style="font-size: 17.77777862548828px;">Frozen</span></u></b><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Saturday 23rd December at 2:50PM (BBC1)</span><br />
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<span style="font-size: 17.77777862548828px;">Although overexposure has somewhat diluted the surprise value which made it so popular, Disney's 2013 musical <i>Frozen </i>has firmly established itself as one of the most successful and iconic family films of all time, with its memorable characters, creative twists, and an array of inescapably catchy songs such as 'Let it Go'. Last year, its terrestrial premiere attracted an impressive 4.7 million viewers, and it looks like the story of Anna and Elsa will be a Christmas staple on BBC1 for years to come. <i>Frozen </i>fans with cable might also want to check out <i>Olaf's Frozen Adventure</i>, a 20-minute Christmas special centred on snowman sidekick Olaf, which will air on Sky Cinema on Christmas Day.</span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Cinderella</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Christmas Day at 3:10PM (BBC1)</span><br />
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<span style="font-size: 17.77777862548828px;">This Christmas Day, Disney's recent live-action remake of <i>Cinderella</i> enjoys its terrestrial premiere on BBC1, becoming one of the major highlights of their Christmas Day schedule. Director Kenneth Branagh applies his signature spectacular style to the fairy tale, with <i>Downton Abbey</i> star Lily James playing Cinderella and Kate Blanchett as the wicked stepmother Lady Tremaine. This new version gives increased depth and complexity to characters who were mere plot devices in the original (such as the Prince and the Fairy Godmother) but manages to retain the simplicity and charm of the original story. With its incredible visuals, compelling story, and powerful messages about the importance of kindness and tenacity, <i>Cinderella </i>is one of the standouts in Disney's recent crop of live-action remakes, making it excellent entertainment for viewers of all ages. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Dumbo</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On? </u> - Christmas Day at 4:30PM (Channel 4)</span><br />
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<span style="font-size: 17.77777862548828px;">Disney were struggling financially in 1942, but their adaptation of the obscure short story <i>Dumbo</i>, about an elephant with unusually big ears, was the hit they needed to turn their fortunes around. At just 65 minutes long, <i>Dumbo </i>is far shorter than any of the other movies on this list, but it provides the impressive animation and memorable characters needed to compete with the longer, flashier films. Whilst some elements of <i>Dumbo </i>have not aged well, the simple but timeless story of a misfit learning how to make use of his unique gifts remains universally appealing. A live-action adaptation of this film arrives in 2019, so now is a good time to make yourself familiar with the original.</span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Song of the Sea</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On? </u> - Boxing Day at 6:40AM (Channel 4)</span><br />
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<span style="font-size: 17.77777862548828px;">Many people use Boxing Day as an opportunity to enjoy a well-earned rest after the chaos of Christmas Day. However, it is definitely worth getting up early to watch <i>Song of the Sea</i>, an Oscar-nominated movie from the acclaimed animation studio Cartoon Saloon. Like their 2009 film <i>The Secret of Kells</i>, <i>Song of the Sea</i> is based on Irish folklore, using myths about Selkies, fairies and witches as the basis for a unique and magical story. The movie deals with weighty topics such as bereavement, but it has enough comedy and adventure to keep younger audiences entertained, and the relationship between protagonist Billy and his mute younger sister Saoirse is incredibly easy to relate to. However, the best things about <i>Song of the Sea</i> are the beautiful hand-drawn animation and the Celtic-inspired soundtrack. Overall, the movie is a real treat for children and adults alike, and it will hopefully inspire viewers to check out other Cartoon Saloon projects, such as their forthcoming film <i>The Breadwinner</i>. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Mary Poppins</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Boxing Day at 3:45PM (BBC1)</span><br />
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<span style="font-size: 17.77777862548828px;">Disney's 1964 movie <i>Mary Poppins</i> is easily the most iconic of the numerous live-action films created by the studio, and really deserves its status as a mainstay of Christmas TV. Loosely based on a series of novels by P.L. Travers, it tells the story of a mysterious nanny who arrives at the house of Mr Banks and his family and changes their lives. With memorable performances from Julie Andrews, David Tomlinson and Dick Van Dyke, and the brilliant soundtrack from the Sherman Brothers (who can forget songs like 'Feed the Birds', 'A Spoonful of Sugar' or 'Step in Time'?), <i>Mary Poppins</i> continues to weave its powerful spell on audiences all over the world. The forthcoming sequel, <i>Mary Poppins Returns</i>, is one of the most anticipated films of 2018, but it will find it incredibly difficult to emulate the success and longevity of its predecessor. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>The Little Mermaid</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Boxing Day at 4:20PM (Channel 4)</span><br />
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<span style="font-size: 17.77777862548828px;">When it was released in 1989, Disney's upbeat adventure musical <i>The Little Mermaid</i> was a major critical and commercial success, starting the purple patch known as the Disney Renaissance. Almost three decades after it first arrived in cinemas, it remains one of Disney's most enjoyable movies. Red-headed protagonist Ariel was the first in Disney's long line of adventurous and assertive female leads, and she is joined by a memorable cast of supporting characters, including Sebastian the crab, Flounder the fish, and the wonderfully diabolical baddie Ursula. The movie also features some of the greatest Disney songs ever, including 'Part of Your World', 'Under the Sea' and 'Kiss the Girl'. Even if you take issue with Ariel's search for love, it is impossible to deny the impact of <i>The Little Mermaid</i> - rewatch it yourself and see how much the recent <i>Wonder Woman</i> movie borrowed from it...</span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Matthew Bourne's Cinderella</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Boxing Day at 5:35PM (BBC2)</span><br />
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<span style="font-size: 17.77777862548828px;">Although this is technically not a movie, the television broadcast of <i>Matthew Bourne's Cinderella</i> is feature-length, and is definitely worth mentioning in this article. For his spin on Prokofiev's ballet <i>Cinderella</i>, the iconic choreographer/director relocated the traditional story of Cinderella and Prince Charming to WW2-era London. Bourne’s production uses dancing, costumes, sets, and cutting-edge projections to invoke nostalgia for the culture of the period whilst highlighting the chaos and destruction caused by the German bombing raids at the time. If you are unable to see <i>Matthew Bourne’s Cinderella</i> in person at Sadlers Wells Theatre this Christmas, then this TV screening allows you to enjoy it from the comfort of your own home. Seasoned Matthew Bourne fans will have a great time watching this, and for those not familiar with his work, it represents an excellent introduction.</span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>The Princess and the Frog</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Wednesday 27th December at 10:45AM (BBC1)</span><br />
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<span style="font-size: 17.77777862548828px;">When it was released in 2009, <i>The Princess and the Frog</i> was the first traditionally animated Disney movie in five years, and the first Disney Princess movie since <i>Mulan </i>over a decade earlier. A reworking of <i>The Frog Prince</i> set in 1920s New Orleans, it pays loving tribute to the bayous, parades and jazz music which defined that time and place, whilst also providing a modern and assertive protagonist in the shape of the hard-working Tiana, a waitress who gets mistaken for a princess and ends up going on an incredible adventure. Although it was not successful enough to permanently revive traditional animation, <i>The Princess and the Frog</i> generated renewed interest in Disney's fairy tale formula, paving the way for the likes of <i>Tangled </i>and <i>Frozen</i>. It has often been overshadowed by its successors, but it is a colourful, charming throwback which will entertain viewers of all ages.</span><br />
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<span style="font-size: 17.77777862548828px;">The Red Shoes</span></u></b><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Wednesday 27th December at 12:10PM (BBC2)</span><br />
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<span style="font-size: 17.77777862548828px;">Made by the iconic writer/director duo Michael Powell and Emeric Pressburger, <i>The Red Shoes</i> has fascinated and haunted audiences all over the world since it was first released in 1948. The movie centres on Victoria Page, a dancer preparing to star in a ballet based on the titular Hans Christian Andersen fairy tale. Like the protagonist of that story, Victoria finds herself unable to stop dancing, and her inability to control her passion leads to tragedy. With its sumptuous technicolour cinematography, impressively detailed sets, and Moira Shearer’s magnetic performance in the lead role, <i>The Red Shoes</i> has become recognised as one of the greatest British movies of all time. If you haven’t already seen this enthralling and atmospheric movie, this Christmas is the perfect time to check it out for yourself.</span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Brave</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On? </u> - Friday 29th December at 4:20PM (BBC1)</span><br />
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<span style="font-size: 17.77777862548828px;">Pixar’s animated films are traditionally set in modern times, with male protagonists, but for their 2012 film <i>Brave</i>, they adopted the signature formula of parent studio Disney with a female-centred adventure story set in ancient Scotland. The rebellious Princess Merida rejects traditional gender roles, choosing to pursue her interest in riding and archery instead of searching for a mate, and her strained relationship with her mother Queen Elinor provides a welcome contrast to Disney’s traditional emphasis on father/daughter dynamics. The Scottish forests and highlands provide <i>Brave </i>with a magical, mystical feel and allow it to maintain the family-friendly appeal of Disney and Pixar’s output, even as it deviates from many of their traditional conventions. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Ever After: A Cinderella Story</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - Saturday 30th December at 12:50PM (Channel 4)</span><br />
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<span style="font-size: 17.77777862548828px;"><i>Ever After</i> is the third adaptation of <i>Cinderella </i>mentioned on this list, but it is definitely unique and entertaining enough to stand out, updating the source material to reflect modern, progressive values whilst staying true to the elements which made it so popular in the first place. In this version, Drew Barrymore plays Danielle, a feisty young woman forced into servitude by her tyrannical stepmother, who finds herself falling in love with the handsome Prince Henry. Set in 16th Century France, Ever After downplays the fantasy elements which define most versions of <i>Cinderella</i>, with the legendary inventor Leonardo Da Vinci taking the place of the Fairy Godmother and using science to help Danielle on her path to a happy ending. However, it provides more than enough adventure, comedy and romance to please fans of the traditional story. Since its release in 1998 <i>Ever After</i> has gained a substantial fanbase, with many regarding it as one of the best adaptations of <i>Cinderella</i>. Any fairy tale enthusiasts who have previously overlooked <i>Ever After</i> should see it during the festive period. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Alice in Wonderland</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When’s It On?</u> - Saturday 30th December at 6:20PM (BBC2)</span><br />
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<span style="font-size: 17.77777862548828px;">Although Disney had remade some of their animated films in live-action before, Tim Burton’s 2010 adaptation of <i>Alice in Wonderland</i> (both a remake and a sequel at the same time) turned these re-imaginings into the cornerstone of Disney’s live-action division, and helped fuel the growing trend for darker and edgier fairy tale adaptations. Burton’s Wonderland is a grim dystopia, but it allows the director to show off his signature twisted and imaginative visuals. Mia Wazowskia plays a teenage Alice, whilst Burton’s muses Helena Bonham Carter and Johnny Depp play the Queen of Hearts and the Mad Hatter respectively. They are joined by a cast of British acting icons (ranging from Stephen Fry to the late Alan Rickman), who voice the eccentric inhabitants of Wonderland. <i>Alice in Wonderland</i> is one of the darker films on the list, but is still recommended for Tim Burton fans and those who would like an alternative to the more sugary and upbeat fairy tale films traditionally shown over Christmas. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Into the Woods</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - New Years Eve at 8PM (BBC2)</span><br />
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<span style="font-size: 17.77777862548828px;">When it made its debut on Broadway in 1987, Stephen Sondheim and James Lapine's musical <i>Into the Woods</i> attracted the attention of numerous actors and producers with its intelligent deconstruction of classic fairy tales and the messages they teach us. It did not reach the big screen until 2014, but it is testament to the enduring power of <i>Into the Woods</i> that this adaptation featured household names such as James Corden, Emily Blunt, Anna Kendrick, Chris Pine and Meryl Streep in the leading roles. Although several key elements of the source material were cut for the film, most of Sondheim's songs (including 'Hello Little Girl', 'Agony' and the beautiful 'No One is Alone') remain intact, and it is great to see the all-star cast put their spin on these classics. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Hugo</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - New Years Day at 1:10PM (Channel 4)</span><br />
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<span style="font-size: 17.77777862548828px;">Famous for violent, profane and gritty crime movies such as <i>Taxi Driver</i> and <i>Goodfellas</i>, Martin Scorsese is one of the last directors who you would associate with the fairy tale genre. However, his 2011 film <i>Hugo </i>is a magical change of pace, blending fairy tale tropes with early 20th century technology such as movie cameras and automatons. Based on a novel by Brian Selznick, it tells the story of Hugo, a boy living in 1930s Paris, who befriends the daughter of the legendary film-maker George Melies. Melies used pioneering special effects to create a wide array of spectacular silent movies (including one of the first cinematic adaptations of <i>Cinderella</i>), and <i>Hugo </i>provides a fascinating introduction to his life and work. With its incredible visuals and an excellent cast (Including Asa Butterfield as Hugo and Ben Kingsley as George Melies), <i>Hugo </i>is an enthralling tribute to the power of cinema to bring the most incredible dreams and fantasies to life. </span><br />
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<span style="font-size: 17.77777862548828px;"><b><u>Maleficent</u></b></span><br />
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<span style="font-size: 17.77777862548828px;"><u>When's It On?</u> - New Years Day at 5PM (BBC1)</span><br />
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<span style="font-size: 17.77777862548828px;">Following in the path of revisionist fairy tale hits such as <i>Wicked </i>and <i>Once Upon A Time</i>, <i>Maleficent </i>puts a new spin on the titular villain from <i>Sleeping Beauty</i>, showing that the 'Mistress of all evil' is not as nearly as nasty as Disney's 1959 classic would have us believe. In this adaptation, Maleficent seeks revenge on the tyrannical King Stefan, but soon finds herself forming a friendship with Princess Aurora. Although <i>Sleeping Beauty</i> purists will despise the changes made to the characters, it is always interesting to see familiar characters get depicted in new and unusual ways, and Angelina Jolie provides an impressive portrayal of Maleficent, replicating the voice and mannerisms of Disney's iconic villain whilst taking her down a more sympathetic path. </span><br />
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Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-86739525894258313272017-11-28T08:17:00.008-08:002017-11-30T07:12:21.010-08:0025 Plays, Ballets and Pantomimes To See This Christmas (Part One)As families search for entertainment during the cold, dark winter nights, theatres seek to attract them with adaptations of classic family-friendly stories. Retellings of familiar stories can provide colourful, engaging escapism for viewers of all ages, so theatres compete to provide the most entertaining adaptations of old favourites for the stage, gaining particularly large audiences during the Christmas holidays. There are numerous interesting pieces of fairy tale theatre available this Christmas, so this list will be split into two parts. This part will focus on plays and musicals based on fairy tales and classic children's novels. Part Two, which will be published in a few days time, will focus on ballets and pantomimes...<br />
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<b><u>Plays in London</u></b></h3>
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London's numerous theatres are incredibly busy during Christmas, as tourists and families flock to see a wide variety of plays in the city. In addition to long-running West End favourites like <i>Wicked</i>, <i>Aladdin</i> and <i>The Lion King</i>, there will be a number of new family-friendly plays for audiences to enjoy this Christmas...<br />
<b><u><br /></u></b><b><a href="https://www.oldvictheatre.com/whats-on/2017/a-christmas-carol" target="_blank">A Christmas Carol</a></b><br />
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Where: The Old Vic, London<br />
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When: Until 20th January<br />
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If there is one story which is synonymous with Christmas, it is <i>A Christmas Carol</i>, the 1843 Charles Dickens classic about the miser Ebeneezer Scrooge and the ghosts who visit him on Christmas Eve in order to make him change his ways. <i>A Christmas Carol</i> has been adapted for stage and screen numerous times, with Scrooge played by iconic actors such as Alister Sim, Michael Caine and Jim Broadbent. In this version from The Old Vic, Scrooge will be played by Rhys Ifans, who has starred in movies such as <i>Notting Hill</i> and <i>Harry Potter and the Deathly Hallows</i>. Ifans is under a lot of pressure to provide a memorable take on Scrooge, as this eagerly-anticipated production has been created by two of the biggest names in British Theatre - director Matthew Warchus (<i>Matilda: The Musical</i>) and writer Jack Thorne (<i>Harry Potter and the Cursed Child</i>). This adaptation of <i>A Christmas Carol</i> is going to be darker than most versions of the story (The Old Vic have recommended it for audiences aged 11 and above) but it seems like it will capture the spirit of Dickens' tale of redemption whilst doing enough to stand out in its own right.<br />
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<b><a href="https://www.nationaltheatre.org.uk/shows/pinocchio" target="_blank">Pinnochio</a></b><br />
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Where: The National Theatre, London<br />
<br />
When: 1st December - 10th April<br />
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Following last year's acclaimed adaptation of <i>Peter Pan</i>, The National Theatre will try and gain another hit this Christmas by providing a new version of <i>Pinnochio</i>, with Joe Idris-Roberts as the titular wooden puppet. In order to make this production even more appealing for a family audience, they have gained the rights to use the iconic songs from the 1940 Disney adaptation, including 'I've Got No Strings', 'Give a Little Whistle', and, of course, the legendary 'When You Wish Upon A Star'. However, director John Tiffany and writer Dennis Kelly have been given the freedom to make a number of changes to the source material in order to please modern audiences. Most notably, Jiminy Cricket, the insect who serves as a voice of reason for Pinnochio, is now being played by a woman, updating a character often seen as synonymous with the conventions and values of 1940s America..<br />
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The National Theatre adaptation of <i>Pinnochio</i> is probably going to be a bit too scary for very young children, as some of the most horrifying scenes from the source material (such as the trip to Pleasure Island) remain intact in this version. However, it looks like it will retain the magical appeal of the Disney film whilst providing its own unique and theatrical touches. Thus, it is probably going to be a must-watch for families going to the theatre over the next few months.<br />
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<b><a href="http://wiltons.org.uk/whatson/365-the-box-of-delights" target="_blank">The Box of Delights</a></b><br />
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Where: Wilton's Music Hall, London<br />
<br />
When: 1st December - 6th January<br />
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Based in the East End Suburbs, Wilton's Music Hall is one of London's oldest and most fascinating theatres, having hosted shows and performances since the 19th century. This Christmas, Wilton's Music Hall is putting on an adaptation of John Masefield's classic 1935 children's novel <i>The Box of Delights</i>, which is a perfect fit for an old-fashioned venue with a remarkable history. <i>The Box of Delights</i> tells the story of a boy who meets a showman with incredible magic powers and a box which can allow people to travel through time. Although it was a sequel to Masefield's earlier book <i>The Midnight Folk</i>, it has become far more iconic than the original story and in 1984, it was adapted into an acclaimed television series which starred Devin Stanfield and Patrick Troughton. This version of <i>The Box of Delights</i> is being brought to the stage by acclaimed children's author Piers Torday and director Justin Audibert, with Matthew Kelly and Josefina Gabrielle leading the cast. If you have had enough of Central London, it is definitely worth heading to Wilton's in order to see this intriguing take on Mansfield's enthralling story. <br />
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<b><a href="http://www.tallstories.org.uk/wilde-creatures" target="_blank">Wilde Creatures</a></b><br />
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Where: The Vaudeville Theatre, London<br />
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When: 15th December - 31st December<br />
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The 19th century author Oscar Wilde is renowned for his witty comedic plays, such as <i>The Importance of Being Earnest</i> and <i>Lady Windermere's Fan</i>, but he also created a number of brilliant and beautiful fairy tales, including <i>The Happy Prince </i>and <i>The Selfish Giant</i>. Some of these fairy tales are getting their moment in the spotlight in the show <i>Wilde Creatures</i>, which is being performed as part of an Oscar Wilde Season at the Vaudeville Theatre.<br />
<br />
<i>Wilde Creatures</i> is an hour-long play from Tall Stories, a company which specialises in creating short plays based on children's novels such as<i> The Gruffalo</i>. Like their previous works, <i>Wilde Creatures</i> will blend music, comedy and storytelling. In the play, characters from three Oscar Wilde fairy tales (<i>The Happy Prince</i>, <i>The Nightingale and the Rose</i> and<i> The Birthday of the Infanta</i>) will compete to gain a statue in their honour, whilst a group of musicians (the titular Wilde Creatures) provide the narration.. Overall, <i>Wilde Creatures</i> looks like an excellent way of introducing young children to both the works of Oscar Wilde and the world of theatre...<br />
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<h3>
<b><u>Plays Outside London</u></b></h3>
<b><u><br /></u></b>
Although there are plenty of great plays in London, it is incredibly insulting to reduce all British theatre to that single city. All of Britain's major villages and cities have a major theatre or two, and many of these are providing family-friendly plays and musicals just as impressive as those available in the English capital. These six plays are particularly worth seeing this Christmas, regardless of whether or not you live nearby...<br />
<b><br /><a href="https://www.cft.org.uk/whats-on/event/beauty-and-the-beast" target="_blank">Beauty and the Beast</a></b><br />
<br />
Where: The Festival Theatre, Chichester<br />
<br />
When: 16th December - 31st December<br />
<br />
The most successful fairy tale film this year has been Disney's live-action remake of <i>Beauty and the Beast</i>, which made over $1 billion and renewed interest in the 18th-century fairy tale which inspired it. Chichester Festival Youth Theatre are capitalising on this with a new and unique version of <i>Beauty and the Beast</i> far closer to Gabrielle-Suzanne De Villeneuve's original story than the 1991 Disney classic adapted from it. This production seems darker and more mysterious than the Disney film, as Beauty and her spoiled brothers and sisters come across the fearsome Beast, but there will be a lot for kids to enjoy as well, with Richard Taylor even creating a variety of new songs for this production. Chichester is notable for providing high-quality regional theatre, and this take on <i>Beauty and the Beast</i> looks like it will be a must-see for any families visiting the area this Christmas.<br />
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<b><a href="https://lyceum.org.uk/whats-on/production/the-arabian-nights" target="_blank">The Arabian Nights</a></b><br />
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Where: The Royal Lyceum Theatre, Edinburgh<br />
<br />
When: Until 6th January<br />
<br />
The winter months are especially cold in Edinburgh, but a bright and colourful play can really lift the spirits and warm the heart. This Christmas, The Royal Lyceum Theatre will be taking audiences to the heart of the Middle East with their play <i>The Arabian Nights</i>. In contrast to the Orientalist kitsch of <i>Aladdin </i>pantomimes, <i>The Arabian Nights</i> will provide a far more respectful take on the classic Arabian stories first collected in the 9th century, with an exciting and action-packed new narrative provided by Suhayla El-Bushra. In this play, the storyteller Scheherezade will seek to protect her world from a tyrannical sultan by telling stories ranging from familiar classics such as <i>Aladdin </i>and <i>Ali Baba</i> to more obscure and unusual tales such as <i>The Genie, the Girl and the Chess Playing Monkey Boy</i>. Director Joe Douglas has promised a play full of "<a href="https://www.youtube.com/watch?v=Mz3X35pI2sI">colour, heat, magic, adventure and song</a>", and it definitely looks like this production will provide entertainment which is colourful, unique and still perfect for Christmas...<br />
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<b><a href="https://www.royalandderngate.co.uk/whats-on/the-jungle-book/" target="_blank">The Jungle Book</a></b><br />
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Where: Royal & Derngate Theatre, Northampton<br />
<br />
When: 28th November - 31st December<br />
<br />
In recent years, film-makers have taken a renewed interest in Rudyard Kipling's short story collection <i>The Jungle Book</i>. Disney's live-action remake of their iconic 1967 adaptation was a major critical and commercial hit in 2016, and Andy Serkis' darker, more adult version of Kipling's classic is due in cinemas next year. In order to capitalise on the popularity of <i>The Jungle Book</i>, Olivier Award-Winning writer Jessica Swale and director Max Webster have created a new version of this iconic text for the stage. It will use the medium of theatre to put a new spin on the familiar story of Mowgli, the human boy raised by wolves in the jungle, and his battle with the sinister tiger Shere Khan. It seems like this version is closer to Kipling's universe than Disney's, but it will provide plenty of music and comedy for family audiences, with no shortage of creative special effects used to bring the animals of the jungle to life. This production will premiere in Northampton, before starting a tour of the UK in January. With its memorable characters and fascinating setting, <i>The Jungle Book</i> seems like it will become pretty popular with family audiences over the next few months.<br />
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<b><a href="https://www.wyp.org.uk/about/whats-on/" target="_blank">The Lion, The Witch and The Wardrobe</a></b><br />
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Where: West Yorkshire Playhouse, Leeds<br />
<br />
When: 29th November - 27th January<br />
<br />
Sally Cookson has gained a reputation as one of Britain's most innovative theatre directors, thanks to her acclaimed versions of <i>Jane Eyre</i> and <i>Peter Pan</i>. This Christmas, she is heading to Leeds to direct an adaptation of the C.S. Lewis classic <i>The Lion, The Witch and the Wardrobe</i>, about four siblings who discover a mysterious world hidden behind a wardrobe. In order to satisfy the high levels of interest in Cookson's new production, The West Yorkshire Playhouse has been expanded to seat over 1000 theatregoers.<br />
<br />
<i>The Lion, The Witch and the Wardrobe</i> is best known for its Christian overtones, but for her version, Sally Cookson is <a href="https://www.theguardian.com/stage/2017/nov/22/narnia-sally-cookson-cs-lewis-lion-witch-wardrobe">updating the story</a> by focusing on the development of the four protagonists, the Pevensies. They are evacuees sent to live in the countryside during World War Two, and Cookson aims to draw parallels between their experiences and those of the refugees seeking shelter in Britain today. Her production looks like it will put a new spin on the 1950 novel whilst retaining the magic and mystery which has made it into a Christmas classic...<br />
<b><br /></b>
<b><a href="http://www.bristololdvic.org.uk/the-little-matchgirl.html" target="_blank">The Little Matchgirl and Other Happier Tales</a></b><br />
<br />
Where: Bristol Old Vic, Bristol<br />
<br />
When: 30th November - 14th January<br />
<br />
After its successful run at the Globe Theatre last Christmas, <i>The Little Matchgirl and Other Happier Tales</i> is touring the UK, arriving in Bristol just in time for the Christmas holidays. In this single-act play from director Emma Rice and writer Joel Horwood, Hans Christian Andersen's bleak yet beautiful fairy tale <i>The Little Matchgirl</i> is used as a framing story, with the impoverished titular protagonist using her last remaining matches to conjure up visions of Ole Shuteye, who tries to keep her entertained by telling her the stories of <i>Thumbelina</i>, <i>The Emperor's New Clothes</i> and <i>The Princess and the Pea</i>. <i>The Little Matchgirl and Other Happier Tales</i> has been praised for its creative visuals and puppetry, and its success at balancing the tragedy of <i>The Little Matchgirl</i> with the more upbeat and comedic tone of the tales which accompany it. <i>The Little Matchgirl and Other Happier Tales</i> is highly recommended for any families seeking a more mature (yet still child-friendly) alternative to the traditional Christmas theatre...<br />
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<b><a href="http://www.newvictheatre.org.uk/productions/treasure-island/" target="_blank">Treasure Island</a></b><br />
<br />
Where: The New Vic, Newcastle-Under-Lyme<br />
<br />
When: Until 27th January<br />
<br />
The New Vic, based in the Staffordshire suburb of Newcastle-Under-Lyme, is famous for its "in-the-round" stage, which engages the audience by allowing them to see the action from all sides. Their Christmas play this year is a take on the Robert Louis Stevenson classic <i>Treasure Island</i> , with the 1883 novel about pirates and the search for buried treasure being turned into an exciting play full of adventure and swordfights. The overwhelmingly masculine source material is being updated for a more diverse audience, with several key characters reimagined as females. For example, protagonist Jim Hawkins is now called Jem and played by Nisa Cole. However, this adaptation will stay true to the heart of <i>Treasure Island</i>, as Jem's coming-of-age and her friendship with the mysterious Long John Silver will remain key elements of the story. Blending the traditional thrills of Stevenson's tale with a new modern and progressive approach, this take on <i>Treasure Island</i> looks like it will provide the bright and colourful escapism needed during the long and cold winter nights.Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com0tag:blogger.com,1999:blog-5414251166201648982.post-34464882996846530132017-11-10T07:30:00.002-08:002017-11-30T07:17:35.568-08:0010 Disney Darkfics for Horror Fans<u><b>(Warning: Disney movies are famous for being family-friendly fun, but these darkfics are NOT suitable for younger or more sensitive audiences. All the darkfics listed here are consistently dark and disturbing, with a few containing scenes that could upset even the most enthusiastic horror fans. If you're into the horror genre, then you shouldn't have a problem with these darkfics, but if you aren't, tread carefully...)</b></u><br />
<br />
Even though they have become synonymous with overly upbeat and sanitized family entertainment, all Disney films contain plenty of dark elements. These have inspired numerous fanfic authors, who have used Disney films as the basis for darker and edgier fanfics known as darkfics. These take full advantage of the creative freedom provided in the world of fanfiction, emphasising the darker aspects of the source material whilst tackling topics which could never be discussed in a family-friendly animated musical. Many of the best Disney darkfics belong to the horror genre. In order to be considered horror, a work must generate a consistent and pervasive atmosphere of terror and unease, unsettling audiences and playing on their worries and anxieties. Horror stories usually depict vulnerable and defenceless characters having to face seemingly unstoppable monsters who embody and represent widely-held fears, but some works in the horror genre are told from the perspective of these monsters.<br />
<br />
This article lists the best horror darkfics based on Disney films, highlighting the fact that even the most optimistic fairy tales can inspire works which are legitimately disturbing and scary. Numerous darkfics were considered for this list, but only 10 could be chosen. Thus, a number of excellent darkfics were not included. Five of the best darkfics omitted from the main countdown are instead listed as Honourable Mentions. The 10 which made the list are inspired by a variety of Disney movies ranging from <i>Snow White</i> to <i>Moana</i>. They represent an array of horror subgenres, featuring zombies, ghosts, serial killers, and other scary elements. However, they are all creative, atmospheric and disturbing, drawing on the influence of Disney's characters and stories in an unusual and twisted way whilst also being excellent works in their own right.<br />
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<h3>
<u><span style="font-size: large;">Honourable Mentions</span></u></h3>
<div>
<u><br /></u></div>
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<ul>
<li><a href="https://archiveofourown.org/works/6535162?view_adult=true" target="_blank">Fairest </a>(By Afterandalasia)</li>
</ul>
<div>
Based On: <b>Snow White and the Seven Dwarves</b><br />
<br /></div>
<ul>
<li><a href="http://archiveofourown.org/works/1668503" target="_blank">She Had Winter In Her Heart</a> (By Raziel12) </li>
</ul>
<div>
Based On: <b>Frozen</b><br />
<br />
(Also available on<a href="https://www.fanfiction.net/s/10366679/1/She-Had-Winter-In-Her-Heart" target="_blank"> Fanfiction.net</a>)<br />
<br /></div>
<ul>
<li><a href="https://archiveofourown.org/works/12118146" target="_blank">The Most Dangerous Game</a> (By Jadewolf)</li>
</ul>
<div>
Based On: <b>Moana</b><br />
<b><br /></b></div>
<ul>
<li><a href="https://archiveofourown.org/works/599504" target="_blank">Until She Wakes</a> (By ShamanicShaymin)</li>
</ul>
<div>
Based On: <b>Sleeping Beauty</b><br />
<b><br /></b></div>
<ul>
<li><a href="https://www.fanfiction.net/s/8532622/1/Within-These-Walls" target="_blank">Within These Walls</a> (By Beta Gyre)</li>
</ul>
</div>
<div>
Based On: <b>Tangled</b></div>
<div>
<br />
<br /></div>
<h2>
<u><span style="font-size: x-large;">The Top 10 Disney Darkfics For Horror Fans</span></u></h2>
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<ul>
<li><a href="http://archiveofourown.org/works/467459" target="_blank">After The Kiss </a> (By ChokolatteJedi)</li>
</ul>
<div>
Based On: <b>Snow White and the Seven Dwarves</b><br />
<br />
(Plot: After Snow White's Prince wakes her from the enchanted sleep, he looks forward to enjoying his happily ever after with the beautiful princess. However, there is now something strange about Snow White, and the Prince gradually comes to realise that bringing her back to life had unexpected and disastrous consequences...)<br />
<br />
Disney's version of <i>Snow White</i> popularised the notion of 'True Love's Kiss' - the idea that a kiss from a love interest could literally have the power to bring a seemingly dead character back to life. Most criticisms of this concept have centred on the idea that its unrealistic for a kiss from a near-total stranger to have so much power. However, <i>After the Kiss</i> takes a very different approach - what if True Loves Kiss was problematic because it interfered with the natural order of life and death? This unnerving question inspires a unique and creative spin on the zombie genre.<br />
<br />
Fairy tales about the perils of waking the dead are not unusual. The Brothers Grimm story <i><a href="http://www.surlalunefairytales.com/authors/grimms/16snakeleaves.html">The Three Snake Leaves</a> </i>used a similar premise, showing a princess being resurrected by magic and becoming evil. However, <i>After the Kiss</i> is far superior to <i>The Three Snake Leaves</i>, due to the careful set-up. At first, Snow White's inability to sleep and increasingly pale skin are dismissed as minor problems, but as time progresses and her condition gradually worsens, the Prince's growing fear and unease is resoundingly vindicated. The climactic visual of a completely zombified Snow White, with her seven dwarves converted into feral henchmen, is chilling proof that a kiss which seemed to save Snow White has actually destroyed her. Ultimately, <i>After the Kiss</i> provides a creative spin on the zombie genre which teaches us that the magic associated with fairy tales can have awful side effects and needs to be examined carefully...<br />
<br /></div>
<ul>
<li><a href="https://archiveofourown.org/works/316786" target="_blank">Ariel's Revenge</a> (By Untherius)</li>
</ul>
<div>
Based On: <b>The Little Mermaid</b><br />
<b><br /></b>
(Plot: Eric gets trapped in a parallel world where he is imprisoned and tortured for months by a sadistic alternate version of Ariel. The real Ariel manages to rescue Eric from this world and bring him back to life, but eventually comes to realise just how badly his ordeal has affected him...)<br />
<b><br /></b>
Out of all the darkfics on this list, <i>Ariel's Revenge</i> is the most unpleasant by some distance, containing cannibalism, animal cruelty, sexual abuse and plenty of gore. It certainly succeeds in its purpose of upsetting, disturbing, and disgusting readers. The first half of the story sees Eric become the victim of a creepy siren who looks almost like Ariel, but has suspiciously grey skin and an unsettling voice. She also does things that the real Ariel would never even contemplate, such as abusing Eric in a variety of ways whilst eating his flesh piece by piece. Once the real Ariel arrives, the story shifts to her perspective, showing just how Eric's experiences have destroyed his relationship with her. The graphic violence and the near-total lack of explanation for Eric's plight gives this story an incredibly nightmarish feel, and the fact that we care so much about Ariel and Eric makes it even crueller.<br />
<br />
In the comments section accompanying the story, Untherius claims that <i>Ariel's Revenge</i> is a rebellion against "all that cutsie Disney Princess stuff". You could say that about almost all the darkfics mentioned in this article, but with its gruesome violence and unrelenting misery, Ariel's Revenge is an especially vicious response. However, the compelling story, unnerving central monster and consistently unsettling atmosphere elevate <i>Ariel's Revenge</i> above other NSFW "Torture Porn" fanfics and earn it a place on this list. More sensitive readers should stay as far away from <i>Ariel's Revenge</i> as possible, but if you have a strong stomach and a taste for more extreme types of horror, then this harrowing story is worth checking out.<br />
<br /></div>
<ul>
<li><a href="http://archiveofourown.org/works/1993134/chapters/4317711" target="_blank">Dark As Snow</a> (By Anysia)</li>
</ul>
<div>
(Also available on <a href="https://www.fanfiction.net/s/10552433/1/Dark-as-Snow" target="_blank">Fanfiction.net</a> and <a href="http://bri-ecrit.tumblr.com/das" target="_blank">Tumblr</a>)</div>
<div>
<br /></div>
<div>
Based On: <b>Frozen </b><br />
<br />
(Plot: Desperate to escape from her lonely life with her troubled, reclusive sister Elsa, Anna Arendelle gets impulsively married to seemingly perfect widower Hans Westergard. However, life with Hans in his lavish estate isn’t the fairy tale ideal she expected, and Anna soon finds herself becoming increasingly close to his stable hand, Kristoff. But Hans is keeping a dark secret, hidden inside a mysterious locked room, and it could endanger everything Anna holds dear…)<br />
<b><br /></b><i>
Dark as Snow</i> already appeared on an earlier list on this blog (which showcased the <a href="http://fairytalefanboy.blogspot.co.uk/2017/07/combining-fairy-tales-top-10-universes.html">best fairy tale mash-ups</a>), and its a real pleasure to talk about it again. It is one of only two multi-chapter darkfics mentioned in this article (<i>Within These Walls</i> is only an Honourable Mention) and the extra length allows it to develop the characters and build up tension and mystery. The decision to do a version of Angela Carter's iconic short story <i>The Bloody Chamber</i> (probably the best and most popular adaptation of the twisted Perrault fairy tale <i><a href="http://www.surlalunefairytales.com/authors/perrault/bluebeard.html">Bluebeard</a></i>) featuring the characters from <i>Frozen </i>in the key roles is genuinely inspired, as both tales play on our fears that impulsively getting engaged to a person we don't know might be an incredibly bad idea. Needless to say, <i>Dark as Snow</i> delivers this message in a manner which is far closer to <i>The Bloody Chamber</i> than <i>Frozen</i>. In fact, the version of Hans featured in <i>Dark as Snow</i> - a sadistic, manipulative control freak whose depravity knows no bounds - is probably the scariest and most twisted villain on this list, which is a pretty impressive achievement.<br />
<br />
Many of the most terrifying moments in <i>Dark as Snow</i> (such as the scene where Anna enters the locked room and finds out what happened to Hans's previous wife) are adapted pretty closely from <i>The Bloody Chamber</i>. However, Anysia manages to put her own spin on them, and the violence here feels genuinely brutal and unsettling. One of the main reasons for this is her ability at getting inside Anna's head and allowing us to feel everything she feels. As a result, we sympathize with Anna and really feel sorry for her as her fairy tale dream turns out to be the most horrible nightmare imaginable. When she finally fights back in the climax, it is a wonderfully satisfying moment. <i>Dark As Snow</i> is an excellent horror story, but it also succeeds as a romantic drama (Anna's relationship with Kristoff provides some much-needed sweetness and warmth), a psychological thriller, a coming-of-age tale, and a feminist statement about a woman gaining the courage to stand up to the ultimate abusive husband. In short, it's proof that fanfics can be as exciting and enthralling as the works which inspired them...<br />
<br /></div>
<ul>
<li><a href="https://www.fanfiction.net/s/11755230/1/Death-of-Her-Heart" target="_blank">Death Of Her Heart</a> (By Lord Wezel)</li>
</ul>
<div>
Based On: <b>Frozen</b><br />
<b><br /></b>
(Plot: When Elsa accidentally struck Anna in the heart with her magic, it turned her into a cruel tyrant. In order to get her revenge, she makes Elsa into her slave and uses her magic to turn all of the kingdom to ice...)<br />
<br />
In <i>Frozen</i>, Elsa is a compelling character because of her ability to control ice and snow, but these powers are incredibly dangerous, and mastering them is no easy task. The idea that Elsa's powers can kill people if she loses control of them has inspired many a darkfic, but <i>Death of Her Heart</i> puts a disturbing new spin on the idea. In this story, Elsa's inability to control her ice powers doesn't kill Anna, but it does something even worse - Anna's heart is not just frozen, it no longer exists, and she has now become a merciless monster with nothing but hatred for Elsa... <br />
<br />
<i>Death of Her Heart</i> features some impressively cold winter imagery, and the blank, immobile perfection of the frozen wasteland created by Anna is pretty creepy. However, the primary source of horror is seeing a character like Anna turn into a cruel and sadistic monster. From the beginning, the descriptions and dialogue highlight how Anna has turned truly heartless, with all the "once-glorious life" in the kingdom eradicated for the sake of a pretty visual. The violence is certainly uncomfortable to read about, with Anna chaining Elsa up like a dog and carving snowflakes into her arm, but the scariest thing here is the extent to which Anna is willing to make Elsa suffer for her mistakes. With its grim central concept and an ending entirely devoid of hope, <i>Death of Her Heart</i> is an incredibly bleak read, but the powerful writing and the overwhelming sense of tragedy make it impossible to forget...<br />
<br /></div>
<ul>
<li><a href="http://archiveofourown.org/works/1132036" target="_blank">Do You Want To Build A Snowman?</a> (By VulpineTrickster)</li>
</ul>
<div>
Based On: <b>Frozen</b><br />
<b><br /></b>
<b>(</b>Plot: When they were playing as children, Elsa lost control of her ice powers and accidentally killed Anna. As a result, Anna became a ghost who continues to haunt her older sister...)<br />
<b><br /></b>As we all know, <i>Frozen </i>begins with Elsa accidentally injuring Anna with her ice powers, causing the rift between the two which defines the movie. Numerous horror darkfics take this opening sequence and use it as the basis for stories which ask the question "What if Anna had died in that accident and returned to haunt Elsa as a ghost?". Out of the numerous darkfics in this subgenre, <i>Do You Want To Build A Snowman?</i> is probably the best. At under 500 words long, it is the shortest story on this list by a considerable distance, but every single syllable is used to show how creepy and threatening this version of Anna is. The story focuses on Elsa and her efforts to avoid responding to this version of her sister, with the short, simple sentences and effective use of present tense building a sense of dread before Elsa finally snaps. When we finally see Anna and her horde of hideous snowmen (any fanfic which can make us frightened by the phrase "I like warm hugs" deserves praise) it is definitely worth the terrifying build-up. In the horror genre, less is usually more, and <i>Do You Want To Build A Snowman?</i> demonstrates how unsettling a short, simple story can be with just a few creepy images and ideas...<br />
<br /></div>
<ul>
<li><a href="https://archiveofourown.org/works/299629" target="_blank">Don't Go Into the Woods, My Love</a> (By Afterism)</li>
</ul>
<div>
Based On: <b>Snow White and the Seven Dwarves</b> and <b>Tangled</b><br />
<b><br /></b>(Plot: Rapunzel is a young woman with healing hair, imprisoned in a tower by a domineering mother. Rapunzel has been hearing stories about how dangerous the forest is, centred on the mysterious princess who inhabits it and seems to have total control over all the plants and animals. However, she soon realises that this princess is an ally rather than a threat...)<br />
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<i>Don't Go Into The Woods, My Love </i>is the only darkfic on this list which combines two different Disney films into a single narrative. This is handled pretty effectively - Although Snow White and Rapunzel are kept apart for the majority of the story, it is easy to believe that they can exist in the same universe. Both Snow White and Rapunzel are associated with the mysterious and magical German forests which inspired the Brothers Grimm, and these are portrayed in a wonderfully atmospheric fashion. Afterism succeeds in making us believe that the forest is truly alive, and that Snow White has unusual powers and capabilities far greater than the average princess. There is more than enough dark and twisted imagery for this fanfic to be classified as a horror, including feral dwarves, blood turning into vines, and a floor laid with bones and apple cores, but these all fit this world perfectly, enhancing the distinctive combination of beauty and terror which makes this story so alluring...<br />
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<i>Don't Go Into the Woods, My Love</i> perfectly fits the literary subgenre of dark, feminist modern fairy tales pioneered by Angela Carter. This version of Snow White is sinister, mysterious and almost monstrous, but she is also a powerful, independent and compelling character able to destroy foolish princes with ease. A brief scene where she meets a young boy obsessed with being Prince Charming really demonstrates that she is not the helpless victim traditionally associated with both fairy tales and the horror genre. Rapunzel's side of the story could have been developed in a bit more detail (her links to the forest need to be foreshadowed more clearly) but the scene where she stands up to her mother is impressively nasty, and it's easy to buy the fact that she has an irrepressible bond with Snow White, given their incredible powers. <i>Don't Go Into the Woods, My Love</i> is probably the least conventional story on this list, and this is what makes it so appealing. Instead of being about the suffering of helpless protagonists, it is about two assertive women creating their own unconventional world, and anyone who stands in their way can expect to be in plenty of trouble...<br />
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<li><a href="https://archiveofourown.org/works/509466" target="_blank">Inquisitive</a> (By Ephemeral_Everlast)</li>
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Based On: <b>Alice In Wonderland</b><br />
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(Plot: Alice wants to experience a totally nonsense world, but when she ends up in Wonderland, she finds herself out of her depth in a world full of strange and creepy creatures such as the Cheshire Cat and the Queen of Hearts. It is not long before she learns that she has to be careful what she wishes for...)<br />
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<i>Alice In Wonderland</i> takes place in a fantasy world defined by its total lack of rules, Although the Lewis Caroll story and the Disney film which it inspired are primarily comedic, there is something pretty terrifying about a world which is impossible to control, and Ephemeral_Everlast is skilled at exploiting this. <i>Inquisitive </i>really emphasises the nightmarish aspects of Wonderland, as Alice finds out the hard way that a world she hoped would be fun and colourful is actually completely hideous.<br />
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The changes which turn the familiar tale into an adults-only darkfic are disturbingly subtle. The Cheshire Cat now has fangs, the 'Unbirthday' cake of The Mad Hatter seems to be alive, and the bullying Flowers emit poison. Most importantly, the story emphasises Alice's thoughts and feelings. When seen from her perspective, the Queen of Hearts is a pretty scary character - she's essentially a tyrant who wants to behead a little girl for no reason. The basic storyline is unchanged, but <i>Inquisitive </i>is a far shorter, leaner story - like Alice, it wants to get out of Wonderland as soon as possible. However, the simple descriptions used by Ephemeral_Everlast are evocative and succeed in generating an uneasy and menacing atmosphere. As Alice becomes increasingly confused and scared, we see that a child like her cannot belong in a land devoid of order and reason. Overall, <i>Inquisitive </i>does an effective job of showing how sinister a world as strange and crazy as Wonderland can be.<br />
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<li><a href="https://archiveofourown.org/works/11883900" target="_blank">Kohuru</a> (By Jadewolf)</li>
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Based On: <b>Moana</b><br />
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(Plot: Two foolish young warriors enter the underworld of Lalotai in a bid to enjoy the ultimate adventure, but soon find themselves regretting this decision when they come across the monstrous giant crab Tamatoa...)<br />
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In <i>Moana</i>, the villainous giant crab Tamatoa is played mostly for comedy, but for many people, coming face to face with a fifty-foot tall, flesh-eating creature is no laughing matter. In Kohuru, the warriors Temana and Rahiti find out the hard way just how scary Tamatoa can be. When two impulsive youths take on a giant monster, we all know that it is not going to be a fair fight, but for viewers who primarily remember Tamatoa for singing 'Shiny' or taking a dig at <i>The Little Mermaid</i>, seeing how nasty he gets in <i>Kohuru </i>is quite a shock. The meeting between Temana and Tamatoa starts with a fast-moving fight, but as Tamatoa asserts control, the bravado of our two protagonists is replaced by uncontrollable fear, as they discover what Tamatoa is truly capable of...<br />
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The strongest aspect of this story is the way in which Tamatoa is upgraded from Disney villain to horror movie monster. He retains his hatred of Maui and his belief that humans are little more than tasty snacks, but the humour is almost entirely stripped away - Tamatoa's dialogue is acidic and vicious, as he takes his frustrations out on the two unlucky humans who try to fight him. Temana and Rahiti are also depicted effectively - they are foolish enough to deserve a harsh punishment, but sympathetic enough for their gruesome fates to be genuinely distressing. Darkfics allow Disney villains to become far more violent and threatening, as the constraints restricting their behaviour in a family film are entirely eliminated. After reading <i>Kohuru </i>(or <i>The Most Dangerous Game</i>, a similar story from the same author) it is going to be a lot harder to regard Tamatoa as merely an eccentric, gold-obsessed nuisance...<br />
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<li><a href="http://archiveofourown.org/works/603427" target="_blank">Seven For A Secret </a> (By Orphan_account)</li>
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Based On: <b>Cinderella</b>, <b>Tangled</b>, <b>Sleeping Beauty</b>, <b>Beauty and the Beast</b>, <b>The Little Mermaid</b>, <b>Aladdin</b>, <b>Snow White and the Seven Dwarves</b><br />
<b><br /></b>(Plot: A collection of seven stories about Disney characters whose search for a happy ending instead leads to a world of pain and misery. These include 'The Legend of the East Kingdom', in which Cinderella's deal with the fairy godmother has disastrous side effects, 'Leashed', where Rapunzel proves unable to control the growth of her hair, and 'Egalite', where Belle becomes a victim of the French Revolution...)<br />
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Whilst all the other darkfics on this list tell a single story, <i>Seven for a Secret</i> contains SEVEN different tales which all ruthlessly subvert the hopeful and optimistic approach associated with the original Disney films. Instead of bright songs and comedic side characters, we are treated to scenes showing Belle being executed by revolutionaries ("Madame Guillotine had no love for happy endings."), Rapunzel getting permanently trapped by her hair and wasting away in her own filth, Aurora's kingdom being wiped out by plague, and Jasmine getting her right hand cut off. Orphan_account provides us with a selection of protagonists who are sympathetic and engaging, but they ultimately all prove unable to avoid their awful fates, with the vivid and powerful descriptions highlighting the cruelty of the stories.<br />
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The extent to which <i>Seven for A Secret</i> can be classified as a horror darkfic is a matter for debate. 'The Legend of the East Kingdom' (which combines <i>Cinderella </i>and <i>Sleepy Hollow</i>), 'Siren Song' (A story from Eric's perspective, where Ariel is reinterpreted as a murderous siren) and 'The Woman in White' (Where Snow White's singing has deadly effects) fit the horror genre perfectly, the other four stories are predominantly miserable rather than scary. However, they are certainly disturbing enough to qualify for this list (a story doesn't have to be horror to be considered horrifying) and the tragedies experienced by the protagonists fuel a variety of mundane fears regarding disease, violence, and the loss of control. The stories in <i>Seven For A Secret</i> are incredibly grim on their own, but when put together, they generate a fanfic so vicious that the it has managed to appear on a number of <a href="http://whatculture.com/film/10-deeply-disturbing-disney-and-pixar-fan-fictions?page=11">on-line</a> <a href="http://www.mtv.co.uk/disney/news/the-creepiest-disney-fan-fiction-we-could-find-on-the-internet">lists </a>recognising it as one of the nastiest Disney darkfics of all time - a feat which even <i>Ariel's Revenge</i> couldn't manage...<br />
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<li><a href="https://www.fanfiction.net/s/10363540/1/The-Glass-Princess" target="_blank">The Glass Princess </a> (By JessicaJ)</li>
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Based On: <b>Sleeping Beauty</b><br />
<b><br /></b>(Plot: Once upon a time, Prince Philip failed to save Princess Aurora and her kingdom from a curse placed on them by the wicked Maleficent. Two hundred years later, he returns to Aurora's decaying kingdom in a bid to make amends, only to find out the hard way that it is not as devoid of life as he expected...)<br />
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In most retellings of <i>Sleeping Beauty</i>, it's not just the titular princess who is put into an eternal slumber, but the whole of her kingdom. In <i>The Glass Princess</i>, this concept is developed to disturbing effect. When Prince Phillip (not named in this version) arrives at the derelict kingdom, he finds out that all the humans and animals present when the curse struck have been reduced to skeletons. JessicaJ even highlights the odious stench of the bodies, extending the oppressive atmosphere beyond the visuals. An equally creepy sight is Aurora herself, now turned into the titular glass princess, eerily pale and "as close to nothing as she can possibly be". These visuals show just how destructive the curse has been, and allow the story to resoundingly distance itself from lighter versions of <i>Sleeping Beauty</i>...<br />
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<i>The Glass Princess</i> centres on a protagonist who is already dead inside, but Phillip's complete guilt at failing to save Aurora and the kingdom gives the story a sense of direction which allows the grisly visuals to have a greater impact. The conclusion is a grim little sting in the tale, but it fits perfectly - the only way for Phillip to bring life to The Glass Princess is by paying the ultimate penalty for his initial cowardice. <i>The Glass Princess</i> is a gloomy and intense experience, but the excellent descriptions and creative ideas make it a compelling and rewarding read. </div>
Raphaelhttp://www.blogger.com/profile/13293124245797270291noreply@blogger.com1